schematic - artwork that is not coached may appear rigid and stereotyped. This begins at about age five. Coaching can prevent problems later.
Why
art?
to Express and
Communicate
to Create Order
Use ideas for
artwork
from the child's
experiences
- Memories
- Imagination
- Observations (see below for coaching ideas)
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Motivation
for memory topics continue
"I" and "My" topics
"I help rake
leaves"
"I feed my pet . .
."
"My truck goes
fast"
"Making my cat out
of
clay?
Use lots of questions
to
make Passive Knowledge Active (review experiences)
"Can you remember
what
it feels like?"
(for texture)
"How many fingers would you like
on the hand?"
(for math)
"I wonder who could
be
in this place?"
(for creativity)
"Who do you play with when you . . . ?"
(for imagination)
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Materials
For growth, materials
Should have good
line contrast.
Maximize use of
Dark and Bright
on white
Examples are:
Markers,
Crayons
Thick Paints
firm bristle
brushes
Clay and similar
modeling,
wet chalk on dark paper
Wet Sand.
Blocks natural wood
and
colored.
Sorting sets of
Color,
Texture, Shape.
Puzzles
to> schematic picture
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To COACH observation drawing
see note 1 below*
Begin some direct
observation
modeling and drawing
Teacher uses finger
trace
along edge of objects, models, etc.
Child practices air
drawing
to build confidence.
continue to
Ask detailed
accretion
questions during observation and during experiences.
"Which are the
biggest
branches?" "Where are the smallest branches on this tree? How does this angle compare to this one?"
*see NOTE 1 below
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NOTE 1:
Teaching Observation Drawing to Young Children
INTRODUCTION: Often, as well-meaning adults, we teach drawing in ways that stunt a child's ability to learn. By "correcting" them and showing them how to draw something, we are both discouraging them and preventing them from learning how good observation is learned. Children who have
not
learned that drawing skill is based on careful observation may become
very
frustrated when they reach the next developmental stage. They
may wish they could draw more realistically, but not knowing how to practice effectively, they may mistakenly assume that they are too young or they assume that they lack the talent to draw. If they do ask for help, many adults give them the wrong kinds of help. As they get older, they begin to compare with others and mistakenly believe
that
they are untalented while others seem more gifted in drawing. They give up
because
they see others who appear to do better. This is so common that art educators refer to this as the
"crisis
of confidence". (this article is continued . . . > Teaching Observation Drawing to Young Children For how to coach drawing to young children. It explains what to do and what to avoid. NEXT PAGE
Bibliography
Bartel, M. (2003) "How To Draw an Orchid." - this is a story of me coaching a pre-kindergarten child. http://www.bartelart.com/orchid.html [retrieved, Sept. 24, 2010]
Vlach, H. A. , Carver, S. M. (2008) "The Effects of Observation Coaching on Children's Graphic Representations." ECRP, Vol. 10, No 1, Spring. [retrieved, Sept. 24, 2010]
Other Related Bartel Essays
Drawing
with Blinders The Blinder
Drawing
Game Drawing
with Viewfinders
How to Teach Drawing
NOTE 2:
Many authors and researchers in
art education have written about the
stages
of artistic development. Viktor Lowenfeld made many
observations and described the stages in his
book, Creative and Mental Growth. The 4th edition
of Creative and Mental Growth by Viktor Lowenfeld and W. Lambert Brittain. 1964 includes a
summary with charts describing the development stages in Chapter 13.
pages 395 to 402. Some of information at the top of this page is based on Lowenfeld's charts.
Lowenfeld thought that some children where less capable of
observational drawing.
He never spoke of a "crisis of confidence" resulting from the
lack of
ability, lack of teaching, or from a lack of practice. He felt that
some
children were more visual (like spectators) and others he classified as
more
haptic (more intimately and emotionally involved). He felt that
the
more haptic children would feel successful if they were encouraged to
do
more expressive and emotional artwork. He would not expect them to make
realistically
representative artwork.
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Of course, in the art world, there are many styles of art, and
realistic
rendition is not the only criteria on which art is evaluated.
Some
very strong artists are not strong in realistic rendition, but can
express
themselves very well in other ways.
It takes a fairly mature connoisseur to appreciate the true value of
abstract
work. Children in the middle grades need to learn this, but one
of the best ways to keep them involved is for them to see that they
have some drawing ability. Those things that give us self-esteem
are the things we love to do.
Therefore, this author feels that all children should have learning
opportunities
and experiences that help them learn to create both realistic and
emotionally
abstract artwork regardless of their individual dispositions,
preferences,
and natural abilities. The first because it is a legitimate skill
and
an important visual mental processing ability even though simple
representational
drawing is not art. The second because expressiveness and imagination
are
important for both art and for personal well being and success.
NEXT PAGE |
All
rights reserved. This page © Marvin Bartel, Ed.D. Link to Bartelart.com
For permission
to make
copies or handouts, contact
the author
This page updated: September 24, 2010
Sources:
Many authors and researchers in
art education have written about the
stages
of artistic development. Viktor Lowenfeld made many
observations and described the stages in his
book, Creative and Mental Growth. The 4th edition
of Creative and Mental Growth by Viktor Lowenfeld and W. Lambert Brittain. 1964 includes a
summary with charts describing the development stages in Chapter 13.
pages 395 to 402. Some of information at the top of this page is based on Lowenfeld's charts.
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