Running Head: DRAWING ANALYSIS

A Childs Drawing Analysis

Jordyn Bryant
University of Missouri

DRAWING ANALYSIS
A Childs Drawing Analysis
Introduction
Children learn to draw and advance in drawing through different stages, with the
age of a student typically not reflecting the stage of their artistic ability. The

Lowenfeldian stages are the artistic development stages student progress through as they
grow. The stages ranges from elementary level to high school level artistic abilities. They
include the Scribbling Stage (2-4 years), Preschematic Stage (4-7 years), Schematic Stage
(7-9 years), Gang Age (9-12 years), Pseudo-Naturalistic Stage (12-14 years) and
Adolescent Art (14-17) (Brittian, 1970, p.474-479). Each stage is examined and broken
down by drawing characteristics, space representation, and human figure representation.
As the stages progress, the advancement of artistic technique does as well. Stages do not
always correlate with age and are meant to be flexibly referenced. Luehrman (2006)
states that they are not prescriptive in terms of what to expect of an individual child at a
specific age. It is important for teachers to recognize and understand the stages because
they are then able to better support to the students artistic abilities. Additionally, teachers
are able to apply the knowledge of their students abilities into lessons to enhance
students artistic development. For my analysis, I studied piece of artwork for unknown
aged child and determined the stage of their artistic development.
Description and Analysis
My child analysis assignment is based on a childs artwork that I believe to be in
the Schematic stage. I have never met the child nor do I know any background
information about him or her. The picture the child has drawn has three main objects, all
two-dimensional. There is a person/animal, a house and what seems to be a tower with

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smoke coming out of it at the top. Each object is sized proportionally to one another with
the house smaller than the tower. The objects have some sort of detailing whether the
objects are colored in or have specific characteristics of each object like shingles on the
roof of the house. While the objects tell the story of the drawing, there is not
background to compliment it. I believe that the student is aware of the purpose of their
drawing and trying to make appropriate decisions on what to draw. Although when it
comes to the person/animal, the arms and legs are disproportional to the body. It also
includes a face smiling directly at the viewer and has long hair. The body is an oval shape
filled in with smaller circles that could also portray a turtle, which would change the story
of the drawing. Nonetheless, the student displays an understanding for their drawing and
the story they are trying to illustrate in their drawing.

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Art is carried out in the right hemisphere where the interpreting, emotional
content, intuiting answers perceiving things holistically occurs (Pink, 2005, p.16).
Viewing and participating in art has less to do with motor skills instead is the way one
emotionally interprets the concept and then portrays it in an art form. Pink states, story
presents a pathway to understanding that doesnt run through the left side of the brain.
The student is using their right-hemisphere specializing in context to depict a story
through their artwork. There is value in creative thinking as it is powered directly by the
right hemisphere. Exercising the right hemisphere involves artistic and creative thinking
efforts within the classroom. The more the right side is exercised, the more artistic
abilities and confidence the students will achieve. Students will advance in creative
abilities that will enrich their knowledge in other subject areas as well.
In addition to the Schematic Stage of drawing, the child is categorized into
Kerlavage stages of artistic development. These stages differ by being a holistic view of
development, the idea that there is an interaction between different domains of
development (Luehrman, 2006, p.7). The Kerlavage stages include Mark Making Stage
(ages 2-4), Early Symbol Making Stage (ages 4-7), Symbol Making Stage (ages 7-9),
Emerging Expertise Stage (typically ages 9-11), Artistic Challenges Stage (typically ages
11-14) and Artistic Thinking Stage (ages 14-17). This student would be considered in the
Early Symbol Making Stage (ages 4-7). Through their drawing, the child seems to be
discovering the power that their symbols have to represent their communities. For
example, the tower with smoke coming out of the top could be a thoughtful reflection of
their environment. They are able to use many symbols, like the use of different objects, to
best serve their communication purposes (Luehrman, 2006, p.8). Using this holistic view,

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teachers are able to understand the domain of development of each student then apply it
to teach what is best needed to benefit the students artistic development.

Conclusion
Tailoring to a childs artistic development is imperative for positive growth in a
childs artistic ability. As children develop, there are a wide variation within an age
norm or stage that doesnt always correlate to their actual age and developmental level
(Erikson, 1996, p.37). When teachers are aware student creative abilities they are able to
make lessons that are beneficial to the students. In contrast, when teachers are unaware of
student creative abilities, they suffer at the hands of the teacher. Students will fall behind
if they havent reached the level of artistic ability that is being taught. On the other hand,
they will not progress if they are above the level of artistic ability being taught. As a
future teacher, encouraging artistic development will be a key component in my
classroom. I will take the time to learn the students development levels so I can apply
them directly into my lessons. Additionally, I will motivate students to be expressive
through their art. Creative thinking will be encouraged rather than discouraged in my
classroom. As right-brain thinkers continue to emerge as the forerunners of the future, it
is even more imperative to foster daily art development.

DRAWING ANALYSIS

References
Brittain, W.L & V. Lowenfield. (1970). Creative and Mental Growth. New York,
NY. MacMullian Co., 474-479.
Erickson, M., & Young, B. (1995). Art Advocacy: What Every Educator Should
(but maybe doesn't) Know. School Arts, 36-38.
Luehrman, M., & Unrath, K. (2005). Making Theories of Children's Artistic
Development Meaningful for Preservice Teachers. 7-8.
Pink, D. (2005). A Whole New Mind: Why Right-Brainers Will Rule the Future (p. 16).
New York: Riverhead