1. Viktor Lowenfeld Social Emotional Perceptual Physical Psychological
In our present educational system most of the emphasis has been put upon the learning of factual information...the ability to learn differs from age to age and from individual to individual; this ability to learn involves not only intellectual capacity but also:
Social
Emotional
Perceptual
Physical
Psychological

2. Consider Gardner’s Multiple Intelligence
Linguistic intelligence ("word smart")
Logical-mathematical intelligence ("number/reasoning smart")
Spatial intelligence ("picture smart")
Bodily-Kinesthetic intelligence ("body smart")
Musical intelligence ("music smart")
Interpersonal intelligence ("people smart")
Intrapersonal intelligence ("self smart")
Naturalist intelligence ("nature smart")

3. It is the interaction between the symbols, the self, and the environment that provides material for abstract intellectual processes.
Mental growth depends upon a rich and varied relationship between a child and her/his environment—this relationship is a basic ingredient of a creative art experience.

4. Schematic Stage The art product is an indication of the way the child
interprets and
comprehends
information.

5. Schema vs. Stereotype

6. Schema is altered only when special meaning is conveyed
Schema is altered only when special meaning is conveyed. Growth cannot be measured by the tastes or standards of beauty that may be important to an adult.

9. No art expression is possible without self-identification with the experience expressed as well as the material by which it is expressed. Consider “Traffic Jam.”

13. There is now a definite order in space relationships
There is now a definite order in space relationships. A child now thinks, “I am on the ground, the car is on the ground, the grass grows on the ground.” This is expressed by symbol which is called the base line—actual and implied.

16. A counterpoint to the base line appears in drawings as a sky line
A counterpoint to the base line appears in drawings as a sky line. Note the accommodation in the schema.

18. The showing of two base lines usually is a later development, and a step toward perspective in drawings.

19. Folding over expresses a space concept by drawing objects that appear to be upside down.

20. It is important in any motivation to be sure that each child is personally involved. However, there should be a wide range of topic so that the child has the opportunity to identify with her own particular interests.

21. Subjective space experiences can result in plan and elevation.

24. The active knowledge of the child reveals her understanding of and interest in the world about her, and this is what is expressed in her art work.

25. X-ray pictures occur when a child mixes up the inside and the outside in her drawings. Sometimes the child will become so involved with the inside that she will treat the outside as if it were transparent.

27. in one drawing, different
Space and Time
Representations
Include,
in one drawing, different
time sequences or
spatially distinct
impressions. Just as a
child invents a way of
showing two and three-
dimensional objects,
sometimes by using
plan and elevation at
the same time, so he
also invents a way of
showing events that
occur in sequence.

28. Rarely does the basic
schema itself change,
but rather variations
can
often be noticed in
sections or parts.
Three
principle forms of
deviation are:
Exaggeration of important parts
Neglect or omission of unimportant parts
Change of symbols for significant parts

29. from which details will be developed; this method is
Pulling the clay
out from the
whole means to
have a concept of the
total, however vague,
from which details will be
developed; this method is
called the analytic
method.
The other method of expression described as putting single representative symbols together into a whole means that the child is building up a synthesis out of a partial impression; this is the synthetic method.

30. Pulled out or putting together is not merely a superficial means of achieving form, but grows out of the child’s thinking.

31. Wilson, Wilson & Hurwitz
Tendencies in Children’s Initial Image Drawings:
Avoidance of overlapping
Most common view
Repetition of successful configurations

32. Tendency towards balance
Embellishment
Size
Transparency
Mixed viewpoints

33. Dawning Realism/Gang Age
Children at this age are becoming increasingly aware of their real world, a world that is filled with emotions, but emotions that are hidden from adults. Increasingly problems face the teacher: students are less motivated to study and they show greater disrespect for authority.

34. Disappearance of base line and emergence of the plane
Overlapping of objects
Beginning of interrelationship between objects
Attempts at showing depth through size of objects

35. Rigid Schema no longer prevails
Greater awareness of clothing details

36. Less exaggeration, distortion, and omission of body parts to show emphasis
Greater stiffness of figures

37. X-ray drawings, and drawings using fold-over, are now criticized by the children themselves as being unnatural.
The ability to arrange several images on a piece of paper so that they have a relationship to one another means that the child is able to deal with these objects simultaneously, rather than merely to arrange them in a line, as in the previous stage of development.

38. The ten year old girl who made this drawing used multiple base lines
The ten year old girl who made this drawing used multiple base lines. The limbs of the elaborate tree overlap the foliage, and the sun is peeking out from behind a cloud.

39. The inspiration for working with Materials should come directly from the structure and nature of the material itself. In the world’s greatest cultures, workmanship and skill have been inseparable from design.

40. The girl who drew this struggled with the perspective but was able to represent the scene from a single point of view.

41. Fences may seem to be flat on the ground, folding in or out of the field. Solving the problem of negotiating the corners seems especially difficult.

42. Children are becoming increasing critical of each other and themselves, and some will hide their art work or make some disparaging remark about their efforts.
Much of the information that has been drilled into students in the classroom tends to be meaningless. The fact that the pilgrams lands in 1620 is readily repeated in a test, but whether 1620 was before the last Ice Age is not clear. Therefore…..

43. When you create art experiences for your students...
Consider...
When you create art experiences for your students...

44. Did the idea originate with the child or with the teacher?
If the source was the child, did the idea evolve from his/her life experiences or previous artwork?
Who made most of the decisions about the work? The person making the choices is the person learning.

45. Did the process supply most of the form or did the child?
Was the uniqueness of each child’s art expression encouraged?
Has novelty of materials become a defense from meaningful expression?

46. What types of subject matter would be appropriate and of interest to elementary students?
What types of media and techniques would be appropriate and of interest to elementary students?
Should art history be taught at the elementary level? Why or why not?
Should art criticism and aesthetics be taught at the elementary level? Why or why not?
Look through Arts and Activities, School Arts and Scholastic Art and find lessons you feel are good as is, lessons that could be good with modification (describe your modifications) and those lessons that are poorly constructed.