Framing a Developmental Psychology of Art

Pufall, Peter B.

doi:10.1159/000278719

Cited by 6 publications

(2 citation statements)

References 13 publications

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“…Thus, research in this area needs to account for children's drawing ability, level of motor-cognitive development, and emotional attitude towards topics within the drawing situation. This is indeed a complex task, yet the complexity of the process of how children's drawings are shaped and interpreted is a necessary challenge to anyone interested in understanding what children are attempting to represent through their drawings, both in functional and symbolic terms [16].…”

Section: Introductionmentioning

confidence: 99%

Drawings of Emotionally Characterised Figures by Children from Different Educational Backgrounds

Burkitt

Barrett

Davis

2005

International Journal of Art &Amp; Design Education

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Previous research has shown that children systematically alter the size and colour of their drawings in response to the emotional character of the figures which they draw. However, these findings have been demonstrated only with children receiving mainstream Western education. This experiment was designed to investigate whether children receiving a different kind of education also use scaling and colour differentially for depicting figures of contrasting emotional significance. 76 children, 44 children from mainstream schools (21 boys, 23 girls) and 32 children from Steiner schools (15 boys, 17 girls) were divided into two age groups, with 38 children in the younger age group (mean age 4 years 7 months) and 38 in the older age group (mean age 6 years 8 months). All children completed three drawings of differentially characterized human figures: a neutral, a happy, and a sad figure. Children from the mainstream schools drew larger figures overall, but educational background did not interact with the specific emotional character of the figures in producing these scaling changes. However, there were differences between the two educational groups in relation to the colours used for the negatively characterised figures. The findings are discussed in terms of the need to further understand the role of the educational system in mediating children's depictions of emotional character in their drawings.

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Section: Introductionmentioning

confidence: 99%

Drawings of Emotionally Characterised Figures by Children from Different Educational Backgrounds

Burkitt

Barrett

Davis

2005

International Journal of Art &Amp; Design Education

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“…The concept of affordance has been used to analyze new communication technologies in the workplace (17). This concept has also been incorporated into theories describing a person's ability to use tools (18,19), the developmental psychology of art (20), geographic information systems (21,22), and the characteristics of unique identifiers such as universal price codes (23).…”

Section: Theory Of Affordancesmentioning

confidence: 99%

How Students Use Scientific Instruments To Create Understanding: CCD Spectrophotometers

Malina

Nakhleh

2003

J. Chem. Educ.

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Looking for the development of artistic style in children's artworlds

Pufall

Pesonen²

2000

New Directions for Child and Adolescent Development

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We develop the proposition that children's drawing style is sustained and developed in "artworlds"-a symbolic reality constrained by social valuings of art and opportunities to do art, as well as children's personal themes and representational skills that change systematically over development and with artistic experience.Looking for the Development of Artistic Style in Children's ArtworldsIn this chapter we explore persistence and change in children's artistic style, specifically their style in graphic media. Style is a term with a rich set of meanings in both folk discourse and academic study. We do not offer an a priori definition of style but rather a promise to reveal a clearer conceptualization of it by situating our analysis in a social context called artworld (Becker, 1982;Parsons, 1988;Pufall, 1997). Artworlds are loosely structured social organizations within which people cooperate to create favorable conditions for producing works of art (Becker, 1982). These are social worlds that are mutually constructed by children and adults for the purpose of creating images or forms from a variety of media. These worlds emerge in different places and for different reasons. For example, artworlds of early childhood are realized at kitchen tables at home and easels in a classroom. Adults enter these worlds in different ways. Sometimes they merely promote them by urging children to draw, paint, or sculpt with the materials they provide but with little or no instruction about what it means to carry out those creative activities. In other cases they formally instruct children about the what and why of the adult artworld.Children participate in these worlds at several levels, giving them form and purpose. They explore the media and the various marks that different materials make as they are brushed or dragged across a surface. As children gain control over the media, they begin to explore personalWe are indebted to Lela Gandini for the scholarly contributions she made to the development of our studies of style, to Rebecca Whitin, Pamela Mavanski, and Ellen Kitchell, who assisted with this research, and to the Office of Admissions at Smith College, who supported their work through the STRlDE Program.NEW DIRECTIOUS mu CwLn Avn ADOI t j C t Y T DWELOPHENI. no YO. wmer zooo Q J O W~. B~S S .

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Framing a Developmental Psychology of Art

Cited by 6 publications

References 13 publications

Drawings of Emotionally Characterised Figures by Children from Different Educational Backgrounds

Drawings of Emotionally Characterised Figures by Children from Different Educational Backgrounds

How Students Use Scientific Instruments To Create Understanding: CCD Spectrophotometers

Looking for the development of artistic style in children's artworlds

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