1. Team 2ArtisticDevelopment Keith StrawnLani Salhus Victoria
Sanchez Anthony Guyon Margarito Murillo
2. Artistic Development
Viktor Lowenfeld- Stages of Artistic Development
Betty Edwards- Drawing Development in Children
Ferrara Nadia- Art as a Reflection of Child Development
Anna M. Kindler-Artistic Development and Art Education
Jonathan Feinstein- Nature of Creative Development
3. Age Ranges
4. Viktor Lowenfeld Stages of Artistic Development
5. Lowenfeld
Viktor Lowenfeld was an art educator, artist, psychologist,
author, and professor at Pennsylvania State University, and is
famous for his works about child development and growth relating to
art and creativity. Lowenfeld was born in Linz, Austria in 1903. He
taught at elementary schools in Vienna as he was attending
University in Vienna for art history and psychology, and Vienna
Academy of Fine Arts, in which was where Lowenfeld studied under
Edward Steinberg, whom required his students to work with ceramic
sculptures while blindfolded. Intrigued by this method, Lowenfeld
suggested this at the Institute for the Blind, to approach the same
method but to blind people.
6. Lowenfeld continued
The director of the institute was insulted by Lowenfelds
request for research, but Lowenfeld found a group of blind people
whom gladly helped him by initiating with the clay. Lowenfeld would
later stash these sculptures safely in his briefcase and leave the
Institute for the Blind, marking a significant event in his career
and life. He then wrote an article about these sculptures of the
blind, which triggered Sigmund Freud's interest and his visit to
meet Lowenfeld. Lowenfeld also eventually wrote an important book
about these studies titledSculptures of the Blind, which was in
collaboration with Dr. Ludwig Munz art historian and
photographer.
7. Lowenfeld continued
However, though this event may be hallmarked in Lowenfelds life
and career, and considered perhaps his first big step, his most
praised and renown works relates to child development and growth in
relations to art and creativity, most especially the book titled
Creative and Mental Growth.
8. Creative and Mental Growth
Published in 1947, Creative and Mental Growth became the most
influential book in art education. Lowenfeld believed that evidence
of aesthetic, social, physical, intellectual, and emotional growth
is reflect in the art of the child. In this theory, he developed
Stages of Artistic Development which are based upon the child's age
with relation to ability. Though this theory of age-to-stage
development is relatively out-of-date, the basic principals and
overall knowledgeable content of Lowenfelds book is still being
accessed, utilized, appreciated, and re-evaluated. The main
emphasis of the book are the Stages of Artistic Development, which
a child experiences over time according to age and experience:
9. Lowenfelds Stages of Artistic Development
10. Scribble Stage(2 to 4 years)
There are four sub stages:
Disordered , Longitudinal , Circular, and Naming . Disordered
scribbling is uncontrolled markings created by lack of motor
control. These scribbles look random. Longitudinal scribbling is
controlled repetitions of motions that demonstrates the awareness
of kinesthetic movements. These scribbles appear as back-and-forth
lines. Circular scribbling further explores controlled motions.
These scribbles appear something similar to circles and ovals,
usually in a repetitive and conjunctive manner. Naming scribbling
is when the child develops from kinesthetic thinking into
imaginative thinking, transferring from terms of motion into terms
of a story or picture.
11. Scribble Stage
12. Preschematic Stage (4 to 6 years)
Conscious creation of form. There is little understanding of
space as objects are placed without much contiguity. A common
specimen of a Preschematic drawing would be drawings of people,
usually depicted with a single-shaped body, lines for limbs, and a
circle for the head.
13. Preschematic Stage
14. Preschematic Examples J.M. 8 M WC L B.C. 19 M MC A
15. Schematic Stage (7 to 9 years)
Demonstrates an awareness of the concept of space as objects
are placed with relative contiguity. A definite base and sky line
is also apparent, and colors appear as they are in reality. More
attention to detail; however, still mostly a vague drawings and
consistent exaggerations in shape and proportions. Schematic
generalizations and stereotypes are also developed in
practice.
16. Schematic Stage
17. Schematic Examples D.S. 16 M WC AA B.C. 19 M MC A
18. The Gang Stage:The Dawning Realism (9 to 11 years)
Self awareness and self-criticism becomes highly apparent and
influential. Overlap and perspective become apparent in this stage
as space is greater understood. Strive for greater attention to
detail, minimizing or eliminating schematic generalizations and
stereotypes. And because of the awareness of lack of ability, the
child is less spontaneous and eager to draw as so in comparison to
previous stages.
19. The Gang Stage: The Dawning Realism
20. Dawning Realism Examples Valerie 17 F WC L A.G. 14 F WC
L
21. Naturalism (11 to 13 years)
Spontaneous activity cease as children become increasingly
critical of their abilities. The goal is now of the end result of
the drawing, to strive for adult-like naturalistic drawings. Signs
of shading and motion are observed in their drawings. Proportions,
perspective, and use of space are more accurate. This stage can
also further investigate the child in by their psychological
differences: Visual or Non-visual . Visual concern more about the
accuracy in the depiction of objects, e.g.: how color may change
according to different external conditions; and Non-visual concern
more about the expression or emotion of the drawing, such as using
color as a tool to emphasize and reflect his or her feelings, or
the emotional reaction to the subject matter.
22. Naturalism
23. Naturalism Examples D.S. 16 M WC AA Lilith 17 F WC L
24. Betty EdwardsDrawing Development in Children
25. Betty Edwards
Edwards isanAmericanart teacherandauthor, best known for her
1979 book, Drawing on the Right Side of the Brain . She taught and
did research at CSU Long Beachuntil she retired in the late '90s.
While there, she founded the Center for the Educational
Applications of Brain Hemisphere Research.
She received a Bachelors in Art from theUniversity of
California, Los Angeles(UCLA, 1947), a Master's of Art from
California State University, Northridge, and a Doctorate in Art,
Education, and Psychology from UCLA (1978).
26. Theories on Drawing andBrain Function
Edwards uses the findings of brain research as an organizing
principle for her system, and is especially guided by Cerebral
hemisphere and split-brain research which suggests that the two
hemispheres of the brain have different functions. She proposes
exercises to bring out the creative abilities of the right side of
the brain, as opposed to the analytic and logical abilities of the
left brain.
She feels that previously stored knowledge prevents students
from seeing in a manner conducive to isomorphic representation, and
suggests that a shift in brain mode facilitates accurate
perception.
(L-Mode vs. R-Mode)
Current research has found her theory of L-Mode vs. R-Mode
invalid. But Edwards exercises are still widely used by many and
continue to teach children and adults how to draw.
27. Five Basic Skills of Drawing
The perception ofedges
The perception ofspaces
The perception ofrelationships
The perception oflights and shadows
The perception ofthe whole, or gestalt
Edwards states: Drawing is a global or whole skill requiring only a
limited set of basic components. These skills are not drawing
skills, they are perceptual skills. In time all of these skills
reading, writing, walking and drawing become automatic because you
have learned the components and have integrated them.
28.
The Scribbling Stage (2 to 4 Years) First disordered scribbles
are simply records of enjoyable kinesthetic activity, not attempts
at portraying the visual world. After six months of scribbling,
marks are more orderly as children become more engrossed. Soon they
begin to name scribbles, an important milestone in
development.
The Scribbling Stage (1 1/2 Years) Random scribbles begin at
age one-and-a-half, but quite quickly take on definite shapes.
Circular movement is first because it is most natural anatomically
.
Lowenfelds vs. Edwards Stages of Creative and Mental Growth
29.
The Preschematic Stage (4 to 6 Years) First conscious creation
of form occurs around age three and provides a tangible record of
the child's thinking process. The first representational attempt is
a person, usually with circle for head and two vertical lines for
legs. Later other forms develop, clearly recognizable and often
quite complex. Children continually search for new concepts so
symbols constantly change.
The Stage of Symbols (3 Years)
After weeks of scribbling, children make the discovery of art:
a drawn symbol can stand for a real thing in the environment.
Circular form becomes a universal symbol for almost anything. Later
symbols become more complex, reflecting child's observations on the
world around him.
Pictures that Tell Stories ( 4 to 5 Years)
At four or five, the child begins to tell stories or work out
problems with her drawings, changing basic forms as needed to
express meaning. Often once the problem is expressed, the child
feels better able to cope with it.
30.
The Schematic Stage (7 to 9 Years)
The child arrives at a "schema," a definite way of portraying
an object, although it will be modified when he needs to portray
something important. The schema represents the child's active
knowledge of the subject. At this stage, there is definite order in
space relationships: everything sits on the base line.
The Landscape Stage
By five or six, children develop a set of symbols to create a
landscape that eventually becomes a single variation repeated
endlessly. A blue line and sun at the top of the page and a green
line at the bottom become symbolic representations of the sky and
ground. Landscapes are compose carefully, giving the impression
that removing any single form would throw off the balance of the
whole picture.
31.
The Gang Stage- Dawning Realism (9 to 11 Years)
The child finds that schematic generalization no longer
suffices to express reality. This dawning of how things really look
is usually expressed with more detail for individual parts, but is
far from naturalism in drawing. Space is discovered and depicted
with overlapping objects in drawings and a horizon line rather than
a base line. Children begin to compare their work and become more
critical of it. While they are more independent of adults, they are
more anxious to conform to their peers.
The Stage of Complexity
At nine or ten years, children try for more detail, hoping to
achieve greater realism, a prized goal. Concern for where things
are in their drawings is replaced by concern for how things look--
particularly tanks, dinosaurs, super heroes, etc. for boys; models,
horses, landscapes, etc. for girls.
The Stage of Realism
The passion for realism is in full bloom. When drawings do not
"come out right" (look real) they seek help to resolve conflict
between how the subject looks and previously stored information
that prevents their seeing the object as it really looks. Struggle
with perspective, foreshortening, and similar spatial issues as
they learn how to see.
32.
The Naturalistic Stage (11 to 13 Years)
This stage marks the end of art as spontaneous activity as
children are increasingly critical of their drawings. The focus is
now on the end product as they strive to create "adult-like"
naturalistic drawings. Light and shadow, folds, and motion are
observed with mixed success, translated to paper. Space is depicted
as three-dimensional by diminishing the size of objects that are
further away.
The Crisis Period
The beginning of adolescence marks the end of artistic
development among most children, due to frustration at "getting
things right." Those who do manage to weather the crisis and learn
the "secret" of drawing will become absorbed in it. Edwards
believes that proper teaching methods will help children learn to
see and draw and prevent this crisis .
33. Nadia Ferrara Art as a Reflection of Child Development
34. Ferrara, Nadia
Art as a Reflection of Child Development
According to Ferrara, she explains how the cognitive, psychosexual,
epigenetic psychosexual and ego development theories shows the
childs reflection in generating an artistic development.
35. Artistic Development(Piaget,1952)
Sensorimotor stage :(age 0-2)
Behavior of Infant that does not know the events and does not
think conceptually. The schemata is being constructed.
Preoperational Stage: (age 2-7)
Rapid conceptually development .
36. Psychosexual Stages of Development(Freud)
Oral Stage- (age 0-2)
Infants sexual desires center around oral state. E.g. sucking
at breastetc. Food and other objects become the model for
identifications.
Anal stage- (age 1-3)
Potty trained. Aware of the surrounding and familiar
faces.
Phallic stage- (age 2-5)
This stage is Oedipus complex. Its when the boy is sexuality
attracted to his mother. For girls the Electra complex staged is
being process. Its when girls get competitive with the mother and
to get the fathers attention.
Latency period- (age 5-12)
Age five to puberty. Want to associate with their same sex.
When sexual interest is diminished.
37. Epigenetic Psychosexual Stages of Development(Erikson,
1982, 1963)
Oral-Sensory Stage- (age 0-2)
Basic trust vs. Mistrust
Muscular-Anal Stage- (age 1-3)
Autonomy vs. Shame and Doubt
Locomotor-Genital Stage-(age 3-5)
Initiative vs. Guilt
Latency Stage- (age 5-12)
Industry vs. Inferiority
38. Stages of Ego development(Loevinger, 1979; Mahler, 1968)
Presocial- (age 0-1)
Infant possesses autistic interactive manner. Does not
differentiate animals and in- animals.
Symbiotic- (age 1-2)
Child becomes attached to his/her mother.
Impulse Ridden- (age 2-5)
Childs cognitive style is characterized by stereotyping and
conceptual confusion.
Opportunistic/ Self-Protective- (age 5-7)
Child has a fear of punishment. Child is more independent.
Conformist- (ages 7-12)
Child begins to obey the rules. Once the child breaks the
rules, child feels shame or guilt.
39. Stages of cognitive Development(Piaget, 1952)
Concrete operational- (age 7-11)
Child makes judgments based on reasoning. Child generates
logical thought to solve there problems.
These are some stages that may reflect the your childs artistic
development.
40. Anna M. Kindler Ed. D. Artistic Developmentand Art
Education
41.
Art education should provide learners with experiences with
both analytic and synthetic approaches to image making with
strategies that rely on observation, as well as imagination memory,
as well as fantasy that require attention and observance of certain
rules as well as those that value creative accident.
An important characteristic of good teaching is the ability to
frame educational practice within the understanding of learners
benefit from instructional activities
Quotes from Anne Kindler
42. Areas of Focus
The Development in Early Childhood
The Analysis of Childrens Drawings
Artistic Development and Culture
The Psychological Studies of Artistic Development.
Artistic Development as a Growth in Pictorial Repertoires
43. The Development of Early Childhood
The relative lack of the systematic inquiry in the artistic
production of adolescents can be explained to some extent by the
fact that young children are more prolific and provide researchers
with more visual data.
Researchers Gardner and Winner (1982) suggested that artistic
development can be described in terms of a U-shaped curve, with
childrens interest and competence in drawing dramatically declining
after the first 7 to 8 years of life, it is only the artistically
persistent who ascend to the other high point of the U curve.
The emphasis on explaining development in drawing in terms of a
uni-dimensional progression through a defined set of stages has
been very strong in the field and that the ambition to search for
universal trends in development in drawing and focus on the
psycho-biological determinants of artistic development have
underlined much of research in this area.
44. The Analysis of Childrens Drawings
Explorations of childrens artistic development have almost
exclusively focused on examination of pictorial evidence that
children produced, with little attention given to the complexity of
the process and the nature of the context within which the drawings
were created.
Researcher Rhoda Kellogg (1969) examined and classified a very
large collection of childrens drawings and identified a sequence of
basic scribbles, patterns, diagrams, combines and aggregates.
Kellogg proposed a universal theory of artistic development based
on this sequence and insisted that scribbling experience was a
necessary precursor to all pictorial production later in life.
Some of the common concerns of research in artistic development
is the emergence and use of shapes in drawing, the ability to
represent spatial relations and the system of lines and points in
the childrens drawing system.
Researcher John Willats (1997) states that initially children
are satisfied when their drawings seem right, in terms of offering
reasonable solutions to drawing problems in their drawing system,
but later they want their drawings to also look right.
45. Artistic Development and Culture
Although the impact of culture has been of interest to
researchers since the second quarter of this century, it has lead
to a theory of artistic development emphasizing cultural
determinants.
Researchers Brent and Marjory Wilson argue that childrens
drawings have their roots in graphic models available in the
culture. The Wilsons contend that only in the very early stages of
life can childrens drawings be attributed to predominantly innate
tendencies and that child development in art involves learning of
pictorial conventions that children note in their environment.
These models include imagery that other children produce, as
well as adult graphic models that children encounter in their
lives.
This theory stipulates that childrens drawings result from
acquisition of a graphic language, rather than involving an active
construction of a pictorial language.
Researcher Kindler regards artistic development as a semiotic
process rooted in psycho-biological foundations that responds to
and is shaped by the socio-cultural context.
46. The Psychological Studies ofArtistic Development.
A large body of research on child development in art has been
conducted by psychologists, whose interests have been focused on
understanding mental processes underlying childrens graphic
production rather than the pictorial production.
Many psychologists have used research on drawing development to
support broader development theories, and, as a consequence, tended
to focus on these aspects of pictorial production that have most
closely related to their other specific research interests.
Researcher Rudolf Arnheim (1969) states that the development in
drawing involves a distinct symbol system that is guided by its own
graphic logic and cannot be considered as a mirror of a childs
cognitive abilities.
Arnheim described development in drawing as a growth in the
ability to use a graphic language that offers two dimensional
substitutes for elements of three dimensional world.
47. Artistic Development as a Growth in Pictorial Repertoires
One of the most significant recent advances in research has
been the reconceptualization of artistic development as a growth in
pictorial repertoires.
Children are often capable of constructing and using a range of
visual images within the time frame of a single stage depending on
the context and purpose of their drawings.
Kindler explains their emergence and use in terms of the broad
ambitions and goals of childrens representational attempts and the
importance that these youngsters accord to the visual and
conceptual attributes of objects that they represent. The advantage
of this new understanding of artistic development liese in the
potential of this model to account for the variety of pictorial
imagery that is produced by young children and its dependency on
Western focus on visual realism.
Observations of childrens motor actions and representational
occurs through a pluri-media channel, involving vocalization,
verbalization, gestures and mark making.
Consequently in early childhood art education, integrated
activities involving language, movement and graphic production are
especially helpful for children in mastering a powerful system of
representation.
48. Jonathan G. Sealer Feinstein The Nature of Artistic and
Creative Development
49. Engage in Artistic and Creative Endeavors
Artistic and creative development encompasses both processes,
experience, and structures that lay the foundation for
creativity.
The creative development of an individual centers on, is based
in, and grows out of his creative interest.
50. Early Stages of Development
Individuals express and describe creative interest, ideas,
beliefs, plans or designs that they pursue and developed
creatively, which turn out to be vital for their development and
contributions to society.
51. Processes and Structures ofArtistic and Creative
Development
The frame work Feinstein presents is to describe specific steps
and structures that are the source and basis of generation of
several principal forms of creativity leading to
contributions.
It describes specifically hoe an individuals ideas, insights,
and contributions that are rooted in creative interest they form,
explore, and strive to develop creatively.
52. Environment
Artistic and creative development is influenced by the
individuals culture and the world around them.
Creative interest originates in the individuals engagement with
the world, sparked by specific experiences and elements they
encounter.
Elements and experiences generate ideas and assist in building
rich conceptual structure in the field of their interest.
53. The Core of Artistic and Creative DevelopmentThree Steps
The formation of a creative interest, including a conception on
the interest.
The process of exploring the interest.
Developing the interest artistically and creatively.
54. Learning and Contributing
The defining and execution of the projects rooted in and
growing out of its development, leading, to artistic works and
contributions.
Through out an individuals life they will encounter many social
and personal experiences
Witness and learn about many events, concepts, theories,
experiments, methods, approaches
Will be expose to, learn, and study the creative works and
contributions of other people.
55. Response
In forming their creative interest, especially in the initial
stages of formation based in responding to experiences and elements
they encounter and learn about. Individuals generally respond
intuitively and spontaneously to what excites and interest
them.
They find their interest exciting, fascinating, and
challenging- that is why they form them and as interest and wish to
pursue them.
Individuals conceive of their creative interest as area filled
with creative possibilities, filled with promise.
They desire to explore them and learn about them, and to
develop them artistically and creatively. They believe or hope that
through exploring their interest and striving to develop them
creatively they will be able to define creative projects and pursue
them, and ultimately-make contributions to their field and
society.
56. Connection to the Responses
57. Projects are Crucial toCreative Works
Notable features of artistic and creative development is the
way individuals, at certain critical junctures, step back and
reflect upon their coarse of development.
Every individual who engages in a creative endeavor follows his
own unique path of creative development. Individual interests often
change, as they learn and mature.
Patterns of creative development have a variety of forms. For
many, over a period of time their pattern of development resembles
the branching structure of a tree-their core artistic and creative
interest are like the trunk and their projects are like branches
coming out of the trunk.
58. Following his own unique path of Creative Development
61. Sample Study Findings
5, 6, 10, 11, & 21 year olds
Our findings showed that Lowenfelds, Edwards, & Ferraras
theories are a bit outdated. The examples contradict the theorists
stages of development as you will see in the examples to follow.
Age was not a determining factor in our view.
62. Scribble Stage
63. Scribble Stage Free Drawing XDG 10 M MC L
64. Preschematic Stage
65. Preschematic Stage Tree & Free Drawing V 6 F MC A MV 11
F WC L V 6 F MC A
66. Schematic Stage
67. Schematic Stage Tree Drawing XDG 10 M MC L WILLIAM 11 M WC
L
68. Schematic Stage Free Drawing MS 5 M MC A ARCY 10 F WC L KIM
10 F WC L MV 11 F WC L TH 10 M MC M EC 11 M MC L
69. Dawning Realism
70. Dawning Realism Stage MS 5 M MC A W.I 11 M WC L