Unit 5 DB: All About Me Book

Chapter Introduction

Casper Holroyd

Learning Objectives

After studying this chapter, you should be able to:

· 11-1Define the concept of developmental levels/stages of art and their importance in early childhood education.

· 11-2Describe the scribble stage, including appropriate materials for use in this stage.

· 11-3Explain the basic forms (preschematic) stage, including appropriate materials for use in this stage.

· 11-4Discuss the pictorial (schematic) stage, including appropriate materials for use in this stage.

· 11-5Discuss the gang stage, including appropriate materials for use in this stage.

NAEYC Program Standards

· 1b

Knowing and understanding the multiple influences on development and learning.

· 3b

Knowing about and using observation, documentation, and other appropriate assessment tools and approaches.

DAP Criteria

· 2B2

Teachers continually gather information about children in a variety of ways and monitor each child’s learning and development to make plans to help children’s progress.

· 4A

Assessment of young children’s progress and achievements is ongoing, strategic, and purposeful.

As children grow older, they change in height and weight and gain new skills. They also develop different abilities in art. The artwork of a -year-old is different from that of a -year-old or -year-old. It is different in the way it looks, as well as in the way it is made.

For many years, people have been trying to explain why all children the world over draw the way they do. There are many theories of children’s art, each of which offers an explanation for why children produce art and suggests strategies for teachers. Basic to all of these theories are two facts. The first is that all children go through definite stages in their development of art. The second is that the pace of each child’s development in art varies with the child.

11-1Developmental Levels/Stages of Art

LO 1

Just as young children experience various stages of physical development, they also develop art abilities in a gradual process, going through specific stages. These stages are called  developmental levels . A developmental level is a guide to what a child can do in art at different ages, but it is not a strict guideline. Some children may be ahead of or behind the developmental level for their age. Developmental levels tell the teacher what came before and what is to come in the artwork of the young child.

There is no exact pattern for each age level. Not all -year-olds behave alike, nor are they completely different from -year-olds. But there is a gradual growth process that almost every child goes through. There is also considerable overlap between stages. Stages of art development as presented in this chapter should be viewed as fluid and dynamic—not as static and rigid. Sometimes children will not fit neatly into each stage at approximately the “correct” age. Two stages may be represented in one work, and a child may regress before advancing to the next stage. An understanding of developmental levels helps an adult accept each child at the child’s present level, whatever it is.

From 1830, when Ebenezer Cooke first drew attention to the successive stages of development found in children’s drawings, to Rhoda Kellogg’s Analyzing Children’s Art (1970), and Viktor Lowenfeld’s Creative and Mental Growth of the Child (1987), teachers have based their objectives for art activities on the idea that children’s art is developmental. (See Figure 11-1 for a summary of several art theories.) While each art theory varies (for example, in the number of proposed stages), they all propose a similar pattern of development—one of progressing from scribbling to more realistic representations. Ability in art develops as the child grows and matures. Each stage is a part of the natural and normal aspects of child growth and development. These stages are sequential, with each stage characterized by increasing progress. Even though stages in art have been identified and accepted, the age at which children progress through these stages is highly individual. As children’s bodies and minds mature, so does their art ability. Children learn to paint, model, and build as they learn to walk—slowly, developing in their own way. They learn each new step in the process, as they are ready for it. As a general guide, art development progresses from experimentation and exploration (the scribble stage in drawing), to the devising of basic forms, to the forming of symbolic figures and their naming.

Figure 11-1

Summary: Theories of Art Development.

Herbert Read, Education Through Art (1966)

Scribble:  Line:  Descriptive Symbolism:  Descriptive Realism:  Visual Realism:  Repression:  Artistic Revival:

Rhoda Kellogg, Analyzing Children’s Art (1970)

Scribble Stage— basic scribbles: -year-olds Combine Stage (Diagrams)—Basic shapes: -year-olds Aggregate Stage—Two or more diagrams: -year-olds Pictorial Stage—Representational art: -year-olds

Victor Lowenfeld and Benjamin Brittain, Creative and Mental Growth (1987)

Scribbling Stage—First Stage of Self-expression: Preschematic Stage—First Representational Attempts: Schematic Stage—Achievement of a Form Concept: Gang Stage—Dawning Realism: Stage of Reasoning—Pseudonaturalistic:

Older children continue to develop and refine their abilities in art as they create more complex works of art and give greater attention to their expressive intentions. The following discussion of the development of children’s drawing is intended to serve as a general guide to the overall process of development in art. The basic developmental levels, or stages, apply to all art media. For the sake of clarity, children’s drawing will be the primary focus of the discussion.

11-1aInfants (Birth to 18 Months)

Long before the child picks up a crayon and begins to scribble, many earlier stages in art development occur with children of this age group. Here are some of these basic steps in art development with infants:

· Child responds to visual elements present in the environment such as light, color, and patterns.

· Child participates in and enjoys a variety of tactile/sensory experiences such as water and texture.

· Child explores the shapes of objects.

To encourage the infant at this early stage of art development, adults need to do the following:

· Provide pictures, mobiles, and other types of displays in the environment.

· Display pictures and art at the child’s level.

· Involve the child in water play, texture books and toys, and so on.

· For older infants, provide finger paint, large crayons, and other appropriate art materials.

11-1bChildren’s Drawing

Three developmental levels in drawing are of concern to the early childhood teacher: the  scribble stage , the  basic forms stage , and the  pictorial (or first drawings) stage . The realism stage, generally covering children ages  old and older, is of concern to teachers in the upper-elementary levels.

Did You Get It?

· A -month-old is presented with finger paints by her caregivers at her daycare center. From a developmental perspective, this is

1. developmentally appropriate.

2. above the child’s level of ability.

3. inadvisable, as it is dangerous to the child’s development.

4. appropriate only for gifted -month-olds.

Take the full quiz on CourseMate.

11-2The Scribble Stage

LO 2

  Most children begin scribbling at about  of age. Children can be given a crayon or marker as soon as they no longer put everything in their mouth. They will scribble with anything at hand and on anything nearby. Their first marks are usually an aimless group of lines. Yet these first scribbles are related to later drawing and painting. They are related to art just as a baby’s first babbling sounds are related to speech.

The crayon may be held upside down, sideways, with the fist, between clenched fingers, or with either hand. Children may be pleased with their scribbling and get real enjoyment from it. They enjoy the pure physical motions, the kinesthetic pleasure, involved in scribbling. It is the act of doing—not the final product—that is important to the child. When a child gets her or his hands on materials, the child begins to manipulate and explore randomly. This exploration delights the child and therefore leads to further manipulation and discovery.

If you watch a baby draw or a toddler scribbling, you know it is a sensorimotor activity. As a child draws or paints, every part of the child’s body moves, all working to move the crayon or brush across the paper. After the child begins the movement, it’s difficult to stop! As a consequence, whatever surface the child is working on often becomes covered with paint and crayon.

From the moment the child discovers what it looks like and feels like to put these lines down on paper, he has found something he will never lose—he has found art. This wonderful thing happens to every child when he is about  old (Kellogg & O’Dell, 1967).

11-2aEarly Scribble Stage: Disordered or Random Scribbling

During the early scribble stage, the young child does not have control over hand movements or the marks on a page. Thus this stage is called  disordered or random scribbling . The marks are random and go in many directions. The direction of the marks depends on whether the child is drawing on the floor or on a low table. The way the crayon is held also affects how the scribbles look. But the child is not able to make the crayon go in any one way on purpose. The child has neither the desire nor the ability to control the marks. (See Figure 11-2 for some examples of random scribbles.)

Figure 11-2

Example of Development in Children’s Drawings.

Children’s drawings reflect growth in thinking (cognition) and in physical control (gross and fine motor) over materials and tools. Note: All ages listed here are approximate. All children develop at highly individual rates.

Ages	Characteristics of Stage
	Random Scribbling. Exploration of tools and materials, showing increasing fine and gross motor control. Single and multiple dots and lines (horizontal, vertical, wavy, and diagonal) produce some twenty basic scribbles that eventually include loops, spirals, and circles. Some examples:
	Shape Making. Scribbles begin to be used intentionally to make basic shapes or diagrams. Children combine shapes and use overlapping. Eventually, shapes form aggregates (three or more diagrams together). Some examples:
	Symbol Making. Lopsided geometric shapes are made. Mandalas and suns are drawn and eventually become human figures. At first, arms and legs stretch out from the head. Eventually the torso emerges and human figures appear more and more complete. Some examples:

Note: All ages listed here are approximate. All children develop at highly individual rates.

© Cengage Learning

Source: All above examples based on Kellogg (1970) and Lowenfeld and Brittain (1987).

Because it is the sensory experience of making marks that is important at this stage, the child doesn’t even realize that she or he is producing these scribbles. The early scribbler doesn’t make the connection between herself or himself and the scribbles. In fact, these children receive as much satisfaction from just handling the materials—dumping the crayons out of the box, putting them back in again, rolling them across the table or in their hands—as they do from scribbling!

Art is such a sensory experience at this age that children may use crayons in both hands as they draw, singing along in rhythm to the movements they are making. They may not even notice the crayon they’re working with isn’t leaving marks on the paper.

Because it is the process that is important to children when they’re toddlers, there’s no need to label their scribbles with their names or ask for stories or titles to accompany the scribbles. For young children in the early scribble stage, it is appropriate for adults to comment on the process. Focusing on the process, you might say, “You covered the entire paper,” “Your whole arm moved as you worked,” or “You moved your crayon all around and around.” These are the kinds of comments appropriate in the scribble stage. They are specific, and they are geared to the developmental level of the child. Be sure to save samples of scribbles from time to time, using portfolios to keep a visual record of the child’s progress (see Photo 11-1). (Portfolios are discussed in detail later in this chapter.)

Photo 11-1

Example of random scribbling.

Casper Holroyd

A further insight into this stage of art development is provided by Rhoda Kellogg, who points out that “visual interest is an essential component of scribbling” (1970). She divides children’s scribbles into  basic varieties that have no specific developmental order. (See Figure 11-3 for a summary of these basic scribbles.)

Figure 11-3

Examples of Rhoda Kellogg’s stages of development in preschool.

© Cengage Learning All above examples based on Kellogg (1970).

11-2bLater Scribble Stage: Controlled Scribbling

At some point, children find a connection between their motions and the marks on the page. This may be about six months after the child has started to scribble, but the time will vary with each child. This very important step is called  controlled scribbling . The child has now found it possible to control the marks (see Photo 11-2). Many times, an adult cannot see any real difference in these drawings. They still look like scribbles—but they are different in a very important way.

Photo 11-2

Example of controlled scribbling and early mandala.

Casper Holroyd

The controlled scribbler knows that she is making the marks being made on the paper. She wants to see what will happen when she tries making different kinds of marks and squiggles. Using re-peated motions, the child can make distinctive diagonal, horizontal, and vertical lines as well as big and small circle shapes (see Photo 11-3). Unlike the random stage where the child is not totally aware of the marks she is making, now she intensely watches her scribbles. The child’s gradual gaining of control over scribbling motion is a vital experience for the child. She or he now is able to make the marks go in the direction desired. Most children scribble at this later stage with a great deal of enthusiasm because coordination between seeing and doing is an important achievement.

Photo 11-3

Example of a more developed mandala.

Casper Holroyd

Because children enjoy this newfound power, they now may scribble in lines, zigzags, or circles. When they repeat motions, they are gaining control over certain movements. They can become very involved in this type of scribbling.

Controlled scribbling is described in Kellogg’s developmental theory as placement patterns of these  basic scribbles. Each child has one or more favorites that he or she uses repeatedly. The difference with these placement patterns, however, is that unlike uncontrolled scribbles, they “require both seeing and the eye’s guidance of the hand” (Kellogg, 1970, p. 23). At this point, the child’s eyes have definitely begun to guide his or her hands, and the child places the scribbles repeatedly in patterns that are visually pleasing to him or her (see Photo 11-4).

Photo 11-4

As the child develops muscle control and hand–eye coordination, she is able to make basic forms at will.

Casper Holroyd

In this later scribbling stage, repeated movements among the scribbles begin to appear. At a basic level, the child is beginning to organize his or her environment. One universal form seen most often in this stage is the  mandala —a variety of circular patterns. During this stage, children also make sweeping, wavy, bold, and rippling lines.

11-2cThe Scribble Stage and Two-Dimensional Media

The term  two-dimensional media  refers to any art form that is flat. Art in two dimensions has only two sides, front and back. Examples of two-dimensional art processes are painting, drawing, printing, and scribbling.

Children just beginning to scribble need tools that are safe and easy to hold and use. For a child between the ages of  and , large, nontoxic crayons are good tools for two-dimensional artwork. Pencils are dangerous for the young child and are also too difficult to hold and use. A good-quality, kindergarten-type crayon is the best tool. Crayon quality is determined by how much wax can be scratched off the paper—the more wax, the poorer the quality. The child will have to press so hard to get a good color that his fingers (and the resulting drawings) will become cramped. The smaller the child, the better (and bigger) the crayons should be. The crayon should be large and unwrapped so it can be used on both the sides and ends. Good-quality crayons are strong enough to hold up to rough first scribbles. They also make bright, clear colors, which are pleasant for the child to use.

Because motion is the chief enjoyment in this stage, the child needs large blank paper (at least ). This size allows enough room for wide arm movements and large scribbles in many directions. The paper should always be large enough to give the child a big open space for undirected, random scribbles. Paper can be in a variety of shapes, such as rectangular, triangular, circular, and oval.

If possible, a child in the scribble stage should use large white paper. Crayon scribbles show up better on white paper, so the child can see more easily the results of the scribbling. The classified section of the newspaper is also appropriate paper for beginning artists. The small print of the advertisements makes a neutral, nonintrusive background for scribbling, and this section of the paper provides a generous supply of material for young scribblers, which encourages the frequency of their scribbling.

The child needs only a few crayons at a time. Because motor control is the main focus in the early period of the scribbling stage, too many different crayons may distract the child in the scribbling process. A box of  crayons, for example, would become an object of exploration itself and hence a distraction from the act of scribbling. This type of interruption breaks up arm movement as well as total physical involvement. New crayons may be added when a new drawing is started. The tools should mark clearly and easily.

TeachSource Video

Preschool: Family Interactions, School, and Community

© 2015 Cengage Learning

1. In the early part of this video, name the developmental stage the child using crayons is in and the reason for your choice.

2. Based on your observation of the children as they make their “Me Books,” what developmental level(s) do the children represent? Give specific examples in your answer.

Painting is another good two-dimensional art activity for children in the scribble stage because it offers children the most fluidity. Paintbrushes for - and -year-olds need to have  handles and  to  bristles. Paint for - and -year-old children should be mixed with a dry soap so it is thick enough to control. The paper for painting may need to be heavier than newsprint because children will repeatedly paint the paper until it disintegrates. For these first painting activities, beginners should paint while seated at a flat table rather than while standing at an easel. It is difficult for young painters to control drips on an easel. Also, these beginning artists are likely to become distracted if they are standing at an easel and wander off. A good deal of monitoring is required with toddlers because they are tempted to taste the materials and carry them about the room. For toddlers, the major value lies in simple experimentation with colors and textures.

11-2dObservation of the Scribble Stage

The student observer of young children  should keep in mind the following points while observing scribbling. A copy of the observation sheet (Figure 11-4) may be used to record your observations.

Figure 11-4

Scribble stage observation form.

TeachSource Digital Download: Download from CourseMate.

Age.

Note the age of the child. Keep in mind the average range for the scribble stage . See how the child fits in the range. There may be an overlap between stages.

Motor Control.

Note how the child holds the crayon: with two fingers, clenched fingers, or a fist. If the child uses a two-finger grip, this is the start of good motor control. The other methods of holding the crayon show less motor control. See if the child can hold the crayon without dropping it during the entire drawing. This also shows good motor control. Note any other things that might show the child’s degree of motor control.

Arm Movements.

In scribbling, a child may use one type of arm movement or a variety. Note if movements are wide, long, short, jabbing, or of other kinds. The type of arm movement used affects the basic forms the child will make in the future. For example, if circular scribbles are being made, later these scribbles become circles.

Types of Scribbles.

Note the kind of scribbles the child is making. They may be controlled or uncontrolled, circular, lines, or others mentioned earlier.

Use of Paper.

There are many ways of using paper for scribbling. Some are moving across the paper from left to right, moving across the paper from right to left, scribbling on only one part of the page, and moving the paper to make marks in the other direction. See if the child seems to know how to use the paper. Older scribblers often have more control over the paper.

Try the following activities, observing and noting what happens.

· Provide the child with some soft, colored chalk. See if this new tool causes any differences in the way the child scribbles.

· Change to a smaller paper. See if there are any differences in the child’s arm movement, type of scribbles made, and use of paper.

· Place two extra colored crayons in the child’s view. See if the child uses them. Then see if scribbles look different when the child uses many colors. Compare an all-one-color drawing with a many-color drawing.

Did You Get It?

· Viewing a child’s artwork, a teacher comments, “You moved your crayon back and forth all over the paper.” This comment is appropriate for children at the __________ stage of art.

1. preschematic

2. pictorial

3. basic-forms

4. early-scribble

Take the full quiz on CourseMate.

11-3The Basic Forms/Preschematic Stage

LO 3

  Basic rectangle, square, and circle forms develop from scribbles as the child finds and recognizes simple shapes in the scribbles (see Photo 11-5). More importantly, they develop as the child finds the muscle control and hand–eye coordination (use of hand(s) and eyes at the same time) to repeat the shape.

Photo 11-5

Notice how this child combined basic forms in this example.

Casper Holroyd

In Kellogg’s theory, basic forms are called  emergent diagram shapes . These “diagrams are made with single lines forming crosses and outlines of circles, triangles, and other shapes” (Kellogg, 1970, p. 39).

At this stage, the child’s drawings look more organized. This is because the child is able to make basic forms by controlling the lines. A child in the age range of  is usually in the basic forms stage. This stage is also referred to as the preschematic stage. This means that in this stage, basic forms are drawn in and of themselves and not to represent a particular object. For example, the child draws a rectangular form over and over in a variety of sizes. At this point, this rectangle is not the child’s schema or idea of a house. It is simply a controlled drawing of a basic form.

During this stage, children hold their tools more like adults do and have a growing control over the materials. Children can now control their scribbles, making loops, circular shapes, and lines that are distinguishable and can be repeated at will. Children at this age value their scribbles. By age  or , children will not draw if their marker is dry. Children now ask to have their names put on their work so it can be taken home or displayed in the room.

It is important to note, again, that there may be an overlap between developmental levels in art. For example, one -year-old child may be drawing basic forms and an occasional scribble. Another -year-old child may still be totally in the scribble stage. Developmental levels are meant merely as guidelines, not as set limits on age and ability levels.

11-3aEarly Basic Forms Stage: Circle and Oval

Generally, the first basic form drawn is the oval or circle. This marks the  early basic forms stage . It develops as children recognize the simple circle in their scribbles and are able to repeat it. Both the oval and the circle develop from circular scribbles. Following the discovery of the oval or circle, the child will begin to elaborate on it by adding dots and perhaps lines.

Another early basic form in this stage is the curved line or arc. This is made with the same swinging movement of an arm used in the early scribble stage. Now, however, it is in one direction only. This kind of line gradually becomes less curved, and the horizontal and vertical lines come from it. Making an intentional arc-shaped line reflects more developed motor control.

In Kellogg’s full-fledged diagram stage, children begin to draw six different diagrams: the rectangle, the oval, the triangle, the Greek cross, the diagonal cross, and the odd shape.

This One’s for You!

Marker Maintenance

Markers are wonderful for young artists. But busy artists frequently lose caps from these tools, often resulting in dried-out markers. Replacing dried-out markers can be expensive, so here are a few hints on marker maintenance to help preserve markers as long as possible:

· Solve the lost cap/dry-out problem by setting the caps with open ends up in a margarine or whipped topping container filled with plaster of Paris. Make sure the plaster does not cover the holes in the caps. When the plaster dries, the markers can be put into the caps and will stand upright until ready for use again.

· Give new life to old, dry felt-tip markers by storing them tips down with the caps on. When the markers become dried out, remove the caps and put in a few drops of water. This usually helps “revive” them.

· Recycle dried-out markers by having children dip them in paint and use them for drawing.

· Make your own pastel markers by adding dry tempera paint (or food color) to bottles of white shoe polish that come with sponge applicator tops.

· Purchase empty plastic roller-top bottles from a school supply store. Fill them with watery tempera paint and use them as a different type of marker.

11-3bLater Basic Forms: Rectangle and Square

As muscle control of - to -year-olds continues to improve, more basic forms are made in their drawings. The rectangle and square forms are made when the child can purposefully draw separate lines of any length desired. The child joins the separate lines to form the rectangle or square. This indicates the  later basic forms stage . The circle, oval, square, and rectangle are all-basic forms made by the child’s control of lines.

11-3cThe Basic Forms Stage and Two-Dimensional Media

Children in the basic forms stage have enough motor control and hand–eye coordination to use different tools. In addition to crayons, the child may now begin to work with tempera paint. Tempera paint is the best kind for children because it flows easily from the brush onto the page. Liquid tempera in  squeeze bottles is a convenient way to provide paint for beginning painters. Powdered tempera is also appropriate because it can be mixed with water to the desired consistency (very thick for beginners). Be sure to mix dry tempera well out of children’s reach because it contains silica, which is not safe for children to breathe.

Large lead pencils are good for children in the later period of this stage; there is less danger of injury with these older children. A variety of papers can be supplied, from newsprint to construction paper. These children should be allowed plenty of time with the basic tools of drawing, painting, modeling, cutting, and pasting and should not be rushed into other media. The basic developmental goal for this age is the control of the media and tasks of drawing, painting, or modeling. (A complete list of appropriate materials is included in Chapter 12.)

Felt-tip pens or colored markers are excellent tools for this stage. They provide clear, quick, easily made, and nice-looking marks. In the basic forms stage, when the child really enjoys seeing the marks come out as desired, these pens are best. They require little pressure to make bold marks. Felt-tip pens should be nontoxic and water soluble so that most spots can be washed out of the child’s clothes. (See “Think About It … Marker Maintenance” for suggestions on prolonging the life of colored markers.)

The largest paper size is not as necessary in this stage as in the scribble stage. Because the child now has better motor control, it is easier to keep marks on a smaller space. Room for wide, uncontrolled movements is not as necessary. Make available paper of many sizes and shapes, different colors and textures of paper, and a variety of colored pencils and markers. Children in this stage like to make basic forms in many colors and ways as an exercise of their skill.

Student observers should realize that children of this age like to repeat forms and should not try to force them to “make something else” to fill up the paper. It is important that children practice making their own basic forms. The forms may look simple, but each drawing is a great motor achievement for them. The children may rightly be quite proud of their basic form drawings.

11-3dObservation of the Basic Forms Stage

The student observer of young children in the basic forms stage should keep in mind the following points when observing children. The points may then be recorded on a copy of the observation form, Figure 11-5. If students are observing children in both the scribbling and basic forms stages, observations of each stage may be compared to help highlight the differences in these two stages.

Figure 11-5

Basic forms stage observation form.

TeachSource Digital Download: Download from CourseMate.

Age.

Note the age of the child. Look back at Figure 11-2 and Figure 11-3 for the average age range for the basic forms stage. See how the child fits in the range. See if there is an overlap between stages.

Motor Control.

See how the child holds the crayon. Note if it is held very tightly or if the child can draw with sureness and ease. Also note if the child draws with a lot of arm movement or uses just the hand to draw. The child who uses more hand movement and less arm movement is showing improved motor control. In the basic forms stage, children generally use fewer unnecessary arm movements.

Types of Basic Forms.

Write down the number and type of basic forms mentioned earlier that the child can draw. See if the shapes are well drawn or rough and unclear. Rough, less clear forms are made in the early stage. A child in the later basic forms stage draws clear, easy-to-recognize shapes.

In drawings with a variety of forms, see if one form is clearer than another. Clearer forms are the ones that the child first began to draw. The less clear forms are in the practice stage and eventually become clearer.

Use of Paper.

Use the same checkpoints for the use of paper that were used in the scribble stage section. In addition, see if the child fills the page with one or many basic forms. If the same shape is made over and over, it means the child is practicing a new basic form. Practice like this occurs at an early point in the stage.

Did You Get It?

· A preschooler shows his drawing to his teacher. The drawing is abstract, but the teacher can clearly see circular and square shapes within the scribbles. The child is at the  stage of art.

1. pictorial

2. preschematic

3. early-scribble

4. later-scribble

Take the full quiz on CourseMate.

11-4The Pictorial/Schematic Stage

LO 4

  With the two earlier stages mastered, children now have the ability to draw the variety of marks that make up their first pictures. This occurs at the next developmental level in art—the  pictorial stage . Many -year-olds and most -year-olds are generally at this level. The schematic stage refers to the child’s ability to use his or her own special variety of marks, or schema. More details on schema follow later in this section.

In Kellogg’s theory, children move on from the diagrams stage and enter the pictorial stage when they begin putting diagrams together to form combines or aggregates, which are basically two diagrams put together, or three or more diagrams put together. After children can put these shapes into combinations and aggregates, they are able to make drawings that begin to be a picture of someone or something in particular. In this way, these shapes allow for a natural transition from children’s abstract to pictorial work.

Pictures or first drawings are different from scribbling in that they are not made for pure motor enjoyment. Instead, they are made by the child for a purpose. The basic forms perfected in the preceding stage suggest images to the child that stand for ideas in the child’s own mind. A new way of drawing begins. From the basic forms the child is able to draw, only particular ones are chosen. Miscellaneous scribbling is left out. In this way, children draw their first symbols. A  symbol  is a visual representation of something important to the child; it may be a human figure, animal, tree, or similar figure. Art in which symbols are used in such a way is called  representational art . This means there has been a change from kinesthetic, or sheerly physical, activity to representational attempts. The child realizes that there is a relationship between the objects drawn and the outside world and that drawing and painting can be used to record ideas or express feelings.

The ability to draw symbols in representational art comes directly from the basic forms stage. The basic forms gradually lose more and more of their connection to body motion only. They are now put together to make symbols, which stand for real objects in the child’s mind. In scribbling, the child was mainly involved in a physical activity, trying out the materials to see what she could do with them. Now the child is expressing in the scribble something of importance to her. The drawing may seem to be a scribble, but it is now a “man” or a “dog”—a definite symbol representing something in the child’s life.

The human form is often the child’s first symbol. A human figure is usually drawn with a circle for a head and two lines for legs or body. These are often called “tadpole” figures because of their large heads on a tiny body with extended arms. Other common symbols include trees, houses, flowers, and animals. The child can tell you what each symbol stands for in the drawing.

Further attempts to make symbols grow directly from the basic forms the child can make. Flowers and trees are combinations of spiral scribbles or circles with attached straight lines for stems or trunks. Houses, windows, doors, flags, and similar objects are simply made up of rectangles and straight lines.

It is a common adult practice to label these first drawings “children’s art” because they contain recognizable objects. If children’s drawings appear to be mere scribbles to an adult, they are not considered children’s art because they don’t look like “something.” Yet being able to identify objects in a child’s work does not make it children’s art. Art is self-expression and has value in any form and at any stage.

Because art is now representational, children need tools that can be easily controlled and thus facilitate their ability to produce the desired symbols. Thinner crayons and paintbrushes and less fluid paints can now be made available so children can express their ideas and feelings with greater realism. Children over age  will want to be able to select representational colors, so a variety of colors of paint, crayons, and markers are necessary.

Naming and owning the art produced are also important to children in this stage. These children may ask you to record the names of their paintings or drawings as well as write stories to go with their drawings. These children recognize other children’s work at this point. They will want to take their work home, as well as contribute some to display in the classroom.

Brain Research Says

Art Training, Attention, and Cognition

Researchers are finding evidence that when children find an art form that sustains their interest, the subsequent strengthening of their brains’ attention networks can improve cognition more broadly (Posner & Patoine, 2009). The following specialized neural networks are involved in the aspects of attention:

· The alerting network, which enables the brain to achieve and maintain an alert state

· The orienting network, which keeps the brain attuned to external events in our environment

· The executive attention network, which helps us control our emotions and choose among conflicting thoughts in order to focus on goals over long periods of time

Recent research offers a possibility that focused training in any of the arts strengthens the brain’s attention system, which in turn can improve cognition generally (Hyde et al., 2009).

The brain has a system of neural pathways dedicated to attention. We know that training these networks improved general measures of intelligence. And we can be fairly sure that focusing our attention on learning and performing an art—if we practice frequently and are truly engaged—activate these same attention networks (Posner & Patoine, 2009).

The idea that training in the arts improves cognition is generally consistent with a basic function of the brain called activity-dependent plasticity. This function refers to the ability of the brain to change in response to what you do. Put another way, behavior shapes and sculpts the brain networks. What you do in your day-to-day life is reflected in the wiring patterns of your brain and the efficiency of your brain networks (Posner & Rothbart, 2007).

Being aware of the importance of the arts to the developing human brain gives us even more reason to be sure to provide young children every opportunity to explore their creativity in the early childhood art program. Painting, drawing, and sculpting can all help shape and sculpt children’s brains and improve their attention and cognition.

11-4aPortfolios for Developmental Assessment

The pictorial stage is an excellent point at which to begin keeping a  portfolio  of the child’s work, if you haven’t started yet. Samples of the child’s early, initial representational artwork will be a record of the development of the child’s first symbols. As representational development proceeds, this may be forgotten without the portfolio sample. For example, when Claire first made a scribble that she called “doggy,” her teacher noted it on the sample and kept it in Claire’s folder. Over the year, a collection of these various samples gave quite a graphic story of Claire’s progress in art.

Keeping portfolios does not mean, however, collecting and keeping all of the child’s work. Items in a child’s portfolio should reflect how the child is progressing in art. Each piece in the portfolio needs to be selected with this question in mind: “What does this piece tell me about this learner?” For example, selected samples of scribbles from the early and later scribble stages tell a great deal visually about how a child is progressing. In contrast, keeping all of the child’s scribble work samples in the file would make it difficult to clearly see the child’s development. Digital cameras are very useful in keeping portfolios of children’s artwork. See Chapter  for details on digital portfolios, and see Figure 11-6 for a checklist of what to include in a child’s portfolio.

Figure 11-6

Checklist: What to Include in a Child’s Portfolio.

A child’s portfolio should contain pieces of work that are evidence of a child’s development and progress. The following are suggested items to include in a child’s portfolio.

· _____ Work samples—These are examples of a child’s work, such as drawings, photos of block buildings, finger paintings, etc. Collect a variety of samples for each type of art activity.

· _____ Observations—These are written observations about a child. For example, notes on how the child handled the paintbrush, used scissors for the first time, or made basic forms with a crayon.

· _____ Anecdotal records—These are factual, nonjudgmental observations of observed activities. These provide essential information about a child’s progress and activities in the classroom and information on what occurs in the classroom’s everyday environment.

· ______ Interviews—These are notes on questions that teachers ask children so as to gain understanding about the child and the child’s development in art and other areas of the curriculum.

· ______ Developmental checklists—These are lists of developmental characteristics and traits arranged in a logical order. As teachers observe children, they can use these checklists to note the presence or absence of behaviors. These lists give both teachers and parents a good idea of where the child is developmentally.

TeachSource Digital Download: Download from CourseMate.

The most obvious advantage of a portfolio/file is the fact that it is visible evidence of the child’s development in art. From the earliest selections in the portfolio to the most recent, one can see the child’s progress in art.

A portfolio/file can greatly aid the teacher during parent–teacher conferences. It is a collection of work samples that indicate how a child is developing in this area. It reduces the subjectivity of discussions by helping both teacher and parent focus objectively on the portfolio. Parents may see the obvious growth and learning evidenced in the child’s artwork. Another excellent advantage of the portfolio is that it encourages growth of the child’s aesthetic sense of choice. By involving the child in selection of pieces for the portfolio, the child learns about the process of selection. Of course, learning to be selective is a very complex skill and will take time for the child to develop. But like any other skill, given the time, opportunity, and guidance to make selections of one’s own work for the port-folio (or file), the child will develop his or her own personal preferences. Be sure to date, label, and write a short comment on each piece added to the portfolio. The label should describe the media/materials used, and comments should be on some significant aspect of the piece, for example, “First time Jorge named an object in a drawing. This one he called ‘Daddy.’”

For all of these reasons, then, using a portfolio in the early childhood art program has definite merits. Alongside these merits are some pitfalls one needs to keep in mind. Most important, if you plan to use portfolios for developmental assessment, stick to it for the whole year. Beginning a portfolio with good intentions and then only sporadically filling it with work reduces its importance as the year goes on—this type of portfolio is best left out of the program entirely. To be of use in developmental assessment, the portfolio needs to be as complete as possible, reflecting the process of artistic development as a whole. Many teachers find it helpful to include in their monthly planning a week set aside for portfolio selection. This way, they are sure to have it on their list of priorities. Of course, there should always be time for spontaneous inclusions whenever they occur.

11-4bEarly Pictorial (First Drawings) Stage

In the  early pictorial (first drawings) stage , a child works on making and perfecting one or many symbols (see Photo 11-6). The child practices these symbols, covering sheets of paper with many examples of the same subject. For example, a child may draw windows and doors over and over in each drawing. Also at an early point in this stage, a child’s picture may be a collection of unrelated figures and objects. This type of picture is a sampling of the child’s many tries at making different symbols. At this point, pictures are done very quickly.

Photo 11-6

Early pictorial stage example.

Casper Holroyd

During this early pictorial stage, the child is searching for new ideas. Symbols change constantly. A picture of a man drawn one day differs from the one drawn the day before. In this stage, often a great variety of forms represent the same object. Early first drawings are very flexible in appearance. Children are assigning meaning to the shapes they make. These shapes will stand for whatever the child wishes, regardless of whether they are accurate reproductions.

11-4cLater Pictorial (First Drawings) Stage: Use of Schema

In the  later pictorial (first drawings) stage , through practice, a child draws symbols easily and more exactly. Many -year-olds and most -year-olds generally perfect to their own liking and take pride in producing a series of many symbols. A child at this point often likes to see these symbols set clearly and neatly on the page. They are now drawn one at a time with few or no other marks on the page. They are clear and well drawn (see Photo 11-7). If children can draw the letters of their name on the page as well, they may feel this is all that belongs in the picture.

Photo 11-7

Later pictorial stage example.

Casper Holroyd

For a while, children are content to make these finished yet isolated examples of their drawing skill, but it is not long before more complex drawings are made. Children  of age are generally able to use their symbols in drawings to tell a story or describe an event. The naming of these symbols is an important step in that the artwork becomes a clear form of visual communication. It may not look any different, but the child now calls the circle a “sun” because it represents a specific object to the child.

By  of age, children generally are ready to make a picture of many things in their experience or imagination. Their drawings are made up of combinations of symbols they are familiar with and that have meaning to them. Children create new symbols as they have new experiences and ideas. However, children at this point can’t be expected to make pictures of the unfamiliar or of things they have not personally experienced. Another common error made by well-intentioned teachers is a misunderstanding of this stage by expecting all children  old and older to be able to use symbols in their art. This is not a valid expectation because the age at which children begin to use symbols is as highly individual as the age at which they learn to walk. Children use symbols when they are ready—and no sooner. Creative expression is the goal at this and all ages; a child’s art does not have to include specific symbols, such as a house, tree, or animals, unless the child chooses to include them.

Children need to repeat art processes over a period of time in order to become competent with and feel secure about using materials to express ideas and feelings. At  and  old, children who have had many opportunities to paint will frequently move easily from manipulative scribbling to expressive symbolic or representational art.

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, often can be seen in drawings by the age of . A schema comes after much practice with drawing symbols. As the child becomes more skilled in drawing, his or her drawing begins to show the child’s direct experiences coming from his or her mind onto the paper. Once the child has a schema, symbols become special marks. A schema is special for each child, just as a signature is unique for each adult. One child may tell another, “That’s Chad’s drawing; I recognize his trees,” or “I know it’s Zarina’s painting because she paints her skies that way.” These children have developed a schema that is clearly their own, easily recognizable by others.

Importance of Schemas.

The schema drawn by a child represents something important to the child, something that is part of the child’s environment and experience. A schema is much more than an individual way of drawing, it is a mental structure that the child uses to organize and process his or her knowledge of the world. These schemas about the child’s world, other people, food, and nature are created based on the child’s experiences. Thus, a child’s schema is highly individual and reflects things of emotional importance.

Children draw a schema in a picture not according to actual size but in a size that shows the emotional importance of the object to them. For example, people and things important to a child might be drawn large and with many details. If a tree is drawn, the limbs may be made larger because the tree is used for climbing. If it is an apple tree, the apples may be drawn very large.

This One’s for You!

Art Dos with Young Children

Knowing the stages of art development in young children is just a starting point. It is crucial that you know how to talk with young artists about their work. Here are some dos to keep in mind when you are working with young artists.

· DO accept a child’s work as he or she creates it. Avoid correcting or adding to a child’s work. Understand that when children draw huge hands, construct unreal proportions, or leave out items that you might consider essential, they are concentrating on what is important to them at the moment. Accept their work as they create it. Observing what is emphasized or omitted will give you an important insight into a child’s development.

· DO understand that children’s coordination and muscle development will grow as a result of creating their own artwork. Avoid using coloring books. Don’t be fooled into believing that filling in pictures in a coloring book will improve a child’s coordination.

· DO offer art materials every day in the week. Children need an ongoing experience with materials so that new growth and discoveries can be made.

· DO remember that children need continuity. They will not be bored if you offer them opportunities to paint, draw, build, paste, and model every day. Personal growth takes place through repeated experiences with open-ended materials.

· DO avoid offering coloring books or precut patterns to the children. These are just another way of saying, “You are not capable; you do not have the ability.”

· DO offer children open-ended materials (paint, clay, crayons, wood, blocks) so that they may make discoveries for themselves.

· DO be mindful of the words you use with young children when discussing their art work. Try to avoid asking a child, “What is that?” It’s not even appropriate to try to guess. Casually saying that a painting or drawing is “great” or “terrific” does not make a child aware of his or her individuality. Avoid making models for the children, even when they protest that they “can’t do it.” They cannot possibly duplicate what an adult has created. Your model is a way of saying, “I know you are not able to do a good job.”

· DO tell children why you like their work. Comment on the red line near the blue circles or mention the two blue dots. Commenting on what you see helps children become more consciously aware of their work. Help children think about what they want to paint, draw, build, or model; for example, ask, “How does a cow eat?” or “How many legs does the animal have?”

· DO see each child’s work as individual and avoid comparing children’s work or showing preferences. Be sure to pay attention when children are commenting about each other’s work. For example, hearing something like “Oh, that’s just scribble scrabble” can be responded to by saying, “That’s Dustin’s design” or “That’s Shania’s idea.”

· DO help the children feel confident about their work and take pride in it. Stress the individuality of each creation. Respect the many different ideas children have even though they are using the same materials.

· DO be sure to talk with parents about their child’s art as often as possible, in an everyday, nontechnical way. Also be sure to express to parents the value of their child’s art at all stages. Parents don’t always know the importance of a scribbled drawing to the child’s development, or the great stride controlled scribbles represent in the child’s overall art development.

Children express other responses to their environment in their drawings. A painting showing a child walking on wet grass may show the feet and toes large in size. This may show how the child felt after a walk in the early morning.

11-4bImportance of First Drawings

At about the same time children develop their own schemas, they begin to name their drawings. Naming a drawing is an important step for children. It is a sign that their thinking has changed; they are connecting their drawings with the world around them. This is the beginning of a new form of communication—communication with the environment through art.

Soon a -year-old may think: “My daddy is a big man; he has a head and two big legs.” She then draws a head and two big legs and names her drawing “Daddy.” Through drawing, the child is making a clear relationship between her father and her drawing. The symbol of a man now becomes “Daddy.” Of course, a child will not verbally name all objects every time a picture is made.

In their use of schemas, children express their own personalities. They express not only what is important to them during the process of creating but also how aware they have become in thinking, feeling, and seeing. From early drawings to the most complex, they give expression to their life experiences.

11-4eObservation of the Pictorial (First Drawings) Stage

Keep in mind the following points when observing children in the pictorial stage. You may want to use a copy of the observation form (see Figure 11-7) to record your observations.

Figure 11-7

Pictorial (first drawings) stage observation form.

Age.

Write down the age of the child. Check to see what the average age range is for the pictorial stage. See how the child fits in this range. There may be an overlap between stages. For example, you may see figures as well as simple, basic forms in one drawing.

Combination of Basic Forms.

See how the child puts basic forms together to make figures. Very simple combinations mean the child is at an early point in the stage. An example would be a flower made up of a single circle and one-line stem. On the other hand, a flower of many circles with oval petals and a stem of many leaves is a more complex combination of basic forms and would show that the child is at a later point in the stage.

Size of Figures.

A child in both the early and later periods of this stage may use size to show importance. The large figure represents something important to the child. Note, for example, children may draw themselves or other figures such as their mother in a very large size. Extra-large heads on a small body are found mainly in the early period of this stage.

Notice the relative size of certain things in the picture. For a child who likes animals, a dog may be far larger than the human form. Here, too, size indicates that the object is important to the child.

Number of Figures.

Mark down the number of figures in each drawing. A drawing with few figures or a single figure means that the child is at an early point in the stage. The child making this type of drawing is working on developing a symbol.

At a later point, the child can draw many types of symbols and figures in one drawing. Also, drawings at a later point look as if they tell a story with the figures.

Details.

Note the type and number of details a child uses in a drawing. They indicate at what point the child is in the stage.

Figures with only a few details are made in the early pictorial stage. For example, a circular head, round body, and stick arms and legs make up an early human form. A picture of a man with details such as full arms, hands, and fingers is a sign that the child is at a later point in the pictorial stage.

See if certain objects are drawn in greater detail than others. A child’s experience with certain objects can cause this increase in detail. As an example, tree limbs may be unusually large in the drawings of children who love to climb trees. Special sensory experiences can also cause increase in detail. For example, a child may draw large raindrops in a drawing after a walk in the rain.

Use of Figures.

Note how the child uses figures. See if the paper is filled with many unrelated figures that simply fill space and look like practice forms. Lack of connection between figures can mean the child is at an early point in the stage; the child is practicing a symbol and is not yet ready to tell a story with it.

If there seems to be a connection between figures, the child is at a later point. This type of drawing is a narrative drawing, that is, one that tells a story. It is a visual form of communication for the child.

Naming Drawings.

Be sure to listen to the child who wants to talk about a drawing. Note if the child names certain objects or figures, or refers to the entire drawing, but never force the child to tell you “what it is.” Naming must come only through the child’s own idea. It is an important step in the child’s ability to communicate. Naming is only worthwhile if the child sees meaning in the work and takes the initiative in naming it.

Did You Get It?

· A child draws a picture of her family. The picture is composed of four figures, and each figure is comprised of a circle atop a rectangle, with stick arms and legs protruding at the sides and bottoms. Her drawing falls into the category of

1. kinesthetic art.

2. representational art.

3. simple art.

4. abstract art.

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11-5The Gang Stage

LO 5

  Children ages  fall into the  gang stage  of art development, according to Viktor Lowenfeld (1987). The title of this stage reflects the fact that children of this age are more independent of adults and more anxious to conform to their peers.

Children of this age are no longer content with symbolizing their environment (see Photo 11-8). Their searching minds tells them that there is something they must know about the structure of things in order for them to be “right” in their visual statement. This is the first time that children become aware of a lack of ability to show objects the way they appear in the surrounding environment.

Photo 11-8

Children in the gang stage are no longer content with symbolizing their environment.

Casper Holroyd

At this point, the child becomes more aware of how things look in her drawings. She looks at her own drawing with a critical eye and raises questions. “What is wrong with the arms? They are too short and don’t seem to bend right.” “Why doesn’t the figure really look like it’s running?” “The people are too big for the house. What can I do about it?” This awareness is often expressed with more detail in the child’s schema. Drawings are still far from naturalistic. Children at this age discover space in their drawings, and it is often depicted with overlapping objects in the drawings. Children of this age also begin to draw the horizon line to separate land from sky.

Because children of this age are becoming more social minded, they are beginning to compare their work with other children’s. Their growing self-awareness is to the point of being extremely self-critical, often becoming critical of their own work, wanting their images to be very realistic. Children at this point often become frustrated if realism can’t be achieved. The “I-can’t-draw” syndrome typically starts to emerge at this stage.

Because of their awareness of lack of ability, drawing often appears less spontaneous than in previous stages (less vital and lively).

Teachers of children in this stage need to encourage the child’s self-accepting attitude. The teacher must be ready with specific and direct answers to the child’s questions about his work. Vague answers will not satisfy a child at this stage, but will turn the child off and eventually smother his or her desire for or interest in this valuable process of personal expression. Discuss proportions of the figure. Have a child pose, walk, jump, or move his or her arms. Take the class outside to see and to sketch a tree, a house, or animals—to broaden concepts of structure, form, color, relationships, texture, movement, and action. Have children bring natural and man-made objects into the classroom for study. Show good examples of art that will assist the child in his or her feeling for picture organization, balance, and unity (see Photo 11-9). Use the bulletin boards and other visual aids as tools for clarifying ideas and building design concepts.

Photo 11-9

Teachers can help older children in the gang stage plan their art projects.

Casper Holroyd

While the continuous use of the crayon in the same way is satisfying in the earlier stages, it can eventually become a boring tool for the child at this stage. Encourage the child to explore new possibilities with the crayon. Introduce new techniques. Provide opportunities for the child to experiment so that he or she may discover the various effects that can be achieved with crayons when combined with different materials and used with other tools. (See Chapter 13 for these activities.)

Help children realize that they can still express themselves by exploring new uses for familiar media. For example, printing using brayers (rollers) and wood blocks is one way to encourage exploration at this stage. Group projects such as murals are also appropriate at this age because they allow children to “pool” their talents. In such a project, each child can contribute at his or her own level.

11-5aOther Stages of Art Development—Grades 1–5

Art experiences for children in grades 1 through 5 should focus on prior creative experiences and build on these (see Photo 11-10). The stages of artistic growth outlined here focus on skills portraying space, proportions, and movement or action. Each stage is typical of many children at a particular grade level; however, it is not unusual to find a range of developmental levels within a class or within the work of single students during a year. Similar variations can be expected in students’ ability to respond thoughtfully to artwork. At each stage of development, some students will have greater interest and skill in responding to art than in creating art (or the reverse).

Photo 11-10

Art experiences for children in grades 1–5 need to focus on prior creative experiences and build on these.

Casper Holroyd

Stage 1 (Usually Grades K–2).

Children begin to create visual symbols to represent figures such as people, houses, and trees. The figures often seem to “float” in space. Proportions are related to the importance of a feature in the child’s experience. Movement is often suggested by scribble-like lines. Three-dimensional artwork reflects the level of prior instruction and practice in using media and the physical coordination students have developed.

Stage 2 (Usually Grades 1–3).

In picture-making, lines or borders are often used to represent the ground below and sky above. Figures may be placed along a line or at the lower edge of the paper. Proportions are shown through relative size—a house is larger than a person. Action is implied by the general position of lines and shapes, rather than subtle shifts in direction. Children who receive instruction will show general improvement in using three-dimensional media and applying design concepts as they work.

Stage 3 (Usually Grades 3–6).

Students try out new ways to portray space in the pictures they draw and paint. These explorations often reflect remembered functional or logical relationships more than visual recall or observation. General proportions improve, as well as the use of diagonals to suggest action. Many students develop a strong affinity for three-dimensional work and are willing to try out new media and techniques that require several steps.

Stage 4 (Usually Grades 4–6).

In picture-making, students search for ways to portray recalled or observed space. Some students begin to use perspective to imply near and distant objects. Movement is suggested through more subtle angles and curves. Individual styles and preferences for two- or three-dimensional work become more evident, along with increased skill in applying design concepts to create expressive work.

Did You Get It?

· To reengage her students in the artistic process, an art teacher offers her students printing wood blocks and stencils to use in addition to the printing tools they already have. She is probably working with students at the  stage.

1. gang

2. pictorial

3. representational

4. early-scribble

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Summary

· 11-1Define the concept of developmental levels/stages of art and their importance in early childhood education.

Just as young children experience various stages of physical development, they also develop art abilities in a gradual process, going through specific stages. These stages are called developmental levels. A developmental level is a guide to what a child can do in art at different ages, but it is not a strict guideline. Some children may be ahead of or behind the developmental level for their age. Developmental levels tell the teacher what came before and what is to come in the artwork of the young child.

· 11-2Describe the scribble stage, including appropriate materials for use in this stage.

The scribble stage occurs in children of about  of age. It covers the time from the child’s first marks to more controlled scribbles. At this stage, the child enjoys the pure motion involved in scribbling.

Wide, good-quality crayons are the best tools for the scribble stage. Large paper should be given to the child to allow room for wide arm movements. Age, motor control, use of paper, and type of scribbles should be noted in scribble stage observations.

· 11-3Explain the basic forms (preschematic) stage, including appropriate materials for use in this stage.

The basic forms stage covers approximately ages  to . The child develops more muscle control and hand–eye coordination through scribbling. Basic forms come when children can see simple forms in their scribbles and are able to repeat them. The oval or circle is usually the first basic form, followed by the rectangle or square. Children now enjoy seeing forms emerge as a result of their own will. A wider variety of art materials can be used with children in the basic forms stage. In addition to crayons, the child may now begin to work with tempera paint, felt-tip pens, and colored markers. Large lead pencils are good for children in the later period of this stage.

· 11-4Discuss the pictorial (schematic) stage, including appropriate materials for use in this stage.

The pictorial stage generally occurs from ages  to . Basic forms made in the prior stage are put together to make up symbols. The human form, birds, flowers, and animals are examples of some symbols. Naming drawings is an important part of first drawings. Children can now communicate outside themselves and with their world. A child’s artwork is very individual and expresses the child’s own personality.

In the pictorial stage, children make the most varied and complex drawings. Points to note in observing this stage are the age of the child and figures and details in the drawings. Thinner crayons and paintbrushes and less fluid paints are appropriate for this stage. A variety of colors of paint, crayons, and markers are necessary so children can express their ideas and feelings with greater realism.

· 11-5Discuss the gang stage, including appropriate materials for use in this stage.

This term, developed by Viktor Lowenfeld (1987), refers to the fact that peer groups assume more importance to the child than ever before. Children aged – fall into the gang stage. The child becomes more aware of how things look in his drawings. Children at this age discover space in their drawings, which is often depicted with overlapping objects. Children of this age also begin to draw the horizon line to separate land from sky. Encourage children in this stage to explore new possibilities and techniques for crayons. Allow the child to experiment with different materials and new tools.