How Drawing is Taught in Chinese Infant Schools

The benefits of drawing for children are wide‐ranging but are likely to be mediated by the art curriculum and other governmental guidance to teachers relevant to drawing/art. Furthermore, such statutory regulations vary between cultures, and therefore curricula represent an important influence on the cultural differences found in children's drawings. Previous articles on the teaching of drawing in Chinese schools have commented upon the emphasis placed on children copying from adult drawing models. However, a new art curriculum was implemented in Chinese infant schools (3–6‐year‐olds) in 2002, still in operation today, which instead places an emphasis on the children's enjoyment of drawing through making creative and expressive pictures from their imagination. This article describes the key objectives stated in the Chinese art curricula for infant schools. We also present an interview with a Chinese infant school teacher in which she provided in detail how the curriculum is typically applied to the teaching of drawing. The interview also provided some background context to why the curriculum was changed and to its delivery. The article comments on the pedagogical practices adopted, and comparisons are made with Western art education and, in particular, to the teaching of drawing/art in England for the same age group. Finally, we consider what implications the Chinese approach has for the ‘non‐interventionist’ approach to young children's drawing/art that is frequently found in Western art education.     

Drawing with Children: An Experiment in Assisted Creativity

This report outlines the cognitive accomplishments of young children involved in graphic dialogue with adults. A token of collaborative drawing is examined exhibiting the degree to which adult informed tutoring enabled children in their drawing development, enhanced their motivation and ability in narration and resulted in drawings meaningful to them. The case studies examined are the result of a three‐year research project conducted by undergraduate students of Athens University Department of Early Childhood Education under the supervision of the author of this article. This game‐like pedagogical strategy is inspired by L. Vygotsky's educational philosophy and based on B. & M. Wilson's model of adult–child graphic dialogue. It is understood as a method of instructing drawing enabling children to pass from that which they can achieve alone to that which they can accomplish with adult assistance. This educational approach answers to a call for a more socially accountable art education addressing the child's need to deal with issues he encounters in his everyday life and as such is open to adult and cultural interference. A similar educational approach intends to challenge the long‐standing, non‐interventionist art educational theory also known as ‘child art’ and its contention that a prerequisite for a creative individual is expression free from social and adult influence.     

Drawing Development: From Similarity of Features to Direction

Children often are said to pass through a series of stages in learning to represent 3-dimensional objects, such as cubes, on a 2-dimensional picture surface. Drawings of cubes from 1,734 children and adults were collected. They were classified into 10 drawing types (5 distinguished by Willats, and some additional types, one taken from Caron-Pargue). Over 80% of 5-year-olds produced a single square to represent a cube. Also, over 80% of 14- and 15-year-olds and over 80% of adults produced a parallel-projection drawing. However, there are several routes between these two milestones of drawing development, since no other drawing type captured more than 23% of the drawings at any age between 6 and 13. It is instructive that some children produced drawings that never were made by any of the adults, while some adults produced drawings of cubes that young children did not. We suggest that these differences between children and adults show that the younger children use a similarity geometry with "feature-based" criteria, while the older children and adults use a vantage-point geometry that includes "direction-based" criteria.     

Intention and Meaning in Young Children's Drawing

In this article I present some ideas, based on qualitative research into young children's drawing, related to the developing discourse on young children's thinking and meaning making. I question the relationship between perception and conception and the nature of representation, challenging traditional ideas around stage theory and shifting the focus from the drawings themselves to the process of drawing, and thus to the children's own purposes. I analyse examples of my observations (made in naturalistic settings within a nursery classroom) to reveal the range of representational purposes and meaning in children's drawing activity. My analysis shows that, rather than being developmentally determined, the way children configure their drawings is purposeful; children can recognise the power of drawing to represent, and that they themselves can be in control of this. I explore aspects of the process, including transformation and talk to show the importance of understanding drawing in its specific contexts. I show how children's drawing activity is illuminated by the way in which it occurs and the other activities linked to it, presenting drawing as part of children's broader, intentional, meaning‐making activity. As an aspect of the interactive, communicative practices through which children's thinking develops, representation is a constructive, self‐directed, intentional process of thinking in action, through which children bring shape and order to their experience, rather than a developing ability to make visual reference to objects in the world. I suggest that in playing with the process, children are actively defining reality rather than passively reflecting a given reality.     

Relations between drawing cubes and copying line diagrams of cubes in 7- to 10-year-old children

Previous research has suggested both links and differences between children's copying of line diagrams and their drawings of solid objects. If the diagram represents a familiar object, children make more errors than when copying a diagram of a nonobject or unfamiliar object, as if they are drawing from their representation of the object rather than copying the surface features of the diagram. However, copying a diagram yields fewer and different types of errors than drawing the equivalent solid, which suggests a different process. In Experiment 1 (n = 72), possible relations between copying and drawing are investigated by asking children to draw a solid cube, then to copy or trace a line diagram of the cube in oblique projection, and finally to draw the solid again. Copying was better than drawing, and there was positive transfer to a subsequent drawing. Tracing was very accurate, but transfer to drawing did not occur, possibly because of the automatic nature of tracing. In Experiment 2 (n = 120) different groups received versions of the copying task that differed in the extent to which temporal order of line copying was structured. Asking children to copy the lines in a systematic order led to improved copies, but this performance did not carry over to a subsequent drawing of the solid. In contrast, when temporal ordering of line copying was not manipulated, there was positive transfer from copying to the subsequent drawing. In Experiment 3 (n = 80), provision of structure that emphasized faces by color-groupings of lines or coloring faces led to improved copies and did not hinder transfer to drawing the solid. Experiment 4 (n = 90) showed that in a solid drawing task emphasis on faces but not edges produced a positive effect, both on the immediate drawing and on a subsequent drawing of a plain cube. We conclude that emphasis on order of line copying improves performance in a copying task because in that case line-to-line matching is an important element of the skill, whereas this does not aid drawing of the solid object, in which the focus is primarily on representation of faces and their interrelations.     

Conversations Around Young Children’s Drawing: The Impact of the Beliefs of Significant Others at Home and School

Children learn to make meanings in communities of practice through interaction with more experienced others. Young children’s strategies for and attitudes to learning are determined by the sociocultural contexts in which they practise those strategies, including learning how to draw within the distinct cultures of home and school. Evidence of meaning making — 2 and 3D representations involving drawing, modelling and play with objects — was collected over one month periods in the Autumns of 98, 99 and 00 from seven young children in home and as they settled into new pre–school and school settings in the North of England. The evidence of the seven children’s meaning making, recorded by photographs and scrap books of their representations, was used as a stimulus in dialogues to elicit parents’ and practitioners’ beliefs about the value and significance of different modes meaning making, including drawing in the contexts of home and school. Their conversations were recorded and transcribed for analysis. Evidence from the perspectives of parents, practitioners and the children was triangulated with evidence of contextual features for learning around the children’s drawings. Episodes from analysis of the data sets will be used to illustrate how the children were inducted into the conventions of ‘school’ drawing whilst often retaining a distinct personal drawing agenda at home. Implications will be drawn for the status and function of drawing in the education of young children in formal and informal learning contexts.     

A Review of Children's,Teachers' and Parents' Influences on Children's Drawing Experience

In this article we argue that research into children's drawings should consider the context in which drawing occurs and that it is crucial to investigate the attitudes and practices of teachers, parents and children themselves that shape children's drawing experience and the drawings which they produce. We review the findings of seven empirical studies reporting data collected through direct observations, interviews and questionnaires from the three main players (teachers, parents and children) on the attitudes and practices shaping children's drawing. Issues covered include teachers' perceptions of the purposes and importance of drawing, support offered by teachers, parents and children for children's drawing endeavours, and possible factors that may lead to an age‐related decline in the amount of drawing children choose to do. We end the review by reporting some preliminary findings from our own large‐scale interview and survey study of 270 5–14 year old children, their parents and teachers, that provides a comprehensive assessment of attitudes and practices influencing children's drawing experience at home and at school. The findings provide further insight into the aforementioned issues, particularly children's, teachers' and parent's explanations of why children's drawing behaviour might decline with age. It is hoped that by reporting these preliminary findings some additional understanding of the context in which children produce their drawings can be gained and new areas for debate opened up.     

Drawing for others: influence of referential intention in early production of drawings / Dibujar para otros: influencia de la intencionalidad referencial en la producción temprana de dibujos

This study examines if and how the presence of an adult as a receptive agent of children’s drawings has an effect on the early production of pictorial symbols by emphasizing the children’s referential intention as drawers. To this end, we compared three-year-old children’s representational drawings with a model in four experimental conditions, three conditions with an adult as a receptive agent and one condition without a receiver. In the conditions with a receiver (Linguistic Feedback, Graphic Demonstration and Graphic Product) children were explicitly asked to draw for an adult, who had to use the children’s pictures to find hidden objects in identical boxes; the conditions differed in the adult’s actions with non-representational drawings. The results indicate that the presence of the receiver had an impact on representational production only when the adult demonstrated how to create the drawings with the intent of communicating the identity of the objects (Graphic Demonstration). Although drawing is typically viewed as a solitary activity, these results suggest that representational drawings may emerge in communicative contexts between drawers and receivers.     

When Adolescents Represent the Third Dimension: Three Case Studies

The main focus of this article is the representation of the third dimension. The sample is sixty adolescent 14‐year‐olds. Our research is concerned with the study of the drawings of the same array of 3D objects in three cases: the representation of 3D objects without the presence of models (through verbal instructions), by observation of physical models, and by observation of their digital models on a computer screen. The study examines the drawing techniques applied by adolescents to represent the 3rd dimension and the impact of the model (3D physical or digital model) in the drawing outcome. A comparison study of the three kinds of drawings of the same array of objects showed that 14‐year‐old children face serious difficulties in depicting the third dimension in the absence of a model, using mainly a mixture of drawing devices typical of earlier stages, according to theories of drawing development. On the other hand, when drawing from observation, the nature of the model seems to play an important role in the drawing outcome, with a clear superiority in performance when the model is digital. The findings of this study suggest that the more extended use of 3D models, either physical or digital, could help the better understanding of spatial relationships and evoke the use of more advanced drawing techniques for the depiction of 3D layouts. The study also suggests that a better understanding of the nature of graphic development in adolescence is essential for many areas of the curriculum.     

Children’s private speech during algorithmic and heuristic drawing tasks

This cross-sectional study examined the private speech and task-related activity of 108 school-aged children while they drew pictures of real objects (i.e., a house, a person, and an animal) and make-believe objects (i.e., a house, a person, and an animal) to investigate developmental and task-related changes in self-regulation. Composite scores for each first-grade (N=36), third-grade (N=36), and fifth-grade (N=36) participant were calculated from the repeated raw frequencies of overall private speech and private speech in conjunction with task-related behavior during the two types of drawing activities (i.e., real and make-believe). Scores were then analyzed using regression analysis and 3×2 (Grade×Task Type) ANOVA’s to explore study hypotheses. This study found that: (1) there was a concave curvilinear developmental trend in overall private speech production, (2) participants utilized more private speech during heuristic (i.e., make-believe) drawing tasks than algorithmic (i.e., real) drawing tasks, and (3) school-aged children used private speech in conjunction with task-related behavior in a different manner during the two types of drawing activities. These findings contribute to the Vygotskian perspective regarding the development and function of private speech.     

Drawing Development: Stages in the Representation of a Cube and a Cylinder

A new schema for defining developmental stages in the drawing of geometrical objects is proposed. In four studies, ( N = 917, 1851, 673, and 437, respectively) children and adults drew cubes and cylinders. The data demonstrate that the proposed stages appear in an invariant order: 2-year-old children almost always draw Scribbles; Single Units appear at the age of 3 years, Differentiated Figures at the age of 4 years, and Integrated Wholes after the age of 7 years.     

What do Children Think about the Drawing Process?

This study presents young children’s hypotheses about the process of drawing, i.e., it deals with the construction of knowledge in drawing from the child’s perspective. Using both a longitudinal and an exploratory design, the author followed the processes of production and ‘reading’ of drawings developed by six young children, aged 2 to 6, for three years. The author relates constructive studies about children’s drawings with their ideas in each stage of drawing. The results indicate that children conceive of drawing as an object in which action and thought are related.     

Temperament and Self-soothing Behavior in Children: Object Attachment, Thumbsucking, and Pacifier Use

Research Findings. Mothers of 4-, 6-, and 8-year-olds completed two questionnaires: (1) the Object Attachment Questionnaire, which was designed to provide information on children's attachments to soft objects, thumbsucking habits, and pacifier use, and (2) Rothbart's Children's Behavior Questionnaire (CBQ), which rated children on sixteen temperament dimensions. Discriminant function analysis showed that the best predictors for distinguishing between children who had never had an attachment to a soft object and children who had were: low intensity pleasure, impulsivity, approach/anticipation, attentional focusing, and sad- ness. Children with soft object attachments were rated higher (i.e. showed more) on all of these dimensions. None of the temperament dimensions distinguished between children who rarely sucked their thumbs and those who frequently did so, while children who had used a pacifier scored higher on two dimensions (activity level and approach/anticipation) than children who had not used a pacifier even though one was available. Results support the hypothesis that individual differences in temperament are associated with the development of attachment to objects. Practice. Children with attachments to soft objects and thumbs were not generally insecure or difficult to manage. The pattern of temperament differences, however, suggests strengths that teachers might make use of in the classroom as well as difficulties that might require staff intervention.     

Reading with a Crayon: Pre-conventional Marginalia as Reader Response in Early Childhood

Child-produced marginalia, annotations written or drawn in the margins of a text by a young reader, have been stigmatized as devaluing the book on which it was created and often dismissed as “graffiti.” Recent historical studies of marginalia created by older children, those who have mastered conventional writing and drawing, have challenged this notion by looking at extratextual annotations as a means to understanding children’s diverse uses of books as both intellectual and physical objects. However, pre-conventional scribbles on books by very young children have not been explored as artifacts of emergent literacy practices or reader response. Yet, scholarship in the fields of literacy education, art education, early childhood education and theories of place suggest that children can develop expectations for books in the first few years of life and that their earliest drawing experiences show evidence of intentionality. This reader response study draws from video data of three-year-old Elijah and his eighteen-month-old sister, Hannah, to explore the production, of pre-conventional marginalia in early childhood. The findings of this study suggest that toddlers and preschool-aged children can understand books as distinct and pleasurable artifacts in their immediate environments, that the marks they make in their picturebooks are evidence of reader response, that the act of drawing enables them to engage in a fictional landscape, and that pre-conventional marginalia can provide us with insight into very young children’s earliest aesthetic responses to texts.     

Make a drawing. Effects of strategic knowledge,drawing accuracy,and type of drawing on students’ mathematical modelling performance

Drawing strategies are widely used as a powerful tool for promoting students’ learning and problem solving. In this article, we report the results of an inferential mediation analysis that was applied to investigate the roles that strategic knowledge about drawing and the accuracy of different types of drawings play in mathematical modelling performance. Sixty-one students were asked to create a drawing of the situation described in a task (situational drawing) and a drawing of the mathematical model described in the task (mathematical drawing) before solving modelling problems. A path analysis showed that strategic knowledge about drawing was positively related to students’ modelling performance. This relation was mediated by the type and accuracy of the drawings that were generated. The accuracy of situational drawing was related only indirectly to performance. The accuracy of mathematical drawings, however, was strongly related to students’ performance. We complemented the quantitative approach with a qualitative in-depth analysis of students’ drawings in order to explain the relations found in our study. Implications for teaching practices and future research are discussed.     

Children’s Models about Colours in Nahuatl-Speaking Communities

This paper presents the development and structure of indigenous children’s ideas about mixing colours as well as their ideas about each colour, derived from their traditions. The children were interviewed both at school and outside it, and an educational proposal was implemented. Ideas expressed in the school context were analysed using the partial possible model, which states that the inferences and explanations used to describe a subject consist of constricting ideas, rules of correspondence, and a set of phenomenological inferences about processes. After identifying these components in the children’s ideas, we developed models to describe their conceptions about mixing colours. We employed a different approach to analyse children’s ideas related to their cultural context. The results showed that children change from a conception that focuses on colours as entities that do not change and as properties of objects (model 1) to the idea that colour represents a quality of substances or objects that can be modified by mixing colours (model 2). Cultural context analysis showed that stories are independent from one another and that they are not connected to colour mixing processes, only to the actions of colour on people. We concluded that students generate independent constructions between school and cultural knowledge.     

Judgement and production of drawings by 3- to 10-year-olds: Comparison of declarative and procedural drawing knowledge

In this experiment, 80 children between the ages of three and ten produced and judged drawings of a person and a house. Two alternative hypotheses were tested. Under the first hypothesis, young children have internal models of persons and objects which are comparable to those of adults, but they have problems implementing their knowledge and planning and managing the graphic activity. If this hypothesis is true, we should obtain an interaction between age and type of task (production vs. judgement). Under the second hypothesis, children’s drawings are a direct reflection of their internal models of the items drawn. This hypothesis predicted a significant positive correlation between performance on production and judgement. In the judgement task, the subjects were presented with pairs of drawings and asked to indicate the more elaborate drawing. For the house and the man drawing, children by the age of three were able to correctly determine the most elaborated of the two presented drawings. A strong interaction was obtained between age and type of task (production or judgement), due to the fact that the difference between production performance and judgement performance decreases with age. The discussion suggests a limited cognitive capacity hypothesis to account for the results, and proposes some possibilities for future studies.     

Problems in the Perception of Perspective in Drawing

It is well known that the shape and size of objects visually changes if the object's distance from the viewer and the position of the object changes. For these reasons, drawing three-dimensional objects on a picture plane demands not only knowledge of their external peculiarities, but also skills in matching the shape of objects to the peculiarities of visual perception which allows us to represent objects ‘truthfully’. However, this is one of the hardest tasks in drawing. It needs specific theoretical training in the construction of perspective. A review of textbooks and resource books on drawing published in different countries during the last 30 years reveals that a body of rules for linear perspective has evolved which is stable and interpreted similarly. However, explanations of the practical implementation of one-point perspective are not quite logical. This article covers some of the problems of the perception of perspective, and offers methodical recommendations for implementing perspective in training for drawing.     

Understanding ‘Together and Apart’: a case study of Edward’s explorations at nursery

Edward was one of 58 children studied by workers and parents as part of a study on Well‐being and Resilience at the Pen Green Nursery. Within the larger study, eight children were studied in greater depth in order to explore connections between cognitive and emotional development. Schematic theory and attachment theory were used as frameworks for analysing the observations. Video observations were made over a period of 18 months. These were viewed and analysed by a researcher, Edward’s mother and Edward’s Key Person in the nursery. Edward found separating from his mother extremely painful and repeatedly used his play with objects to explore ‘separation’ and ‘connection’. It is argued that children’s repeated actions may be prompted by current emotional needs and that links can be made between children’s schemata (repeated patterns of action) and emotional development by drawing on psychoanalytic theory. The author also acknowledges the novelty of this approach for her, as a teacher, although these kinds of interpretation are common within the fields of play therapy and psychotherapy and are used increasingly in education.     

Knowledge and Appearance in Children's Pictorial Representation

Seven and nine year olds were asked to draw two three‐dimensional objects (a cube and a wedge). When there was disjunction between their knowledge of the object's structure and its appearance (cube), they depicted the invariant rather than the variant features and produced rectangular solutions. When differences between the structure and the appearance of the object were minimised (wedge) most children drew a converging form. They could also accurately copy a two‐dimensional converging form. However, the children's knowledge of what the line drawing was supposed to represent did have an effect: in particular, they drew fewer converging obliques when the same line drawing was called a ‘building block’ (a rectangular object) than when it was called a ‘shape’ or a ‘house’ (an object known to contain obliques). A similar pattern of results was observed in a second experiment in which a selection task was used.