Children's drawings on their own are too complexly determined and inherently ambiguous to be reliable sole indicators of the emotional experiences of the children who drew them. Further research is needed to establish the extent to which such drawings can usefully facilitate assessment of children by other means or provide useful support as one of several converging lines of evidence.

Two studies are presented on expressive happy and sad drawings made by British 4‐ to 12‐year‐olds (n = 80 and 160, respectively) in which the drawings were assessed individually for the quantity and quality of expressive devices. Quantity was measured in the number of appropriate expressive content themes and formal properties evident in each drawing. Quality was rated on a Likert scale on the extent to which the drawing expressed the intended mood. Both the quantity and quality of expressive happy and sad drawings of predetermined and free topics increased with age. Improvements in content expression, but much less so with expressive formal properties, accounted for the development of quantity. A slower period of development between 6 and 9 years for both measures was consistently found, with a significant improvement often shown among the 12‐year‐olds. The finding that happy drawings were scored higher than sad drawings is explained in respect of adult and child expectations of pictures. Correlations between expressive scores and performance on a visual realism drawing task tentatively indicated that expressive and realism skills in drawing are only weakly related. The development of expressive drawing is considered in the context of the delivery of art education in schools.

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Concept: Few empirical studies have investigated the influence of teachers, parents and children on children's drawing experience. The current study aims to examine the attitudes and practices of these three key players that shape children's drawing experience. Method: A survey methodology was used, as typically found in previous research in this area. Participants were 270 5–14 year old children, 44 of their teachers of the National Curriculum for Art and Design, and 146 of their parents. The teachers and children participated in individual interviews and the parents completed a postal survey. Responses to most interview questions were transcribed and content analysis used to identify salient themes. The other questions involved responses on five‐point scales, these were analysed by reporting percentages. Results: The findings are discussed in five sections. First, the positive perceptions of children's drawing behaviour and attitudes. Second, the perceived importance and principal aims of the National Curriculum for Art and Design Education. Third, the numerous sources of encouragement and support for drawing development. Fourth, the differing perceptions of what constitutes a good and bad drawing. Fifth, issues surrounding an age‐related decline in children's drawing activity. Conclusions: The findings are related to theories of drawing education, and implications for children's drawings and drawing pedagogy are discussed.

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.

Little is known about how children's drawing ability may vary between different educational approaches. This study investigated the expressive and representational drawing ability of British National Curriculum, Steiner, and Montessori pupils aged 5 to 9 years old. Ability was measured from performance on specified drawing tasks. One hundred and 35 children participated, 45 from each educational establishment consisting of 15 from each of the three age groups, 5-, 7-and 9-year-olds. Participants completed three expressive drawings (depicting a happy, sad, and angry mtxxl) and three representational drawings (observational drawing of a wooden mannequin, a house from memory and a free drawing). Results indicated that for expressive drawings Steiner pupils generally depicted more content themes, used formal properties more expressively, and produced higher quality expressive drawings than Montessori and National Curriculum pupils. Where there were differences between National Curriculum and Montessori pupils the Montessori children tended to do better than the National Curriculum pupils on these measures. Although representational drawing development varied in younger Steiner pupils compared to their National Curriculum and Montessori peers, no differences were observed among the oldest children attending the three schools. The positive relationship between expressive and representational drawing performance was the strongest in Steiner pupils. The results suggest the art program in Steiner education is more conducive to nurturing expressive drawing ability than those delivered in Montessori and National Curriculum education, with seemingly no disadvantage in representational drawing ability in the primary school years.

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