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A CHILD'S DRAWING ANALYSIS

A Child's Drawing Analysis Research Paper
Jennifer Kempa
University of Missouri





















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A CHILD'S DRAWING ANALYSIS


Art education, in addition to being a valuable content area of the curriculum in its own
right, also aids in the development of basic skills in all children. Children can actually learn
through art activities, since art can help develop skills that are necessary for cognitive,
communication, and critical thinking skills. It is a teacher's job to aid in the development of such
skills and to ensure that each child is able to participate in the creation and learning of art. Sadly,
art often has a marginalized place in the classroom despite its immense capability to allow us
into the thinking processes of children (Eisner, 2002). By disallowing students the opportunity to
use art, society is only disadvantaging itself of a critical way of thinking. Art has a place in the
classroom because it is something we already have within us; expression. It has the capability to
articulate what we cannot say, give perspective on something we didn't know, and enlighten us
on the true creativity, imagination, and genius of the brain. Without art, we are only limiting
ourselves. One subject is not more important than another, making it crucial to allow time for art
so that children can develop and expand on the life of creativity everyone is entitled to have, and
should have had all along.
Method
It is generally recognized that children learn and develop in many stages. It may come to
no surprise that children learn and develop art skills in stages as well. These art stages are known
as Lowenfeldian stages, consisting of the preschematic, schematic, gang age, and pseudo-
naturalistic stages. Each stage is identified by certain characteristics that show up repeatedly in
their artwork categorized into age groups. Knowing about these stages can be particularly
resourceful for teachers as they "are better able to choose age appropriate teaching methods and
assessment strategies that will help them develop the whole potential of every student"
(Luehrman and Unrath, 2006, pg. 72). According to Lowenfeld and Brittain, "children progress
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through [these] stages of development in their artwork in predictable ways", however, "with wide
variations within an age norm or stage" (1970, pg. 37). In other words, relating these stages of
growth in art directly to chronological age may not always be appropriate considering there are
many factors that can contribute to artistic development, far more than age. As Luehrman and
Unrath (2006) say," it is important to remember that the Stage Theory should not be rigidly
interpreted, but rather used as a reference material. It should not be prescriptive in terms of what
to expect of an individual child" (pg. 73). It should merely outline basic characteristics of
drawings in order for teachers to better understand where there students are at, allowing them
opportunity to instruct at a level appropriate for the general stage the student is in to further their
skills.
In order to explore these theories, I have chosen a child's artwork (Figure 1) to identify
and place within a stage I feel the child is currently in, in association with the Lowenfeldian
stages. I will describe and examine the drawing while relating it to previous theories of children's
development in art according to certain attributes and techniques found within the child's
drawing.

Figure 1. Example drawing in the Schematic Stage
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Description and Analysis
The drawing I have chosen is a pencil sketch with many techniques involved. It seems to
be a person jogging along a path with a bat in the sky. The body of the person is very
proportional, and was made with curved edges that appeared to have been thoroughly thought
out as evidenced by the detail of the hands, feet, and face. The pathway or road the person in the
drawing is running along also happens to be shaded along with the clothes of the person.
Interestingly enough all of these items are different shades, suggesting that the child had put
thoughtful consideration into the drawing with the simple utensil he had. The head was made
with a circle and upon it there is a tiered hat. In this sky there is a bat that appears to be flying
alongside the jogger, with two dots for eyes and a shaded circle for a mouth. This is the only
other object aside from the jogger who appears to be the central focus of the drawing. Taking this
into consideration, the viewer might decide that the smile might actually be a grimace, as people
generally have a fear of bats and the person in the picture is running, and all alone. Though this
should not be assumed.
After some analysis I believe this student is in the Schematic Stage of drawing.
According to Lowenfeld and Brittain (1970), the artwork in this stage is comprised of "bold, flat
representation" ( pg. 49). This is represented in the drawing considering all of the objects are flat
with no dimensional aspects occurring to them. Although many objects are shaded, this was
merely just for color or contrast, without the intention of adding dimensional elements to the
drawing. In addition, Lowenfeld and Brittain (1970) also state that the Schematic Stage has the
"establishment of a base line on which objects are placed, with the space between representing
the air" ( pg. 49). As mentioned before, this drawing includes the ground, which the person in the
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picture is placed on, suggesting it as a baseline. The decision that this student is in the Schematic
Stage is demonstrated again with regards to the human representation of the jogger. Lowenfeld
and Brittain (1970) suggest that in this stage "the arms and legs show volume and are usually
correctly placed" (pg, 49). This is evidenced by the fact that the person is this drawing is very
proportional. Additionally, the environment is symbolized (Lowenfeld and Brittain, 1970, pg.
49). This drawing could be a representation of something the child saw someone experience,
experienced himself, or saw on television.
Overall, this student displays the many attributes associated with Lowenfeld's Schematic
Stage of art. He appears to have progressed gradually, perhaps through the help and
encouragement of a teacher considering he demonstrates many qualities such as an established
baseline, proportion, and symbolization through his environment. In order for there to be a
continuation in development of these stages it is imperative for the child to be supported and
receive the necessary instruction to progress. Erickson and Young (1996) were very insightful
when they said "children's abilities to create drawings and to understand art develop in a parallel
fashion to changes in their cognitive, emotional, social, and physical growth" (pg. 37). The
instruction should never stop, as people never stop growing, at least emotionally, cognitively,
and socially.
Conclusion
There is an incredible value in understanding children's artwork, in addition to
understanding its contributions to a better, more significant and expressive society. Art has the
incredible power to add meaning to our lives and the pursuit of it can only lead to more enriched
lives and an improved condition of the human spirit. As a teacher, it is invaluable to integrate art
into the classroom, with much support given to students as they develop through the stages. This
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can only improve our understandings of each other, and establish art as a subject we hold
important to us. As stated by Eisner (2002), "the arts position in the school symbolizes to the
young what adults believe is important" (pg. 3). Art should no longer be ignored and instead
cultivated and encouraged as a means of expression we can all partake in. An educational
curriculum with a greater emphasis and appreciation for art can only improve a world in which
we are all oppressed by the abundance of analytic approaches and standards.

















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References
Eisner, E. (2002). What the Arts Teach and How It Shows. The Arts and The Creation of
Mind. In Chapter 4 (pp. 70-93). London: Yale University Press.
Erickson, M., & Young, B. (1996). What Every Educator Should Know (But Maybe
Doesn't Know). School Arts. (pps. 40-42).
Lowenfeld, V., & Brittain, W. L. (1970). Creative and Mental Growth. New York:
Macmillan. (pp. 474-479).
Luehrman, M., & Unrath, K. (2006). Making Theories of Children's Artistic
Development Meaningful for Pre-Service Teachers. (pp. 71-77). Art Education.