Jenny stands ahead of a big sketch pad, takes a marker in hand and cautiously uncaps it. She begins scrubbing…first little by little, down and up, down and up. Her motions settle into a rhythm and soon her entire body dances, mirroring the rhythm of her strokes. Jenny is drawing. Her entire being is drawing.
To the formal observer, this two-year-old is just scribbling. Her marks seem to be unsystematic, meaningless.Sometimes she does not even look at the paper as she marks. But there is further going on. Jenny is using her mind and her emotions as she engages in the physical act of drawing. Examining children’s drawing may give us significant insights into how drawing fits into the largely physical,emotional, and cognitive development of the little child. From toddler hood through primary school, children prefer to draw. Teachers training institute suggests, how role does drawing play in the young child’s growth? Scribbling Roughly 18 months, toddlers become attracted in scribbling. It seems to provide sensory pleasure, but the child is also fascinated in the marks that are made. (If the drawing implement does not work, the child rapidly loses interest.) The act of scribbling can serve quite a few useful purposes for the little child. Small muscle coordination and control improve with practice, cognitive abilities are exercised, opportunities for social contact arise, and the physical activities provide emotional release. Because a toddler’s small muscle control is not completely developed, he or she may approach the drawing mission by grasping the marker with his or her fist, creating a bit of difficulty placing the marks exactly where he or she wants them. Movements are characteristically large, involving the entire arm with little finger or wrist control. This is because the outline of physical development proceed from the center of the trunk outward.With practice, the toddler will naturally improve his or her control of wrist and finger movements. Complete control, however, will not be achieved until much later. A few toddlers rest the forearm on the drawing surface to give them additional control. A rhythmic, repetitive, scrubbing motion is common among two-year-old,providing sensory enjoyment and making drawing a tremendously bodily act. Mentally toddlers are worried with both the process and results of their art. They do not mean to symbolize objects at first. Instead, they are anxious with color and line. However, they may look at the marks and scribbles they have made and, in surprise, identify a shape and name it. While they may not have intended to draw a dog or tree, the scribbles imply the shapes. Children infer, rather than intend. This is called fortuitousrealism and becomes common as a child approaches three years. Children can connect in social interaction as they draw with or show their creations to others. As little children sit together, each drawing, they talk, share stories, and deal materials. This is a basis for prosocial communication that is proficient in an genuine situation. Likewise, the child who saves his or her scribble picture to show daddy is signifying his or her use of drawing for social interface as well as emotional support.
Extending the Scribble Between the ages of two and three the child begin to form what Kellogg (1970) has termed shapes. The scribble forms a cross, an X, and enclosure similar to primal circles, squares, triangles, and oblongs. Soon after, two of those shapes are used in mixture. By age three the child puts together numerous shapes to form what Kellogg terms as aggregates. An significant point is reached when the child converts the linear scribble into an enclosed shape. The enclosed shape seems to be the center of the child’s first effort to make a sensible drawing. That first practical drawing is frequently a primitive person. When lines are used as boundaries of objects we see a distinctive tadpole person, so named because it resemble a tadpole. One large circular shape with two lines extending as legs float on a page represents every man. Tadpole guy becomes shorthand for each guy or girl. What economy! Tadpole guy may be overstated with facial features…or maybe not. He may have arms extending from the head but they are added last and may be elapsed unless arms are wanted for holding or acting. The circle part may symbolize just a head, but it may also represent the head and trunk combined into a sort of person lump. Children will frequently place a belly button onto the lump, signifying that it includes the torso. However, if the leg lines are longer than the lump, the belly button may be positioned between the leg lines. It could just be that the person lump wants to be big to agree to enough room to place the eyes, nose, and mouth. After all, it takes a lot of space to draw all of that. Representational Drawing Three- and four-year-old develop other nonspecific symbols for the repeated drawings of ordinary objects like sun, dog, and house. As children begin to draw in a more sensible manner, they may swing back and forth between realism and earlier scribbling patterns but the wide-ranging movement remains toward realistic representation of what they may be familiar with of the world. According to Piaget and Inhelder (1963) preschoolers draw what they know about the world, relatively than attempting to capture a photographic mirror of realism. That is why we see drawings depict both the outside and inside of an object at the similar time. While imminent realism, drawings remain imaginary throughout the preschool years with imagination foremost color, composition, and content. It is frequently just imaginary, wonderful make believe where ground and sky never meet at the horizon and all of the action takes place in the air space between. It is a place where we can see the front, profile, and bird’s-eye view all at the same time. It is a place where trees and people can be the identical size, where grass looks pretty when it is purple,where sun rays reach out to embrace us, and rainbows form without a drop of rain. There is a lot to keep in mind when drawing. All at the same time we must think about the parts of what we intend to draw, generally plan of where to draw and how to leave room for the other parts, how to use lines to show things that in realism have no border lines around them, If so, the complex, many-sided nature of the task of drawing would emerge challenge the mind. Realistic Representations As the child move into concrete operational thought after age six or seven we see a strong focus on drawing in a more realistic fashion. The concrete operational thinker sees the world in terms of what is,rather than what could be. Consequently, we see drawings reflecting the world in straightforward, realistic demonstration,leaving behind the brilliantly fanciful drawings of a year before.The school-age child is alert emotionally on representing skill at the tasks valued in the culture If childrencritic themselves to be good at drawing, they will likely carry on drawing to see themselves as capable.However, there are some factors that seem to hinder with a child’s skill to draw logically. The older school-age child wants his or her drawings to look rational (Winner, 1986). If he or she is able to solve the problems of proportion and perspective to his or her satisfaction, he or she is more likely to continue to draw (Gardner,1980). Sadly, many children prevent drawing when they are nine or ten because they do not feel that their efforts are satisfactory (Gardner, 1980). We know of no innate ability that develops into the capacity to draw in three dimensions. Promoting Drawing Parents can encourage drawing as a way to get better physical, social, emotional, and cognitive development-and to have a lot of fun.
Some suggestions by early childhood education
experts are as follow: 1.Provide children with harmless drawing materials and loads of paper starting during the second year. 2.Model drawing. Show children that you like to draw and make designs but do not model WHAT children should draw. 3.Encourage drawing pains by talking about the attractive colors and thin shapes the child has made. 4.Rather than asking the child “What is it?,” encourage the child to tell you regarding the drawing. Asking “What is it?” suggests that the child has unsuccessful to portray what he or she intended. 6. Talk about concepts like thick, thin, wide, narrow, dark, light, edge, shape, contour, illustrations,artist, illustrator, straight, crooked, open curve, and closed curve. 7. Play attractive music to convoy drawing. Talk about how the rhythm of music changes the drawings. 8. Give children the freedom to decide the subjects and colors of their drawings. We should not say aloud how to draw or how to color the child’s plan. If we do that, it becomes the adult’s project which the child is obligatory to imitate. 9.Rather than drawing for the child, ask helpful questions and make suggestions. Encourage children’s pains and voice self-belief in their ability to solve their drawing problems.