Child's understanding and intentions are not always easy to read in drawings. This is particularly evident in the type of drawings we refer to as 'analytical drawings'. In order to understand analytical drawings made by preschool children, it is important to have a dialogue with the young authors. In our study, we examined the ability of students of pedagogy study programmes to interpret an example of a preschooler's analytic drawing where the intentions are not readily apparent. Using the example of an analytical drawing of a six-year-old girl, we designed a questionnaire that was administered to 226 students of the Faculty of Education at the University of Ljubljana. Using the questionnaire, we evaluated the students' ability to interpret the content and the child's intentions expressed in the analytical drawing, as well as their opinions about what they would find most useful to help them to interpret the girl's drawing. The results confirmed our hypothesis that it is impossible to understand, interpret, and evaluate these types of children's analytic drawings without a dialogue with a child.
Comparisons of performance in the Slovenian national assessment of knowledge at the end of primary school show lower results for pupils with special educational needs (SEN) in all school subjects and in arts education. Several authors highlight the hardships teachers face when working with pupils with SEN. Therefore, in the study we analysed the self-evaluation of competence for working with pupils with SEN among Slovenian art teachers in primary and secondary schools. The results show that the biggest challenges for Slovenian art teachers are the blind and visually impaired pupils and pupils with autistic disorders. They often offer the pupils adjustment in terms of achieving psychomotor goals. However, they are less able to identify pupils' problems in the socioemotional sphere and to use adjustment in relation to specific groups of pupils with SEN. Our research provides an insight into practice and thus a basis for further research in this area.
Differences in drawing development are conditioned by genetics, environment and individuality of children. Therefore, it is exciting to observe the drawing development in children, who are raised in the same environment and have a similar genetic basis, that is in twins, triplets, and so forth. In the study, we were interested in the similarities and differences in the drawing development of the triplets, two of which were identical twins (B1 and B2) and one was non-identical (A), and whether the characteristics of the drawing appear more congruently between B1 and B2 than with A. We proposed two hypotheses: H1: There are more similarities in drawings between identical twins (B1 vs B2) than between identical and non-identical one (A vs B1 and A vs B2); H2: The differences between non-identical and identical triplets are less pronounced at the beginning of the drawing development (in doodle phase) and become more distinctive in later development, in drawing of figure and space. We analysed 123 drawings that the triplets (41 drawings of each triplet) drew from 1 to 12 years of age at the same time and on the same topic. The results of our research have shown that both hypotheses can be confirmed. On the general level, there are more similarities in drawing between identical twins compared to non-identical ones; and the differences and similarities become more distinctive throughout the development, especially in figure drawing and in the depiction of space.
The author explores the explicatory powers of the method of hypothetical artwork modelling on the problematic taken from colour theory. While constructing two hypothetical artwork models, the author tries to show that the painters' fallacy concerning primary colours is not necessarily a fallacy at all.
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