AN INSIGHT INTO CHILDS MIND

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An insight into the mind of a child based on artwork
COURTNEY HORAN
University of Missouri


















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An insight into the mind of a child based on artwork
Stage theories hold that children progress though a series of stages of
development and that there are sets of characteristics that can be identified and are
typically found among large groups (Luerhman & Unrath, 2006, p. 6). Many children
progress through distinct phases that teachers can use to analyze their students progress.
Teachers and Preservice teachers should be aware of these stages because art is a way
that young students express experiences that are happening in their life. They may not be
able to write or verbalize some of their feelings but as long as a teacher can decipher their
artwork, it gives an insight into their thoughts. Not only can a teacher tell about a childs
life but they can also figure out where they are in their developmental skills.
Brittain and Lowenfeld (1970) have broken up different types of drawing into
stages and based them off of age and developmental skills. The first stage is The
Scribbling Stage (2-4 years old). Next is The Preschematic Stage (4-7 years old). An
example of someone in the Preschematic stage would draw a piece where objects seem to
float on the page, or that head or feet that grow out of scribbles. Then comes The
Schematic Stage (7-9 years old). A student in the Schematic stage would draw a piece
where they would show an active knowledge of the environment, or where arms and legs
show volume. After that comes The Gang Age (9-12 years old). Then The Pseudo-
Naturalistic Stage(12-14 years old). Finally comes the Adolescent Art (14-17 years old)
(p. 474-479). These stages each have a set of characteristics that differentiate between
each other and define certain aspects of the childs art. Some of the characteristics are
drawing characteristics, space representation (depth to a picture), and human figure
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representation. Understanding each stage is important in deciding what and how to teach
certain concepts. I picked a childs art piece (Figure 1). I am going to use the principles
and characteristics that are listed above to try to decipher what stage the child is in based
on their art.
Method
My participant was Susie (pseudonym) and I analyzed her art piece based on
Brittain and Lowenfelds chart of characteristics. While analyzing Susie I kept in mind
what Erikson and Young said in Art Advocacy, Just as reading and math levels vary
widely in an average class, we should expect it would be natural for art levels to also vary
widely (p. 41). The stages that Brittain and Lowenfeld created are a base that I will be
looking at, but as always I am keeping in mind that these are just suggestions because
every student is unique. Some students may progress at different rates and that does not
mean that they are not developing correctly, just that they may think differently than
other students. Brittain and Lowenfelds characteristics just provide teachers with a
guideline on what to look for in their pieces.
. (Figure 1)
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Findings
The childs drawing I chose seems to be a depiction of a girl outside with her dog,
possibly a cat, near a flower. It is a black marker drawing. Based on Brittain and
Lowenfelds characteristics, Susie seems to be in The Schematic Stage. She is most likely
between the ages of seven to nine years old. The Schematic Stage is described as the
achievement of a form concept. Her drawing is of a scene in nature. The grass is made up
of black straight lines coming up from the ground. She also has a clear depiction on the
skyline, although it is just a scribbled black sky. There is space in between the sky and
the drawing of her, the dog, and the flower. Her legs and arms are correctly placed on her
body. Her proportions are slightly off because the flower and the dog are as big, or bigger
than her. This could represent how much emotional value she puts on those things in her
life. She is also symbolizing an environment she knows (Brittain and Lowenfeld, 1970, p.
476). I would assume that Susie is closer to the beginning of the Schematic Stage because
her drawing though spatially set up well, the person she drew does not have any volume
to her body and the dress is made out of a triangular shape. She also does not have a
neck. Susie needs a little more practice on drawing because she just scribbled the sky.
But other than that she is aware that dogs have 4 legs and she can draw a flower.
Conclusion
Even though Brittain and Lowenfeld have these standards it is still important to
remember that this is not a definitive answer for this childs developmental stage. As
Elliot Eisner states in his article, Ten Lessons the Arts Teach, the arts celebrate multiple
perspectives. One of their large lessons is that there are many ways to see and interpret
the world (Eisner, 2002, p.3). As educators, we have to remember to not stunt their
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artistic growth by shutting them into one category. Brittain and Lowenfelds
characteristics is a guide to seeing how the student is progressing but when teachers are
talking to the child about their pieces they have to be encouraging. In my classroom I will
try to incorporate some kind of art into my lessons each day. I think that art is an amazing
outlet for students; especially the younger ones who still want to express themselves but
cannot quite get the words out yet. I think that art development gives great insight into
the lives and minds of the students; it is an invaluable skill to have as a classroom teacher
to be able to decipher students artistic pieces. Some consequences of not understanding
or knowing the ideas behind art development is that they will not be as ready for the
conceptual age that the world is moving into. The conceptual age is a time that the world
is moving into that puts more weight on the artistic mind. Without the skills of creativity
students will not fit into this new world culture. If a teacher does not understand art
development and does not encourage art in their classroom then their students will not
benefit from it. As Daniel Pink says in his book, A Whole New Mind, Thinking remains
indispensible. Its just no longer sufficient. In the Conceptual Age, what we need instead
is a whole new mind (p.51).







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References
Brittain, W., & Lowenfeld, V. (1970). Creative and Mental Growth (pp. 474-497).
New York, NY: MacMilliam.
Eisner, E. (2002). Ten Lessons the Arts Teach. Yale University Press.
Erickson, M., & Young, B. (1996). Art Advocacy: What Every Educator Should(But
Maybe Doesn't) Know (pp. 40-42).
Luehrman, M., & Unrath, K. (2006). Making Theories of Children's Artistic
Development Meaningful for Preservice Teachers.
Pink, D. (2006). A whole new mind: Why right-brainers will rule the future. New York:
Riverhead Books