Greene 1

Childrens Drawing Analysis and Research Paper

Alex Greene
University of Missouri-Columbia (Mizzou)

Greene 2
As we facilitate the growth of our students in the classroom, we must take time to pay
attention to their work. This has been a recurring trend through all of our subjects, such as
reading their writing crafts or listening to their world views for social studies. Art can have this
approach in it as well as students have many ways to express themselves artistically as well as
depicting a wide range of subjects within their mediums. We must begin this process by
becoming aware of our students control of their motor skills, observational abilities, and creative
vision.
Children grow and achieve their art skills at various levels in life known as stages. These
stages normally take place anywhere from when they are the ages of two until fourteen years of
age. However, these ages are neither set goals nor expected levels of development. Rather, they
are a norm generated by society, as both children and adults draw differently and hone their
skills to varying degrees. For this reason, I believe we should not be upset with a fourth grader
who still draws in the pre-schematic stage (this would be especially hypocritical as I am not artist
with a lot of experience). Indeed, students have multiple ways of expression; I choose to use
words rather than vision.
Greene 3

Pictured above, we have a piece of artwork done by a student. Judging by its appearance,
I would deem this to be placed in either the pre-schematic or schematic stage of student art for
multiple reasons. The artwork demonstrates the pre-schematic stage through its use of the figure
being composed of geometric shape and seeming to be arbitrarily placed. However, it also has
strong showings of the schematic stage of student artwork. In this stage, students show ideas that
demonstrate developments of form and schema is displayed (Brittain p.475-476). Overall, it is
hard to place in one category because the characteristics it shows do not fall squarely into either
category. As teachers, we need to be prepared for fluidity in performance as people do not
progress itemized tasks, especially if the work is subjective in nature.
If we take this specific piece of art, for example, we can interpret the image in several
ways. To me, at first glance, it had characteristics of some kind of creature that was the mutant
offspring of a duck, a stegosaurus, and a horse. I link my inability to comprehend the subject due
to the childs lack of proportion for the shapes as well as lacking in details on this final product.
Greene 4
However, it must be pointed out that the child did in fact show some awareness of their inability
to fully convey the meaning of their picture.
He or she used words to convey the meaning of this sketch, so I now know this is some
creature made of candy. This prevents me, as an authority to pass judgment or suggestion to the
child. It is advised for us not to guess the artwork, as we may be placing value or meaning that
the child did not intend. For example, if I had pointed to the rightmost rectangle and called it a
beak, the child could have been negatively influenced at their lack of ability to convey a
marshmelo [marshmallow]. This is similar to if I had been given a picture of something that
looked like a person and called it a man when the picture may have not been indicative of age
or gender (Kellogg, p. 78). Instead, I have something I believe to be been an animal but is also
made of candy, such as mnm [M&Ms], marshmelo [marshmallow], and iceing [icing].
Again, the fact that the student chose to label their picture, at least displays the awareness that
they want to detail an image but have not had enough practice to succeed yet.

Instead, the teacher can foster discussion with students, by getting them to talk about their
creations, rather than us making assumptions about them (I know as a kid, I hated when teachers
assumed they knew my work, especially if they were wrong). Questions can be asked, such as
asking what colors, techniques, or inspirations they used. This way, you can have them connect
Greene 5
their work with what they have learned (Johnson p. 75). For example, in the above picture from
my niece, we can engage questions about her inspiration for the scene, colors used, and she
combined shapes.
Overall, our role as educators is to nurture and encourage the talents of our students.
Some will be discouraged for not being as experienced with their creation of art. However, I
believe we can nurture their minds to fully express themselves and not be cast in doubt. Secretly,
I believe every child wants to share something with the world, and part of our job is to be secure
in that desire.

Greene 6
Citation
Johnson, Margaret H. Developing verbal and visual literacy through experiences in the visual
arts. You Children. January, 2008. P. 74-79.
Kellogg, R. (1970) Analyzing Childrens Art. Palo Alto, CA: National Press pgs 15, 19, 25, 78,
85, 109, and 122.
Lowenfeld, V., & Brittain, W.L. (1970). Creative and mental growth. New York: Macmillan
pgs. 474-479.