A child's first breath, first observation, first feeling of its presence, a perceiving of self from all that is within and each sensibility engaged, initiates the ART of BEING. Creation and the creative processes inherent in life itself, provide the basis for mothering, parenting, and all aspects of support, growth, development, teaching, and education."KNOW THYSELF," an inscription on the Temple of Apollo at Delphi, Greece, 6th century B.C. is an ever present reminder that all learning begins with self, with each breath, with each observations, with each perception, with each experience. Awareness, understanding, mastery, competence, develop from those experiences that provide exploration, discovery, experimentation, satisfaction, and bear relevance to the child's perceived self.
According to legend, the Seven Wise Men of Greece met at the oracle at
Delphi and put up these two words: Know Thyself.
According to legend, the Seven Wise Men of Greece met at the oracle at
Delphi and put up these two words: Know Thyself.
Polonius advice to Laertes:
This above all: to thine own self be true
And it must follow as the night the day
Thou canst not then be false to any man.
This above all: to thine own self be true
And it must follow as the night the day
Thou canst not then be false to any man.
The ART of BEING defines the intent and purposes of APOGEE Learning Enhancement Training Systems™. The integration of the academics and the arts is analogous to the integration of the breath, the flow creating both inhalation and exhalation, the taking in, the absorbing, the assimilation and then the outflow, the end product of a life supporting process. The observation, the taking in of an experience at each stage of a child's life, the ability to assimilate the experience, the transformation, the release, the resolve, the satisfaction, create reference points for experience and learning. These 'points of reference,' manifest themselves in the child's willingness to be engaged in an activity or conversely in the child's objection or resistance.
At each stage of development the child gains a perspective, a perception of its own experience. The growing, doing child is necessarily engaged in both the art and science of its experience. It is here proposed that we as parents, as educators, become sensitively aware of the stages of BEING in a child's expressed art.
I am pleased to here post an adaptation of the discussion presented by:
http://www.tinytotskokie.com/Developmental_Stages_of_Art.doc
photo credit:http://www-heb.pac.dfo-mpo.gc.ca/community/education/primary/primary_download_f.htm#Les%20salmonid%E9s%20dans%20la%20salle%20de%20classe%20-%20niveau%20primaire
http://www.tinytotskokie.com/Developmental_Stages_of_Art.doc
photo credit:http://www-heb.pac.dfo-mpo.gc.ca/community/education/primary/primary_download_f.htm#Les%20salmonid%E9s%20dans%20la%20salle%20de%20classe%20-%20niveau%20primaire
Developmental Stages of Art
Types of Scribbling
Scribbling is a manipulative skill and involves the ability to use one’s hands and fingers with dexterity. Developing this skill is vital to mastering hand-to-eye coordination, which is a prerequisite for developing the visual perception necessary to read from left to right.
The Scribble Stage or Random Scribbling (ages 11/2-3yrs)
Most children begin scribbling at about 1½ to 2 years. They will scribble with anything at hand and on anything nearby. Floors and walls work well! Their first marks are usually an aimless group of lines. Children simply enjoy the physical motions involved in scribbling. It is the act of doing, not the product, that is important to the child. For the toddler, art is a sensorimotor activity. As a child draws or paints, every part of the body moves, all working to move the crayon or brush across the paper.
In the early scribble stage a child does not have control over hand movements or marks on the page. The marks are random and go in many directions. There is neither the desire nor the ability to control the marks. It’s the process, not the product.
Random scribbles are universally a child’s first mark. All children go through this preliminary stage of drawing. Randomly exploring and experimenting with different writing tools, this stage of scribbling pleases children as they discover its possibilities. The duration of this stage is dictated by the encouragement of parents and teachers, the child’s general health, muscle development, coordination, intelligence, and the quantity and frequency of opportunities to randomly scribble.
Basic Forms Stage or Controlled Scribbling (ages 2-4)
The second stage of development is signified by the introduction of geometric shapes such as circles, ovals, squares, triangles and crosses into the child’s art. As children gain muscle control and eye-hand coordination, they begin to make attempts to organize their environment. They repeat shapes, hold their tools with greater adeptness and have a growing control over materials. Wavy lines and rippling lines may be interspersed with a variety of circular patterns. Children can now control their scribbles and repeat them at will. Children now value their scribbles.
The Pictorial Stage (ages 3-5)
With the two earlier stages complete, children now have the ability to draw a variety of marks that make up their first pictures. Pictures are now made with a purpose. The basic forms in the preceding stage now suggest images to the child that stand for ideas in the child’s mind. From the basic forms the child is able to draw and particular forms are chosen. In this way, children draw their first symbol. A symbol is a visual representation of something important to the child; it may be a human figure, an animal, a tree, or a similar figure. Art in which symbols are used in such a way is called representational art. Children realize that there is a relationship between objects they have drawn and the outside world, and that the picture can be used to record ideas. The child now sees real meaning behind the drawings and names the objects in the drawing.
The human form is often a child’s first symbol. A person is usually drawn with a circle for a head and two lines for legs or body.
Early Pictorial stage
In this early stage, a child works on making and perfecting one of many symbols. Children will practice these symbols, covering sheets of paper with many examples of the same object. At this point a child’s picture may be a collection of unrelated figures and objects. The child is searching for new ideas and symbols change constantly.
In the later pictorial stage, a child draws symbols easily and more exactly and before long more complex drawing are made. Children use their drawings to tell a story or describe an event. The naming of these symbols is an important step, in that artwork becomes a clear form of visual communication. It may not look different, but the circle is now called a “sun” and represents a specific object. A child uses symbols when he/she is ready, and no sooner. Creative expression is the goal at this age and all ages.
In the later pictorial stage, each child has a special way of drawing the human form, houses, and other symbols. This individual way of drawing is called a schema. A schema or individual pattern can often be seen in drawings by age five or six and often earlier.
It is important to remember that there may be an overlap between developmental levels in art.
When the child begins to identify the objects he draws by a name, he has moved into the third stage of development. Even though these drawn objects may be unrecognizable to adults, it is the act of naming that is significant. For children, the objects they have drawn are easily identifiable.
Subsequently, suns (a circle), radials (a circle with rays), and mandalas (circle with a cross inside) and other shapes from their environment begin to appear in the child’s art as they prepare for the next stage. Supplying a wide variety of experiences aids this developmental process. However, it is important to note that if five-year-olds are still scribbling, they are not necessarily slow learners or affected by a learning disability.
Symbolic Stage or Pictorial Stage (ages 5-7)
When a child begins to depict abstract concepts, he has moved into the Symbolic or Pictorial Stage. Realizing that thoughts can be represented by symbols, they may draw what they feel, instead of how things really are. They may enlarge, distort, and change objects according to how important the object may be to them. For example, a kindergartener is asked to draw a dog. The dog may be drawn larger than the child because the dog is so important in his life and the dog may be painted blue because blue is the child’s favorite color.
Instead of simple circular faces and stick bodies, children begin to draw people with articulated arms, legs and facial features. Baselines appear in drawings. For example, a ground is at the bottom of the picture, a sky above. If an object appears behind something and can’t be seen, it may be drawn nearby. A child’s bed, which could not be seen from the outside, may be drawn near the house. Color is used as a form of expression instead of as a realistic representation.
Parents and teachers of young children must realize that each individual progresses in art at a different rate just like every other developmental stage. Don’t dismiss a child’s scribbles – it’s a vital part of learning.
Around three to four years of age, children begin to combine the circle with one or more lines in order to represent a human figure. These figures typically start out looking like "tadpoles" and then gradually become "head-feet" symbols. It is not uncommon for children's first representations of the figure to be highly unrealistic or to be missing a neck, body, arms, fingers, feet, or toes. Children may, in fact, draw two tadpoles to show their mother and father without making visible distinctions between the two figures.
Several theories have been proposed to explain the "tadpole" phenomenon and the reasons why young children tend to draw unrealistic or incomplete human forms. Some experts suggest that children omit bodily features because of a lack of knowledge about the different parts of the human body and how they are organized. Others argue that children don't look at what they are drawing; instead, they look at the abstract shapes already in their repertoire and discover that these forms can be combined in various ways to symbolize objects in the world. Still others believe that children are simply being selective and drawing only those parts necessary to make their figures recognizable as human forms. It is important for parents and teachers to consider, from a diagnostic standpoint, that a child whom omits certain features when drawing a person may do so quite unintentionally; and, thus, caution should be exercised when interpreting a child's drawing as a reflection of personality or intellectual growth. If the continued omission of parts in a child's drawing of figures proves disturbing, stimulate his consciousness of the omitted part through play and discussion.
From an educational standpoint, parents and teachers should also consider that experiences designed to extend children's awareness of their own body parts often result in more compete representations of the figures they draw. For instance, children who depict figures without arms or hands might be given the opportunity to play catch with a ball and then to draw a picture of themselves "playing catch." Children will likely include arms and hands in their drawings since these parts are required to engage in this activity. Just asking children to draw such an experience is usually not enough. They need to become actively engaged in the activity being depicted in order to develop a personal awareness of the details involved. At this age it is particularly important that any motivation or any subject matter be related directly to the child himself.
Variations in the Figure
Children, four and five years of age, will experiment with various ways of drawing the figure and may depict the figure quite differently each time they draw. Sometimes, they create figures quite unique to the person or the experience being depicted. Such drawings tend to describe more how children of this age think or feel about the things around them rather than what they actually see when they look.
There is considerable evidence to suggest that children who draw figures without bodies, arms or legs are certainly capable of identifying these parts when asked to do so, but the idea of creating a realistic likeness of a person has not yet occurred to them or occupied their interest (Winner, 1982). Such a concern doesn't typically show up until the age of seven or eight.
Art and Self-image
Through the act of drawing or painting, a child may explore several self-possibilities before arriving at a satisfying self-image. In this way, art plays a crucial role in the self-defining process.
When planning for drawing and painting activities, parents and teachers should consider that four and five-year olds tend to be egocentric in nature; and, thus, motivational topics which enable these children to express something about their emerging concepts of self are particularly beneficial. Talking with the children about their personal experiences such as those associated with family, school, friends, and pets will often provide ideal starting points for their art encounters to begin. Topics should include "I" or "my" since it helps the child to identify with the subject matter suggested. For instance, appropriate drawing and painting themes for children of this age include "I am Going to School," "My Family," "I am Playing with My Friends," "It is Fun to ....," "I enjoy...," "My Favorite Thing," - all personal and relevant.
The Young Child's Concept of Space
As young children become increasing aware of the world around them, the many objects that make up their environment will begin to appear in their drawings. These objects are seldom drawn in relationship to one another in position or size. Nor are they organized on the page the way in which they are related spatially in the world. Instead, objects will typically appear to "float" on the page in the drawings and paintings done by children of preschool age. This type of spatial organization may appear to an adult as incorrect in that it doesn't follow the Western tradition of representing three-dimensional space by the use of linear perspective. Instead of considering this as a defect in children's artwork, one might appreciate their honesty in arranging the forms on the page and their capacity for creating balanced two-dimensional compositions (Winner, 1982). Besides, if one looks at the artwork of other cultures or that of many contemporary artists, it can readily be seen that there is no right or wrong way to portray space in a drawing (Lowenfeld, 1975).
By the age of nine or ten, many children exhibit greater visual awareness of the things around them. As a result, they become increasingly conscious of details and proportion in what they are drawing. They typically include body parts such as lips, fingernails, hairstyles, and joints in their drawings of people. They also show more interest than before in drawing people in action poses and in costumes.
This new concern for making their pictures look "right" in terms of detail and proportion leads to a crisis for many older children. In trying to draw realistically, children's efforts often fall short of their expectations and they quickly become disappointed. Some search for adult-like skills by copying illustrations in books and magazines. More often, however, children become increasingly critical of their graphic abilities and begin to show a reluctance to engage in drawing activities as they grow older. Given the increased emphasis on "realism" among children during their preadolescent years, art instruction that focuses on visual description and observational techniques can be particularly beneficial at this age. Indeed, most children are quite capable of attaining the realistic quality they so desire in their art work. But, this only if they receive the proper instruction and support enabling them to develop the competencies required to do so.
The Representation of Three-Dimensional Space
Whereas younger children become engrossed in the meanings and actions of subjects as they draw them, older children tend to be more concerned with whether their pictures resemble what it is they are drawing. This interest in visual description typically emerges around the age of nine or ten as children begin to adopt their culture's conventions for representing a three-dimensional scene on a two-dimensional surface (Winner, 1982). No longer are objects placed side by side on a baseline as seen in younger children's drawings. Now children attempt to arrange the things they draw in relation to one another on the page. In doing so, they begin to show how the position of a viewer influences the image drawn. They begin to draw objects that overlap one another and that diminish in size. They also begin to use diagonals to show the recession of planes in space.
As children's readiness and interest in showing depth in their pictures becomes apparent, having them study the ways in which various accomplished artists use overlap, diminishing size and linear perspective within their works can be helpful. But, children need to understand that the use of these pictorial devices is only one way of organizing space and that many artists have abandoned such conventions in favor of developing more personal and expressive ways of seeing and making art.
Visual Metaphor and Expressive Imagery
Many older children continue to draw and paint symbolically in spite of the increased concern for realism in their art work. Indeed, children's emerging capacity for abstract thought enables them to begin conceiving of images as visual metaphors. When children draw or paint metaphorically, they are using images to suggest an idea or emotion beyond the specific object depicted.
For instance, older children are able to recognize that a picture of an isolated tree suggests loneliness and despair, or that a stag overlooking a range of mountains suggests nobility. The ability to use images metaphorically, depends on being able to entertain two levels of symbolization at once. The artist must decide which object best represents the concept or emotion and which lines, shapes and colors best represent the object (Smith, 1983).
Older children are just beginning to discover the possibilities of visual metaphor and that images can convey meanings beyond the object depicted. In order to deepen this understanding and prevent children's concern for realism from dampening their creative spirit, the parent and the teacher should introduce themes that deal with the expression of certain emotions or concepts through visual metaphor. For instance, children might be asked to imagine themselves as an animal or an inanimate object and to represent themselves as such in a drawing or painting. The preadolescent years are critical in the artistic development of children.
When one charts the graphic development of children as they progress from preschool to the upper elementary school grades, at least four distinct stages or shifts can be observed.
First, children begin to scribble at about one or two years of age.
Second, representational shapes and figures emerge around the age of three or four.
Third, children develop and use graphic symbols for representing the things they encounter in their environment.
Lastly, around the age of nine or ten, children strive toward optical realism in their drawings. It is important to note that these changes don't occur abruptly; rather, they are often marked by small sub-stages or points in which children may exhibit characteristics of two stages in one drawing.
Of course, what children seem to do naturally and what they are capable of doing with training and practice. are entirely different matters. It is likely that teachers will find that the students within their classrooms are at varied points in their graphic development since some have had abundant prior experiences with art, whereas others, may have had limited creative opportunities. Thus, teachers should avoid the temptation to place children at a particular stage simply because of their age or grade level.
Of greater concern to teachers and parents should be the lost of expressiveness and originality which seems to occur in children's drawings as they grow older. If one uses "realism" as a criterion for judging the work of children, then they seem to improve with age and experience. But, the drawings of upper-elementary school children typically appear more conventional and rigid; and, therefore, less striking to the adult eye than those of preschool children. Parents and teachers should also be concerned with the lost of interest in drawing activities among students in the upper-elementary grades. Indeed, many older children become so critical of their work that they simply stop drawing all together. How might adults prevent such declines from occurring? The following suggestions offer a few possibilities.
First, expose children in the upper elementary grades to various artists whom exhibit both realistic and imaginative approaches to drawing. Encourage them to see that drawings are not meant to be photographs and that the act of drawing enables them to show their own special way of seeing the world.
Second, provide older children with opportunities to engage in both descriptive and imaginative approaches to drawing. Show that you value the diversity of approaches and the variety of ideas that children exhibit in their work.
Third, make the development of drawing abilities a priority in your home, as a parent, and in your classroom, as a teacher. Provide children with opportunities to draw often and give them the assistance, support, instruction, materials, and the encouragement to explore, to discover, to create.
Information source/reference from an adaptation of the discussion presented by:
http://www.tinytotskokie.com/Developmental_Stages_of_Art.doc
http://www.tinytotskokie.com/Developmental_Stages_of_Art.doc
A Personal Note
As a young child I took delight in drawing and coloring. To have a box of crayons and reams of paper were assured joy. I found myself drawn to works of art, marveling at the abilities of the artist and the wondrous nature of life, all its manifestations in line, form, color, and structure. As I moved from joyful innocence to critical judgment, my own art was dismissed. I had not developed, nor was I encouraged to, during those early critical years, the skills to draw a replication of the 'object' or 'subject' as it existed in 'real' life. As a high school student I found myself drawn to abstract art. In college, visits to museums featuring abstract art became a frequent occurrence. I found an identity in abstract art. I enjoyed a deep reverence for classical art. I was drawn to impressionism. With a major concentration of study in psychology and education, and with an intense interest in the arts, I designed research projects that explored the relationship of art preferences to personality characteristics and education. Little did I know that these allurements were to evolve into my own , "Abstract Impressionism."
I invite you to visit: http://www.apogeeart.com and http://www.apogeepoet.blogspot.com and do enjoy: YouTube - Firmament ~ http://www.youtube.com/watch?v=F6QlIBV1Drg I too, am in process! ~ a process defined by love of art, truth, wisdom, reverence for life and all its potentialities.
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