An Iconoclastic View of the Imagery Sources in the Drawings of Young People

Wilson, Beth; Wilson, Marjorie

doi:10.2307/3192209

Cited by 112 publications

(80 citation statements)

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“…Children can shortcut the translation of 3D reality onto twodimensional drawing paper by copying from model drawings (drawing from a drawing; 2D-2D mapping), which provide them with a direct line-to-line matching for their own drawing (Bremner et al, 2000;Chen & Cook, 1984;Wilson & Wilson, 1977). However, that between one half and two thirds of the 7-to 8-year-old children already drew in perspective from 3D models was a truly astonishing finding because it required 3D-2D translation.…”

Section: Perspective As a Propertymentioning

confidence: 99%

Do drawing stages really exist? Children’s early mapping of perspective.

Lange-Küttner¹

2014

Psychology of Aesthetics, Creativity, and the Arts

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Drawing in perspective seems to involve a prolonged development and is not usually present in children's drawings before about age 9 -at least as found in previous research. In the study presented here, we built several three-dimensional spatial models to simulate the developmental stages of children's spatial drawing systems, a simple platform without spatial constraints (Stage 1), and a platform with walls and a sky lid (earth model; Stage 2). Stage 3 (orthogonal) and Stage 4 (perspective) models had explicit boundaries around the spatial field to denote areas and a matched control that controlled for the surround area outside of the boundaries. Four age groups from 7 to 10 years of age drew five non-overlapping figures. All age groups adapted the average figure size to the level of the spatial system (stage) of the models but only when explicit spatial field boundaries were available: The more advanced the spatial system, the smaller the average figure size. It was striking to note that 7-to 8-year-old children drew in perspective as often as 9-to 10-year-olds when the spatial models had a trapezoid field with converging diagonal sides. This early perspective mapping may have occurred because of the agreement between retinal image (appearance) and design (identity) of the perspective models. Hence, it would be more useful to think of the perspective drawing development as a layered rather than as a stagewise process because typically developing young children can access low-level visual information and draw in perspective instead of deploying high-level conceptual knowledge about the geometrical principles of perspective construction.

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Section: Perspective As a Propertymentioning

confidence: 99%

Do drawing stages really exist? Children’s early mapping of perspective.

Lange-Küttner¹

2014

Psychology of Aesthetics, Creativity, and the Arts

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“…И по-ред тога што су од тада спроведена многа ис-траживања која су доказала да такав приступ не обезбеђује довољно позитивних ефекта у дечјем развоју у домену визуелних уметности (Eisner, 1976, Burton, 1980према: Kindler, 1995;Wilson & Wilson, 1977), он се и даље примењује Марија М. Павловић у многим предшколским установама и основ-ним школама у свету. Предмет ових истражи-вања је углавном била улога васпитача и учи-теља у развоју дечјег ликовног изражавања, али и њихова улога у унапређењу дечјих способно-сти разумевања ликовних дела, развијања гово-ра, стицања нових знања помоћу уметности итд.…”

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Significance of interaction child, teacher and a piece of art

Pavlović¹

2015

Inovacije u nastavi

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На почетку 20. века главна доктрина у об-разовању у уметности био је приступ усмерен на дете. Веровало се да децу треба пустити да 1 marija.pavlovic@uf.bg.ac.rs 2 У својој песми Мацуо Башо описује растанак са учени-ком.се природно развијaју у домену ликовног изра-жавања, уз што је могуће мање спољашњих ути-цаја, управо због потенцијалних негативних по-следица које ти утицаји могу имати на дететове креативне потенцијале са којима се рађа. И по-ред тога што су од тада спроведена многа ис-траживања која су доказала да такав приступ не обезбеђује довољно позитивних ефекта у дечјем развоју у домену визуелних уметности (Eisner, 1976, Burton, 1980 према: Kindler, 1995;Wilson & Wilson, 1977), он се и даље примењује

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“…These findings are used to highlight the diverse ways in which children can approach art-making and how these can disrupt established perspectives on children's art-making including the popular notion of 'self-expression', which suggests an outward manifestation of inner ideas and feelings (c.f. Dyson, 2010;MacRae, 2011;Wilson & Wilson, 1977). While this diversity may be foregrounded in the context of digital resources, it is not specific to them, and it can be used to reflect on the approaches taken towards children's art-making in general, regardless of the resources involved.…”

mentioning

confidence: 99%

Narrative in young children's digital art-making

Sakr

Connelly

Wild

2016

Journal of Early Childhood Literacy

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Digital technologies have material and social properties that have the potential to create new opportunities for children's expressive arts practices. The presence and development of oral narratives in young children's visual art-making on paper has been noted in previous research, but little is known about the narratives children create when they engage in digital art-making. How do young children construct narratives during digital art-making? How do the features of these narratives relate to the social and material properties of the digital resources they are using? How can looking at these narratives inform and enrich our understanding of children's art-making in general? Drawing on a social semiotic perspective, these questions are explored through an in-depth analysis of narrative in three examples of four- to five-year-olds' digital art-making. On the basis of the analysis, features of oral narrative in young children's digital art-making are suggested and these are linked to the potentially influential properties of digital resources. Being aware of these features and properties offers a starting point for thinking about what digital resources can offer in the context of young children's art-making. The findings also prompt us to be aware of the diverse potentials that exist in children's art-making practices regardless of the resources being used.

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An Iconoclastic View of the Imagery Sources in the Drawings of Young People

Cited by 112 publications

References 0 publications

Do drawing stages really exist? Children’s early mapping of perspective.

Do drawing stages really exist? Children’s early mapping of perspective.

Significance of interaction child, teacher and a piece of art

Narrative in young children's digital art-making

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