September 10, 2013
Craig Roland
“Young In Art: A Developmental Look At Child Art”
A Brief Overview
Roland explained that many theoretical models have been proposed due to much research in the past century on child development. Although many of the models differentiate slightly, they agree that similar characteristics emerge at certain stages, and all models agree that artistic development evolves from scribbling to realistic representation. Roland did point out that numerous variables affect a child’s artistic development, “Thus, to expect that a particular child at a certain age should be at a certain stage of development is inappropriate” (Roland 1). Roland describes four stages of children’s development, scribbling, pre-symbolism, symbolism, and realism, “based on the popular view that the desire ‘end state’ of this progression is graphical realism” (Roland 1).
Roland labeled his first stage the scribbling stage. Although scribbles have a negative association among adults, this is a critical period in their development that matures their motor skills and, in turn, their artistic development. Most children begin scribbling around one-and-a-half years old, which consist of “random” mark makings. Roland mentioned that a few researchers have suggested that young children experiment with representations opposed to the traditional view that children scribble for the pure enjoyment of making marks on a surface. Roland noted that children extend scribbles off the page and do not acknowledge borders early on in this stage, however as their skills develop, children begin to control their scribbles and circular and geometric shapes begin to emerge. “Letter-forms, especially those in the child’s name, may show up among the marks on the page” (Roland 2). Gaining control over their marks, children will also begin to give names and meaning to their scribbles. Roland noted to supply children in this stage with “controllable” mediums. “Watercolor paints…are difficult for young children to control and should be avoided” (Roland 3).
Around three or four years old, children begin to attach lines to circles to represent human figures, pushing them in to the pre-symbolism stage. Roland explains that these tadpole or head-feet symbols tend to be unrealistic and may lack certain body features. Some suggest that the children may omit features because they are unfamiliar with those body parts, while others believe the features that children do depict are the only features necessary to make their figures recognizable as humans. This stage is still very experimental and there are many variations among a single child’s depictions. Roland noted that children in this stage generally do not have a definite sense of space, and their objects will tend to float on the page.
Generally, five and six years old, will move in to the symbolism stage, using symbols that are unique and based on their own schema and experiences. “These symbols are highly individualized since they result from children’s conceptual understanding rather than observation of the world around them” (Roland 7). Some children in this stage will pay more attention to details, focusing on clothing, hands, or even teeth. Like the pre-symbolism stage, some details may be neglected, however it will be because the detail is not of importance in the activity being depicted. Roland added that children in this stage will discover the use of line as a ground, which they will stack their figures on. “As children’s understanding of the world becomes more complex they feel the need to represent spatial relationships more authentically. Accordingly, the baseline eventually disappears in the drawings of older children and the space below the baseline takes on the meaning of a ground plane” (Roland 8). Time is also a concept that begins to emerge in this stage, as well as the “X-ray” drawings, where “an object appears transparent or has a “cutaway” provided so that one can see inside” (Roland 9). Among individual, personal symbols, children will borrow specific symbols from popular culture. “While many children simply copy their favorite super heroes and comic-book characters, some also invent their own characters and narrative plots” (Roland 10). Although influences generally seem to occur among older children, images from popular culture have been identified in drawings by children as young as four years old.
By the age of nine or ten, most children move in to the realism stage. Small details, such as lips, hairstyles, and even body positions, are given attention due to a greater visual awareness. With this visual awareness, children will become frustrated when their pictures do not look “right”, generally among older children. This is the stage where children begin to show three-dimensional space. Children, generally older, pay attention to how their subject matter will interact with one another on a ground plane. Children also begin to depict expressive, metaphorical depictions that others are able to understand, rather than personal symbols.
Roland lastly addressed the fact that children tend to lose their expressiveness as they age. He also mentions that with their visual awareness, they become frustrated with their inability to depict subjects correctly and lose interest. Roland then poses a question and answers with three suggestions. “How might adults prevent such declines from occurring?... 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 classroom and home. Provide children with opportunities to draw often and give them the assistance and the encouragement they require” (Roland 14).
Roland labeled his first stage the scribbling stage. Although scribbles have a negative association among adults, this is a critical period in their development that matures their motor skills and, in turn, their artistic development. Most children begin scribbling around one-and-a-half years old, which consist of “random” mark makings. Roland mentioned that a few researchers have suggested that young children experiment with representations opposed to the traditional view that children scribble for the pure enjoyment of making marks on a surface. Roland noted that children extend scribbles off the page and do not acknowledge borders early on in this stage, however as their skills develop, children begin to control their scribbles and circular and geometric shapes begin to emerge. “Letter-forms, especially those in the child’s name, may show up among the marks on the page” (Roland 2). Gaining control over their marks, children will also begin to give names and meaning to their scribbles. Roland noted to supply children in this stage with “controllable” mediums. “Watercolor paints…are difficult for young children to control and should be avoided” (Roland 3).
Around three or four years old, children begin to attach lines to circles to represent human figures, pushing them in to the pre-symbolism stage. Roland explains that these tadpole or head-feet symbols tend to be unrealistic and may lack certain body features. Some suggest that the children may omit features because they are unfamiliar with those body parts, while others believe the features that children do depict are the only features necessary to make their figures recognizable as humans. This stage is still very experimental and there are many variations among a single child’s depictions. Roland noted that children in this stage generally do not have a definite sense of space, and their objects will tend to float on the page.
Generally, five and six years old, will move in to the symbolism stage, using symbols that are unique and based on their own schema and experiences. “These symbols are highly individualized since they result from children’s conceptual understanding rather than observation of the world around them” (Roland 7). Some children in this stage will pay more attention to details, focusing on clothing, hands, or even teeth. Like the pre-symbolism stage, some details may be neglected, however it will be because the detail is not of importance in the activity being depicted. Roland added that children in this stage will discover the use of line as a ground, which they will stack their figures on. “As children’s understanding of the world becomes more complex they feel the need to represent spatial relationships more authentically. Accordingly, the baseline eventually disappears in the drawings of older children and the space below the baseline takes on the meaning of a ground plane” (Roland 8). Time is also a concept that begins to emerge in this stage, as well as the “X-ray” drawings, where “an object appears transparent or has a “cutaway” provided so that one can see inside” (Roland 9). Among individual, personal symbols, children will borrow specific symbols from popular culture. “While many children simply copy their favorite super heroes and comic-book characters, some also invent their own characters and narrative plots” (Roland 10). Although influences generally seem to occur among older children, images from popular culture have been identified in drawings by children as young as four years old.
By the age of nine or ten, most children move in to the realism stage. Small details, such as lips, hairstyles, and even body positions, are given attention due to a greater visual awareness. With this visual awareness, children will become frustrated when their pictures do not look “right”, generally among older children. This is the stage where children begin to show three-dimensional space. Children, generally older, pay attention to how their subject matter will interact with one another on a ground plane. Children also begin to depict expressive, metaphorical depictions that others are able to understand, rather than personal symbols.
Roland lastly addressed the fact that children tend to lose their expressiveness as they age. He also mentions that with their visual awareness, they become frustrated with their inability to depict subjects correctly and lose interest. Roland then poses a question and answers with three suggestions. “How might adults prevent such declines from occurring?... 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 classroom and home. Provide children with opportunities to draw often and give them the assistance and the encouragement they require” (Roland 14).
Reflections
I thought that it was important to point out that each age group was accompanied by an “around”, “about”, or “most”. Roland acknowledged that all children develop differently and are affected be various factors, both internal and external, causing children to be in different stages at different times. This is something I learned in educational psychology but also something I have personally observed in several settings.
I realized that there are some characteristics of children in the realism stage that apply to myself. Every time I draw or paint, I find myself frustrated that I am not able to make things look “right”. It was something that I had not thought of, however I have observed this very same thing during my observations. As children are developing, they really do gain a visual awareness, or they an intense desire for self-satisfaction in their own artistic ability. Either way, they become frustrated with themselves when they are unable to make something look realistic. As I was observing, I was able to give some students tips on how to easily make something look more realistic. It was amusing because they would stare in awe as if they would have never thought of it and instead kept erasing or given up. Roland even mentioned, “Indeed, most children are quite capable of attaining the realistic quality they so desire in their artwork. But, only if they receive the proper instruction that enables them to develop the competencies required to do so” (Roland 11).
Roland mentioned that drawing for a child, is “intrinsically rewarding in itself, and thus no special motivation is needed” (Roland 3). This really got me to think of how important linking other areas of study in to art curriculum. In my educational psychology course, and recently in my exceptional education course, we were discussing how children become unmotivated when a task is linked to something negative, like writing “I will not talk in class” on the board as punishment. Being an art educator, it is exciting to imagine I will have the chance to link other areas of study and possibly change some negative views in to positive ones.
I realized that there are some characteristics of children in the realism stage that apply to myself. Every time I draw or paint, I find myself frustrated that I am not able to make things look “right”. It was something that I had not thought of, however I have observed this very same thing during my observations. As children are developing, they really do gain a visual awareness, or they an intense desire for self-satisfaction in their own artistic ability. Either way, they become frustrated with themselves when they are unable to make something look realistic. As I was observing, I was able to give some students tips on how to easily make something look more realistic. It was amusing because they would stare in awe as if they would have never thought of it and instead kept erasing or given up. Roland even mentioned, “Indeed, most children are quite capable of attaining the realistic quality they so desire in their artwork. But, only if they receive the proper instruction that enables them to develop the competencies required to do so” (Roland 11).
Roland mentioned that drawing for a child, is “intrinsically rewarding in itself, and thus no special motivation is needed” (Roland 3). This really got me to think of how important linking other areas of study in to art curriculum. In my educational psychology course, and recently in my exceptional education course, we were discussing how children become unmotivated when a task is linked to something negative, like writing “I will not talk in class” on the board as punishment. Being an art educator, it is exciting to imagine I will have the chance to link other areas of study and possibly change some negative views in to positive ones.