Young in art_devt_stages

Young in Art
a developmental look at child art
© Craig Roland 1990, 2006
www.artjunction.org

Introduction
As a result of the child study movement in the early 1900s, it is generally recognized
that children progress through certain stages of development in their art making. Each
stage may be identified by certain characteristics that show up repeatedly in their artwork.
These stages have been linked to chronological age (particularly from 18 months to 6
years). However, a number of factors (both internal and external) affect a child’s artistic
development.Thus, to expect that a particular child at a certain age should be at a certain
stage of development is inappropriate.
A number of theoretical models have been offered over the years to explain children’s
artistic development.While these models may vary (e.g., in the number of proposed
stages), they all propose a similar pattern of development—one of progressing from scrib-bling
to realistic representation. Other generalizations that may be made include:
• Socioeconomic factors seem to have little influence on the earliest stages. For
example, all children begin drawing by scribbling. Moreover, girls and boys tend to
draw alike at the early ages.
• Children’s drawings typically show greater development than paintings because
crayons, markers, and pencils are easier to control than paint and a brush.
• Considerable overlap exists between stages.Two stages may be represented in one
work and a child may regress to a previous stage before advancing to the next stage.
• It is unlikely that a child will reach the later stages without adult support or
instruction. In other words, development in art is not universal and is dependent
on the environment in which a child grows up and is educated.
The following account suggests that there are four stages of children’s artistic develop-ment:
scribbling, pre-symbolism, symbolism, and realism. It is based on the popular view
that the desired “end state” of this progression is graphical realism. However, this should
not be taken to mean that the drawings that children typically do in earlier stages are
inferior or less desirable to those accomplished in later stages. On the contrary, some of
the more aesthetically pleasing works often are produced by children just beginning to
discover the joys of mark making.
1

Art Begins with Scribbling
All young children take great pleasure in moving a
crayon or pencil across a surface and leaving a mark.
This form of mark making or “scribbling” represents
children’s first self-initiated encounters with art.
Children typically begin scribbling around one-and-a-half
years of age. Most observers of child art believe
that children engage in scribbling not to draw a picture
of something; rather they do so for the pure enjoyment
of moving their arms and making marks on a surface.
Recently, however, a few researchers have challenged
this traditional view by showing that young children do
occasionally experiment with representation even
though their scribbles may not contain any recognizable
forms.This new perspective suggests that children’s
earliest mark-making activities may be more complex
than previously thought.
When children first start scribbling they usually
don’t realize they can make the marks do what
they want.They often scribble in a random fash-ion
by swinging their arms back and forth across
the drawing surface (fig. 1 & 2).The lines they
make may actually go off the paper.They may
even look away from the page as they work.
But, it doesn’t take long for children to recognize
the relationship between their movements and the
marks on the paper. As this discovery unfolds,
children begin to control their scribbles by vary-ing
their motions and by repeating certain lines
that give them particular pleasure. Longitudinal
marks in one or more directions may result.
Circular patterns and geometric shapes begin to
appear as children’s perceptual and motor abilities
increase (fig. 3). Lines are combined with shapes
to form various patterns and designs. Letter-forms,
especially those in the child’s name, may
show up among the marks on the page (fig. 4).
Figure 1: Random scribble
Figure 2: Random Scribble
It is unfortunate that the very word "scribble" has
negative connotations for adults.
- Viktor Lowenfeld
2

Figure 3: Controlled scribble
As children gain control of the marks on the page,
they start to name their scribbles and engage in
imaginative play when drawing.A child may an-nounce
what he or she is going to draw before
beginning or may look at the marks on the page
afterwards and say, “This is mommy.” On another
day, the child may look at the same drawing and
say, “This is my dog.” To the adult, these drawings
may be neither recognizable nor remarkably dif-ferent
from early scribbles done by the child.Yet,
to the child making them, these seemingly
unreadable marks now have meaning.
Figure 4: Controlled scribble
The Teacher’s and Parent’s Role
For most youngsters, scribbling is intrinsically reward-ing
in itself, and thus no special motivation is needed.
Perhaps the best contribution that the teacher or parent
can make is to offer children the proper materials and
the encouragement to engage in scribbling.
In selecting appropriate art materials,it is important to
provide scribblers with a medium that enables them to
easily gain control of their marks.Tools such as crayons,
non-toxic markers, ballpoint pens, and pencils work
well.Watercolor paints, on the other hand, are difficult
for young children to control and should be avoided.
Tempera paint can be used provided it is a fairly thick
consistency so that it doesn’t run down the page.
Color does not play a particularly important role in
scribbling.The colors offered should be few in number
and provide good contrast with the paper used. A dark
crayon, marker, or pencil is recommended along with
white or manila paper (12 by 18 inches).With tempera
paint, provide a large fairly absorbent sheet of paper
(18 by 24 inches) along with bristle brushes (one-half
inch in width). Children can work on the floor or any
other horizontal surface when scribbling.
Talking With Scribblers
When talking with the beginning scribbler, simply com-ment
on the child’s movements when scribbling. For
instance, notice how fast the child’s arm is moving or
how big the child’s movements are. As the child gains
control of scribbling, comment on the variety of move-ments
and different marks the child has made. For
instance, notice the number of circles the child has
made or the “nice lines going around the page.”
As the child starts naming his or her scribbles, listen to
the child’s comments and use the meanings offered by
the child as a source for dialogue. For instance, if the
child says, “This is daddy,” ask questions like “Is your
daddy tall? Does he pick you up? Where do you go with
your daddy?” If the child says, “I’m running,” ask ques-tions
like “Do you like to run on the playground?” or
“Where are you running?” Encouraging the child to ver-balize
his or her thoughts, feelings and experiences
independently shows the child that you value what he
or she has done.This sort of thoughtful praise will help
children to be enthusiastic and imaginative in their
future art encounters.
3

Pre-Symbolism: The Figure
Emerges
Around three to four years of age, children begin
to combine the circle with one or more lines in order
to represent a human figure.These figures typically
start out looking like “tadpoles” (fig. 5) or “head-feet”
symbols (fig. 6). It is not uncommon for chil-dren’s
first representations of the figure to be highly
unrealistic or to be missing a neck, body, arms, fingers,
feet, or toes. Children may, in fact, draw two tadpole-like
forms to show their mother and father without
making visible distinctions between the two figures.
Figure 5: A family portrait consisting of several tadpole figures
Figure 6: Head-feet symbols
Several theories have been proposed to explain the “tadpole” phenomenon and
the reasons why young children tend to draw unrealistic or incomplete human
forms. Some experts suggest that children omit bodily features because of a lack
of knowledge about the different parts of the human body and how they are
organized. Others argue that children don’t look at what they are drawing;
instead, they look at the abstract shapes already in their repertoire and discover
that these forms can be combined in various ways to symbolize objects in the
world. Still others believe that children are simply being selective and drawing
only those parts necessary to make their figures recognizable as human forms. It
is important for teachers and parents to consider, from a diagnostic standpoint,
that a child whom omits certain features when drawing a person may do so quite
unintentionally; and, thus, caution should be exercised when interpreting a
child’s drawing as a reflection of personality or intellectual growth.
4

From an educational standpoint, teachers should also
consider that experiences designed to extend children’s
awareness of their own body parts often result in more
compete representations of the figures they draw. For
instance, children who depict figures without arms or
hands might be given the opportunity to play catch
with a ball and then to draw a picture of themselves
“playing catch.” Children will likely include arms and
hands in their drawings since these parts are required to
engage in this activity. Just asking children to draw such
an experience is usually not enough.They need to
become actively engaged in the activity being depicted
in order to develop a personal awareness of the details
involved.
Variations in the Figure
Children, four and five years of age, will experiment
with various ways of drawing the figure and may depict
the figure quite differently each time they draw.
Sometimes, they create figures quite unique to the per-son
or the experience being depicted. For instance, a
four year-old boy depicted a person walking in figure
7. Notice that the child has drawn this person with
greatly over exaggerated feet to symbolize walking.The
four year-old who drew the picture of her family
shown in figure 8 has added whiskers and long arms on
her “daddy” to express the feeling of being picked up
and hugged by her father. She has drawn her mother
with a body and legs, but no arms; and has shown her
brother and herself as two heads without bodies. Such
drawings tend to describe more how children of this
age think or feel about the things around them rather
than what they actually see when
they look.
Figure 7: Walking figure
If the continued omission of parts in a child's drawing of
figures proves disturbing, stimulate his consciousness of the
omitted part through play and discussion.
- David Mendelowitz
Figure 8: A family portrait
There is considerable evidence to
suggest that children who draw fig-ures
without bodies, arms or legs
are certainly capable of identifying
these parts when asked to do so,
but the idea of creating a realistic
likeness of a person has not yet
occurred to them or occupied their
interest (Winner, 1982). Such a
concern doesn’t typically show up
until the age of seven or eight.
5

Art and Self-image
The sensitive self-portrait shown in Figure 9 was drawn
by a four-and-a-half year old boy and is typical of the
kind of drawings done by children at this stage.The
head is drawn larger because of its importance to the
child (it’s where eating and talking goes on) and the
subject of the drawing is the child himself.Through the
act of drawing or painting, a child may explore several
self-possibilities before arriving at a satisfying self-image.
In this way, art plays a crucial role in the self-defining
process.
When planning for drawing and painting activities,
teachers should consider that four and five-year olds
tend to be egocentric in nature; and, thus, motivational
topics which enable these children to express
something about their emerging concepts of
self are particularly beneficial.Talking with the
children about their personal experiences such
as those associated with family, school, friends,
and pets will often provide ideal starting points
for their art encounters to begin.Topics that
include “I” or “my” help the child to identify
with the subject matter suggested. For instance,
appropriate drawing and painting themes for
children at this age include “I am going to
school,” “My family” and “I am playing with
my friends.”
The Young Child’s Concept of Space
As young children become increasing aware of the
world around them, the many objects that make up
their environment will begin to appear in their draw-ings.
These objects are seldom drawn in relationship to
one another in position or size. Nor are they organized
on the page the way in which they are related spatially
in the world. Instead, objects will typically appear to
“float” on the page in the drawings and paintings done
by children of preschool age (fig. 10).This type of spa-tial
organization may appear to an adult as incorrect in
that it doesn’t follow the Western tradition of repre-senting
three-dimensional space by the use of linear
perspective. Instead of considering this as a defect in
children’s artwork, one might appreciate their honesty
in arranging the forms on the page and their capacity
for creating balanced two-dimensional compositions
(Winner, 1982). Besides, if one looks at the artwork of
other cultures or that of many contemporary artists, it
can readily be seen that there is no right or wrong way
to portray space in a drawing (Lowenfeld, 1975).
At this age it is particularly important that any motivation or
any subject matter be related directly to the child himself.
- Viktor Lowenfeld
Figure 9: A self portrait
Figure 10: I am playing on the playground.
6

The Age of Symbolism
By the age of five or six, most children have devel-oped
a repertoire of graphic equivalents or symbols for
the things in their environment including a house, a
tree, a person, and so on.These symbols are highly
individualized since they result from children’s concep-tual
understanding rather than observation of the world
around them. For example, each child’s symbol for a
person will be quite different from any other child’s as
shown in Figures 11 and 12.
The symbols that children, five and six years old, draw
for a person usually have a clearly differentiated head
and trunk with arms and legs placed in the appropriate
locations. Details such as clothing, hands,
feet, fingers, nose, and teeth may also
receive the attention of individual chil-dren.
As previously mentioned, the omis-sion
of details in a child’s drawing is no
cause for immediate concern.The child
may simply neglect to include a certain
feature due to its lack of importance in
the activity being drawn.
When a normal child makes a connection between image
and idea, assigning meaning ot a drawn shape, the shape
becomes a symbol.
- Al Hurwitz & Michael Day
Once a child has established a definite symbol (or
schema) for a person, it will be repeated again and
again without much variation unless a particular expe-rience
causes the child to modify the concepts involved
(fig. 13). For instance, a child may exaggerate, change
or embellish certain parts of a “person” symbol in order
to reveal something unique or special about a particular
person or activity being depicted. Also, experiences
that stimulate children’s awareness of the various
actions and functions of the human figure will often
lead to changes in the way they symbolize a person and
to greater flexibility in their future depictions of peo-ple.
For instance, children at this age especially enjoy
and benefit from motivational topics involving sports
and story-telling activities.
7

The Introduction of the Baseline
One of the more noticeable changes that occur in the
drawings of children around the age of five or six
involves the introduction of the baseline to organize
objects in space (Fig. 14). No longer do objects appear
to float all over the page as seen in children’s earlier
attempts at representation. Children are now aware of
relationships between the objects that they create and
they recognize that these objects have a definite place
on the ground.
Initially, children will line up people, houses and trees
along the bottom edge of the paper.They soon realize,
however, that a line drawn across the paper can serve as
a ground, a floor or any base upon which people and
objects rest. Later on, multiple baselines may be
drawn with objects lined up on each of them (fig. 15).
The inclusion of two or more baselines in a drawing
sometimes occurs when a child wishes to portray dis-tance
in his or her drawing.This graphic solution to
representing three-dimensional space can also be found
in adult art from many cultures and times.
As children’s understanding of the world becomes
more complex they feel the need to represent spatial
relationships more authentically. Accordingly, the base-line
eventually disappears in the drawings of older chil-dren
and the space below the baseline takes on the
meaning of a ground plane (fig. 21).
Figure 13: A figure schema
Figure 14: A typical baseline drawing
Figure 15: The use of two baselines to arrange things in space
8

Special Visual Effects
In addition to the invention of the base line, children
come up with a number of other ingenious ways to
depict space in their drawings. One of these involves
showing events that occur over time within one draw-ing
or a sequence of drawings (Fig.16).These space-and-
time representations, as they are called
(Lowenfeld, 1975), result from children’s growing con-cern
for telling stories and for showing action in their
artwork. Interest in creating visual narratives usually
starts around the age of five and then grows stronger as
children get older (Wilson & Wilson, 1982).
Another special type of drawing that children begin
making around the age of five or six is the X-ray
drawing in which an object appears transparent or has
a “cutaway” provided so that one can see inside (fig. 17).
Typically, this type of drawing is done whenever the
inside of something is of greater importance than the
outside. For instance, children will often use the X-ray
technique to show the inside of their houses, their
school, or their family car. Figure 18 shows an insightful
X-ray representation by a five-year-old boy of
his family and mother whom was pregnant at
the time. Note the inclusion of the umbilical
cord connecting the baby with its mother.This
is an excellent illustration of how children use
their active knowledge of a subject when
drawing a picture of it.
Figure 16: Michael Jordan in action
Figure 17: A look inside a mole hole
Figure 18: A family portrait showing an expectant mother
9

Children’s Art and Cultural Images
With all the visual materials available to American children today in the form of
photographs, book illustrations, comics, television, movies, video games, and web
sites, it seems only natural that they will borrow from these cultural sources in
creating their own artwork (Wilson & Wilson, 1982). Children as young as four
may include culturally-derived imagery in their drawings, but the influence of the
popular media is most noticeable among older children. Indeed, one will find a
number of aspiring comic-book artists in a typical fifth-grade classroom as well as
other children with a keen interest in drawing sports heroes, rock stars, fashion
figures, airplanes, space vehicles, and sports cars.
While many children simply copy their favorite super heroes and comic-book
characters, some also invent their own characters and narrative plots (fig. 19). In
doing so, these children frequently turn to television, movies and comic books
for their models.They draw figures that run, leap and fly across several frames;
zoom-in for a close-up of their heroine; and show perspective and dimensionality
in ways that children a generation ago couldn’t do. Rather than discourage such
creative activity, teachers and parents should take full advantage of children’s fas-cination
with popular culture and use it to develop their drawing abilities beyond
the most basic level.
Figure 19: A nine-year old drew this action scene pitting several
Disney characters with creatures of his own invention
10

This new concern for making their pictures look “right” in terms
of detail and proportion leads to a crisis for many older children.
In trying to draw realistically, children’s efforts often fall short of
their expectations and they quickly become disappointed. Some
search for adult-like skills by copying illustrations in books and
magazines. More often, however, children become increasingly
critical of their graphic abilities and begin to show a reluctance to
engage in drawing activities as they grow older. Given the
increased emphasis on “realism” among children during their
preadolescent years, art instruction that focuses on visual
description and observational techniques can be particularly ben-eficial
at this age. Indeed, most children are quite capable of
attaining the realistic quality they so desire in their artwork (fig.
20). But, only if they receive the proper instruction that enables
them to develop the competencies required to do so.
The Crisis of Realism
By the age of nine or ten, many children exhibit
greater visual awareness of the things around them. As a
result, they become increasingly conscious of details
and proportion in what they are drawing.They typically
include body parts such as lips, fingernails, hairstyles,
and joints in their drawings of people.They also show
more interest than before in drawing people in action
poses and in costumes.
Figure 20: A portrait of a classmate by a twelve-year-old.
11

The Representation of Three-
Dimensional Space
While young children become engrossed in the
meanings and actions of subjects as they draw
them, older children tend to be more concern-ed
with whether their pictures resemble what it is they
are drawing.This interest in visual description typically
emerges around the age of eight or nine as children
begin to adopt their culture's conventions for represent-ing
a three-dimensional scene on a two-dimensional sur-face
(Winner, 1982). No longer are objects placed side
by side on a baseline as seen in younger children's draw-ings.
Now children attempt to arrange the things they
draw in relation to one another on the page with a
ground plane (fig. 21). In doing so, they begin to
show how the position of a viewer influences the image
drawn.They begin to draw objects that overlap one
another and that diminish in size.They also begin to use
diagonals to show perespective, or the recession of
planes in space (fig. 22).
The closer the child approaches adolescence, the more he
loses the strong subjective relationship to the world of
symbols.
Figure 22: Barnyard drawing by a twelve-year-old who used perspective, overlap,and
diminishing size to show depth
Figure 21: Backyard drawing by a ten-year-old using a ground plane
- Viktor Lowenfeld
As children's readiness and interest in show-ing
depth in their pictures becomes appar-ent,
having them study the ways in which
various adult artists use overlap, diminishing
size and linear perspective within their
works might be helpful. But, children need
to understand that the use of these pictorial
devices is only one way of organizing space
and that many artists today have abandoned
such conventions in favor of developing
more personal and expressive ways of seeing
and making art.
12

Visual Metaphor and Expressive Imagery
Many older children continue to draw and paint symbolically in
spite of the increased concern for realism in their artwork.
Indeed, children's emerging capacity for abstract thought
enables them to begin conceiving of images as visual
metaphors.When children draw or paint metaphorically, they
are using images to suggest an idea or emotion beyond the spe-cific
object depicted (fig. 23). For instance, older children are
able to recognize that a picture of an isolated tree suggests
loneliness and despair, or that a stag overlooking a range of
mountains suggests nobility.The ability to use images
metaphorically, depends on being able to entertain two levels
of symbolization at once.The artist must decide which object
best represents the concept or emotion and which lines,
shapes, and colors best represent the object (Smith, 1983).
Figure 23: A nine-year-old uses visual metaphor to
express certain feelings for his sister
Older children are just beginning to discover the possibilities
of visual metaphor and that images can convey meanings
beyond the object depicted. In order to deepen this under-standing
and prevent children's concern for realism from
dampening their creative spirit, the teacher should introduce
themes that deal with the expression of certain emotions or
concepts through visual metaphor. For instance, children might
be asked to imagine themselves as an animal or an inanimate
object and to represent themselves as such in a drawing or
painting.
13

Summary
When one charts the graphic development of children as they progress from pre-school
to the upper elementary school grades, at least four distinct stages or shifts can be
observed. First, children begin to scribble at about one or two years of age. Second, rep-resentational
shapes and figures emerge around the age of three or four.Third, children
develop and use graphic symbols for representing the things they encounter in their envi-ronment.
Lastly, around the age of nine or ten, children strive toward optical realism in
their drawings. It is important to note that these changes don't occur abruptly; rather,
they are often marked by small sub-stages or points in which children may exhibit charac-teristics
of two stages in one drawing.
Of course, what children seem to do naturally and what they are capable of doing are
entirely different matters. It is likely that teachers will find that students within their
classrooms are at varied points in their graphic development since some have had abun-dant
prior experiences with art, whereas others, may have had limited creative opportuni-ties.
Thus, teachers should avoid the temptation to place children at a particular stage sim-ply
because of their age or grade level.
Of greater concern to teachers and parents should be the lost of expressiveness and origi-nality
which seems to occur in children's drawings as they grow older. If one uses "real-ism"
as a criterion for judging the work of children, then they seem to improve with age
and experience. But, the drawings of upper-elementary school children typically appear
more conventional and rigid; and, therefore, less striking to the adult eye than those of
preschool children.Teachers and parents should also be concerned with the lost of interest
in drawing activities among students in the upper-elementary grades. Indeed, many older
children become so critical of their work that they simply stop drawing all together. How
might adults prevent such declines from occurring? While there are no easy answers to
this question, the following suggestions offer a few possibilities.
First, expose children in the upper elementary grades to various artists whom exhibit
both realistic and imaginative approaches to drawing. Encourage them to see that draw-ings
are not meant to be photographs and that the act of drawing enables them to show
their own special way of seeing the world.
Second, provide older children with opportunities to engage in both descriptive and
imaginative approaches to drawing. Show that you value the diversity of approaches and
the variety of ideas that children exhibit in their work.
Third, make the development of drawing abilities a priority in your classroom and home.
Provide children with opportunities to draw often and give them the assistance and the
encouragement they require.
14

Bibliography
Books
Hurwitz, A. & Day. M. (2007). Children and Their Art. New York: Hoarcourt Brace
Jovanvich.
Lowenfled,V. & Brittain,W. L. (1975). Creative and Mental Growth. New York: Macmillan.
Smith, N. (1983). Experience and Art:Teaching Children to Paint. New York:Teacher's College
Press.
Wilson, M. & Wilson, B. (1982). Teaching Children to Draw. Englewood Cliffs: Prentice-
Hall.
Winner, E. (1982). Invented Worlds. Cambridge: Harvard University Press
Related Web Sites
Childhoods Past: Children's art of the twentieth century
www.nga.gov.au/Derham/default.htm
An exceptional on-line collection of children's artwork from the National Gallery of
Australia.
Defining Child Art
www.deakin.edu.au/education/visarts/child_art.htm
An essay on child art illustrated with Quicktime images.
Web Archive of Children's Art
childart.indstate.edu
An extensive database containing digitally copied artwork made by children, sponsored
by Indiana State University.
Drawing Development in Children Timeline
www.learningdesign.com/Portfolio/DrawDev/kiddrawing.html
An illustrated timeline of children's artistic development.
15

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