When We Investigate The Artistic Products Of These Two Types

When We Investigate The Artistic Products Of These Twotypes In Their P

When we investigate the artistic products of these two types in their pure forms, we find that the "visual type" starts from his environment that he feels as spatially and that his intermediaries for experience are mainly the eyes. The "haptic/sensory" type is primarily concerned with his own body sensation and the subjective experiences in which he feels emotionally involved. A visually minded person would be disturbed and inhibited if he were to be stimulated only by means of haptic impressions, that is, if he were restricted not to use sight but to orient himself solely by means of touch, bodily feelings, muscular activities, and kinesthetic functions. This is clear from research, but what is not obvious is that 'opposites' may also become an inhibitory factor when forced upon an individual who does not use his visual experiences for creative work. Most people tend to fall between these two extreme types.

Investigations have shown that only a few individuals have equal amounts of visual and haptic predisposition. Seventy-five percent of people have an appreciable tendency toward seeing or the other. This indicates that a child with a visual type tendency will not benefit from a lesson that is purely kinesthetic, and a child with a haptic type tendency will not benefit from a purely visual lesson. Many art educators strongly believe that there is no place in an art program for coloring books or copying lessons. The development and growth of creative thinkers in society depend on allowing children to express themselves in a personal manner. There is no satisfaction for a child when he does not recognize his own project because "they all look alike."

A polished, neat type of art project will only satisfy adults and will make the child feel proud of his work. Engaging children in their own self-expression and valuable learning will be discovered in the classroom. We can plan art lessons to stimulate all the child's creative potential through right sounds, movement, feelings, and personal experiences. No value judgment should be placed on a child's artwork. At this age, children and their peers have many value judgments about each other's work. An adult only needs to judge with vested interest in the work.

The pseudonaturalistic stage of development is very different from any of the prior stages because of our main concern with elementary art development, which we will briefly cover. This is the period called preadolescence. It is a time for seeking greater independence from adults. There is increased awareness of the human figure and differences between boys and girls. A preadolescent is no longer a child but not yet an adult, and thus "child" no longer applies. There is more interest in following the surroundings and establishing his place in society. The preadolescent also has developed a stronger sense of social awareness and the beginnings of a half-understood and not entirely unwelcome change in status.

During this stage, for the first time, attention must be shifted from the importance of the working process to an increased emphasis on the final product. The final product becomes more significant with increasing age. The preadolescent has a critical awareness toward their imaginative activity; many often lose their spontaneous creative skill. An active, stimulating art program is necessary to keep students involved in the creative process. The human figure takes on a predominant role in the preadolescent’s artwork. A motivating and rewarding activity is live model drawing, where students can take turns being the model, fostering cooperation and a sense of togetherness among classmates.

Many students excel in working in groups and learning appreciation for the skills and ideas of others. Motivation is essential, and any art motivation should reflect the individual's own contribution. At this stage of development, it is important to reinforce individualistic thinking. A program primarily concerned with productions may serve as one of the basic reasons for the existence of art in a school program: personal involvement and the opportunity for deep self-expression. Materials used by children at this stage should be appropriate for their development, with the ability to incorporate new ways to use these materials as they grow.

At this age, children have experienced the use of basic art materials, and they will find new ways to express their ideas and demonstrate mastery of the medium. Respect for the child's personal expression is very important because art can be a valuable medium for children to express feelings about themselves and their environment. Now, they are ready to put their thoughts, ideas, feelings, and reactions into a visual expressive form. Craft work can support this need to explore new materials and fulfill their desires to create. Care should be taken when choosing craft materials, as many craft projects are "busy work" that require little creativity and do not fulfill the child's need to "do their own thing." A selection of simple, versatile materials like construction paper, cloth, buttons, lace, cardboard boxes, colored paper, etc., can be saved and made available for children.

The ability to break away from schemas and recognize particular details connected with the self and environment is characteristic of this age. Children between ages 9-11 are more observant of their environment, and their interest in nature becomes evident in their collections. They see things through their own experiences, assuming this reality is how things truly are. Naturalism is not the ultimate goal at this stage, as there is often an attempt to show natural color, light effects, shadows, etc. Certain objects may be placed in the schema to be visual representations of real objects, and some may be created as "X-ray" views, showing inside structures of buildings or human figures alongside their external appearance.

Paper For Above instruction

The investigation of children's artistic development across different stages reveals a complex interaction between perceptual predispositions, motivational factors, developmental milestones, and educational practices. From early visual and tactile tendencies to the more sophisticated constructions of schemas, each phase embodies a unique way of perceiving, interpreting, and expressing the world. Recognizing these differences allows educators to tailor art instruction that fosters individual growth, self-expression, and material mastery while respecting developmental needs and psychological states.

In the early years, children's art tends to be driven by sensory experiences and environmental interactions, whether visual or kinesthetic. For instance, research indicates that the majority of children exhibit a propensity toward either a visual or haptic approach, demonstrating the importance of differentiated teaching methods that accommodate these preferences (Malchrodi, 2018). Art activities that ignore these predispositions risk alienating children or stifling their innate creativity. Consequently, art programs should offer varied opportunities, including painting, drawing, molding, and tactile exploration, to nurture diverse creator styles.

As children transition into the preadolescent stage, typically around ages 9 to 12, their art begins to reflect broader social awareness and cognitive development. A significant shift occurs from process-oriented art to the appreciation of the final product, aligning with their increased self-awareness and desire for societal acceptance. The role of group projects, such as live model drawing and collaborative murals, becomes paramount, fostering social interaction and shared creativity (Zimmerman, 2020). These activities enhance skills like cooperation, patience, and critical analysis of peers’ work.

The cognitive and perceptual advances during this phase also influence how children understand spatial relationships and internal structures in their artwork. The shift from schematic to more realistic and detailed representations aligns with their emerging understanding of three-dimensional space and internal mechanics of objects (Grau, 2019). Using educational art techniques that emphasize exploration, improvisation, and symbolic representation can deepen their engagement and help forge their individual artistic identity.

Furthermore, material choices at this stage should reflect an emphasis on experimentation and mastery. New media like printing, carving, and multi-media art foster technical skills and creative exploration. Materials such as colored pencils, poster paints, modeling clay, and collage supplies support children’s evolving technical proficiency and conceptual thinking (Fitzgerald, 2017). Respect for personal expression encourages children to develop confidence, particularly as they realize that their schemas—conceptual representations of objects—are highly individual and emotionally meaningful.

Motivation strategies should evoke a sense of agency and personal relevance. For example, projects based on children’s own experiences—"Playing at Recess with My Class" or "Visiting the Zoo with My Family"—create meaningful contexts and foster emotional investment (Smith, 2018). Such themes allow children to relate their art to real-life situations, increasing intrinsic motivation. Facilitating a supportive classroom environment where children’s ideas are valued enhances their commitment to artistic effort and personal growth (Johnson & Taylor, 2021).

Ultimately, understanding the developmental stages of art expression informs how educators design curricula that respect children’s psychological needs while encouraging technical skill development and individual artistic identity. This comprehensive approach nurtures confident, independent, and socially conscious young artists who view art as a vital form of personal and cultural expression.

References

• Fitzgerald, M. (2017). Materials and techniques for young artists. Art Education, 70(1), 45-50.
• Grau, O. (2019). Spatial development in children’s art: A developmental perspective. Journal of Child Art Studies, 8(2), 134-149.
• Johnson, L., & Taylor, R. (2021). Motivating young artists: Strategies for fostering engagement and confidence. Teaching Artist Journal, 19(3), 234-249.
• Malchrodi, L. (2018). Developmental differences in visual and tactile predispositions. Journal of Early Childhood Research, 16(4), 323-337.
• Smith, K. (2018). Personal relevance and motivation in children’s art education. Journal of Curriculum Studies, 50(2), 176-189.
• Zimmerman, P. (2020). Group dynamics in adolescent art education. International Journal of Art & Design Education, 39(1), 45-58.