By John Matthews
The writer questions inherited knowledge approximately kid's improvement in visible illustration and explains diversified versions of improvement in visible expression.
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Extra info for Drawing and Painting: Children and Visual Representation (Zero to Eight Series)
When there is a pause in the game and Joel starts to talk to me, moving the balloon slightly away from her to the side, she actually grasps the balloon with her palms on each side and pulls it back into position.
The representation suggests the shape of an object. It is a figurative representation. A moment later, he makes a very different kind of movement – the continuous rotation of the brush (Athey, 1990; Matthews, 1983; 1984; 1999). This is a very important drawing action for the child and we will see how it develops later in the book. With this different action, Ben also makes a different kind of representation, an action representation. Ben uses the rotational, round and round movement of the brush to represent, not the car’s shape, but its movement in time and space.
Research shows that this explanation is not justified. It is not just the movement which is important to children in their early drawings. In experiments, children quickly abandoned ‘dummy’ pens which failed to leave a mark (Gibson and Yonas, 1968; Berefelt, 1987). When young children paint or draw, they do occasionally look elsewhere and rely momentarily on information from special sensors in their joints (proprioceptive information) which tells them about the positions of their limbs. However, careful observation shows that they quickly return and look at the drawing, not only to make sure the marking tool is merely ‘on course’, as in driving a car, but also to engage more deeply in this expressive event, and sometimes (as in Ben’s case) to engage the attention of another person.
Drawing and Painting: Children and Visual Representation (Zero to Eight Series) by John Matthews