Running head: A CHILDS DRAWING ANAYLSIS 1

A Childs Drawing Analysis

Clare Klawuhn
University of Missouri, Columbia


















A CHILDS DRAWING ANAYLSIS 2


A Childs Drawing Analysis
Visual literacy is communication in the form of art that helps children understand the
world around them (Erickson & Young, 1996, p.40-41). Children are surrounded by imagery in
their culture and community. Art is an element that challenges students to view the world in
multiple perspectives. It is easy for children to overlook the meticulous work or design in their
everyday lives. Appreciating art will help students recognize what products citizens have to
offer, but also, encourage students to design what the world is missing (Pink, 2006, p.70-72).
Understanding art will allow students to explore culture and explore self-expression. It is
important for teachers recognize the responsibility of enlightening students on the various
elements of art. Children gradually acquire fine motor skills through age and experience. These
skills are applied to their drawing techniques and displayed in their artwork (Luehrman &
Unrath, 2006, p. 7). It is vital for teachers to be able to identify the different stages children
typically progress in, in order to further console students on how to improve. Skills learned in art
will apply to a students ability to think critically and creatively(Luehrman & Unrath, 2006, p.
12). Children develop conceptual ideas at different paces and stages in life. These stages are
defined as the Lowenfeldian Stages of Art and Kerlavage symbol-centered sequence (Luehrman
& Unrath, 2006, p. 7). Teachers need to provide age-appropriate advice according to the stage
the student is in. These progressions of stages are not exact, but are a guide for teachers to use as
a resource.
Method
Lowenfeldian Stages of Art are identified as the as the Scribbling Stage (2-4 years),
Preschematic Stage (4-7 years), Schematic Stage (7-9 years), Gang Age (9-12 years), Pseudo-
A CHILDS DRAWING ANAYLSIS 3

Naturalistic Stage (12-14 years), and Adolescent Art (14-17 years) (Lowenfeld &
Brittain,1970,p. 474-479). Unlike Lowenfidean Stages, Kerlavages symbol-centered artistic
development sequence includes interaction of advancement in cognitive, social, emotional,
physical, language, and aesthetic attributes (Luehrman & Unrath, 2006, p.7). The development
sequence includes the Mark-Making Stage (ages 2-4), Early Symbol Making Stage (4-7),
Symbol Making Stage (7-9), Emerging Expertise Stage (9-11), Artistic Challenges Stage (11-
14), Artistic Thinking Stage (ages 14-17) (Luehrman & Unrath, 2006, p. 8). Both stages are used
to determine a students artistic progress.
Description
The drawing I have chosen appears to be composed from black crayon. The illustration is
of a person. Sam (pseudonym) used circles to shape the head, eyes, nose, and body. The size of
the head is proportioned relatively to the body. However, the body is not in a realistic proportion.
The head is topped off with short black hair that appears to have been drawn in large circular
continuous motions. The characters eyes consist of two small circles that are filled in black.
Below the eyes is a circle placed in the middle for the nose. This circle is not filled in. The
character is smiling at the audience. The smile is a long curved line that reaches past mid-face
level on each side. The mouth line is thin and no teeth are showing. There is a jaw line and neck
connected to the body. The limbs stick out from both sides of the body. Arms and legs are stick
figures and they seem to stem from the body. The characters shoes are empty, or not filled in,
half circles. The character seems to be placed in mid-air.


A CHILDS DRAWING ANAYLSIS 4

Analysis
According to the evidence, I believe Sam is in Lowenfelds Preschematic Stage. Sams
geometric shapes are subjective to the other objects in the drawing. Sams character appears to
float around. His character is not planted on the ground and does not have any relation to a
setting. Space surrounding objects is a common characteristic of the Preschmatic Stage
(Lowenfeld & Brittain,1970,p. 475). Consequently, the character is distorted to fill the space in
the page. The characters facial expression interacts with the audience. This involves a higher
level of thinking for a student to be able to manipulate so that the character connects with the
audience. Children in Preschematic Stage begin to develop these critical thinking skills. Children
in this stage also start to add details like hair and shoes (Lowenfeld & Brittain,1970,p. 475).
Students in the Preschematic Stage dont completely grasp concepts of proportion. Sam
understood that the head should be smaller than the body. However, he did not demonstrate that
he knew the appropriate size the body should be. Sam displays other amateur artistic abilities,
like his lack of volume in body parts. Arms and legs of Sams character are not filled in and are
not thoughtfully placed. (Lowenfeld & Brittain,1970,p. 476). While Sams artwork displays
some advanced thinking, Sam lacks detail and realistic features.
In terms of Kerlavage symbol-centered artistic development sequence, Sam is in the
Early Symbol Making Stage. Sam demonstrates using continuing bursts of shapes, like circles.
He uses symbols more than color or shading to develop detail (Luehrman & Unrath, 2006, p. 8).
However, Sam does not quite utilize multiple viewpoints, which is implemented in the Symbol
Making Stage (Luehrman & Unrath, 2006, p. 8). Therefore, Sam demonstrates that he is still
progressing in the Early Symbol Making Stage.
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To encourage further development in this drawing, a teacher would need to express
interest in knowing more about the character. Teachers should encourage children to discuss and
solve the art problems (Johnson, 2008, np.). For example, in Sams drawing the teacher should
ask something like How will you draw the persons outfit? This question will allow Sam to
examine his characters body. Hopefully, he will reconstruct the body in a more realistic matter
in order to incorporate clothing. Another questioning strategy to use is stating a problem and then
helping the child find a solution (Johnson, 2008, np.). In Sams drawing the teacher could say I
am having a had time picturing where your character is. Since you have made the characters
facial expression happy, where is a happy place your character could be in? This is a positive
way to suggest that the student needs to draw a background so the character has a setting.
Conclusion
Students are directly influenced by their mentors. Therefore, it is important that teachers
are providing students with the correct instruction and maintain a reasonable expectation.
Teachers should help students identify strengths in students artwork and suggest techniques that
will improve their work. If students are able to recognize artistic aspects in their artwork, then
they will be able to critically interpret the art around them.





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References
Erickson, M., & Young, B. (1996). What every educator should (but maybe doesnt)
know.School Arts, 96 (2), 40-42.
Johnson, M. H. (2008). Developing verbal and visual literacy through experiences in the visual
arts.Young Children, 63(1), 74-79. Kellogg, R. (1970).
Luehrman, M., & Unrath, K. (2006). Making theories of childrens artistic development
meaningful for pre-service teachers.Art Education, 59(3), 6-12.
Pink, D. H. (2006).A whole new mind: Why right-brainers will rule the future. New York, NY:
Riverhead Book