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The human figure is one of the earliest topics drawn by the young child and remains popular throughout childhood and into adolescence. When it first emerges, however, the human figure in the child's drawing is very bizarre: it appears to have no torso and its arms, if indeed it has any, are attached to its head. Even when the figure begins to look more conventional the child must still contend with a variety of problems: for instance, how to draw the head and body in the right proportions and how to draw the figure in action. In this book, Maureen Cox traces the development of the human form in children's drawings; she reviews the literature in the field, criticises a number of major theories which purport to explain the developing child's drawing skills and also presents new data.
"If you know and love young children, find a way to read this book. Here you will discover the hidden talents of young children for complexity, design, and tenacity for learning... a wonderful addition to the too-small library of quality books on young children's learning through art." Shirley Brice Heath, Professor Emerita, Stanford University and Professor at Large, Brown University, USA "This book is unique in giving an in-depth account of the way young children approach drawing at home and at school. It shows the cognitive value of drawing in children’s intellectual and emotional development and sets out the truly extraordinary range of drawing types that are used and understood by thr...
First published in 1983. In this comprehensive volume, Dr. Di Leo once again brings to the reader the fruitful combination of extensive knowledge of children's drawings and an approach to the subject that is intimate and humane, but highly sophisticated. Those familiar with his books have come to expect the lucid style with which Dr. Di Leo leads the clinician toward incisive interpretations of children's drawings, pointing out key features and using, where appropriate, parallels from the world of art and literature. His discussions of over 120 drawings reproduced in this volume cover an astonishing range of topics, including: Interpretation, Formal and Stylistic Features, Mostly Cognition (...
This practical resource demonstrates how all clinicians can broaden and enhance their work with children by integrating drawing into therapy. The book enables therapists to address the multidimensional aspects of children's art without resorting to simplistic explanations. Approaching drawing as a springboard for communication and change, Malchiodi offers a wealth of guidelines for understanding the intricate messages embedded in children's drawings and in the art-making process itself. Topics covered include how to assist children in making art, what questions to ask and when, and how to motivate children who are initially resistant to drawing. Assimilating extensive research and clinical experience, the book includes over 100 examples of children's work.
The message of this book is a simple one: children learn to draw by acquiring increasingly complex and effective drawing rules. In this regard, learning to draw is like learning a language, and as with language children use these rules creatively, making infinite use of finite means. Learning to draw is thus, like learning a language, one of the major achievements of the human mind. Theories of perception developed in the second half of the 20th century enable us to construct a new theory of children's drawings that can account for their many strange features. Earlier accounts contained valuable insights, but recent advances in the fields of language, vision, philosophy, and artificial intelligence now make it possible to resolve the many contradictions and confusions inherent in these early writings. John Willats has written a book that is accessible to psychologists, artists, primary and junior schoolteachers, and parents of both gifted and normal children.
It is not uncommon for children’s drawings to end up in the wastepaper basket. Yet these early artistic expressions indicate how children communicate with their environment. From the first scratches and scribbles to the detailed sketches of houses and people, the drawings and paintings of our young ones are significant manifestations of inner processes, containing important statements about their development and gradual incarnation into a physical body. Michaela Strauss’s classic work is a pioneer study that can strengthen observation, understanding and love for the being of the child, both in the home and the kindergarten. First issued in 1978, it is republished here with revisions, improved reproductions, a larger format and more than 40 pages of colour illustrations. ‘In its drawings, the child describes for us different conditions of consciousness, which are parallel with those of cultural epochs.’ – Michaela Strauss
This book offers an illustrated introduction to understanding and fostering children's drawing. It examines step-by-step discovery of proportion and perspective, the typical early errors - the tadpole figures, chimneys sliding off roofs, the huge air gap between ground and sky - and explains why children often depict not what they see, but what they know is there. Art, argues Maureen Cox, can be used or abused in assessing personality and diagnosing problems. As long as we believe drawing is a mysterious gift, only very highly motivated children will make progress. She concludes by suggesting how parents and educators can help foster the talents of both ordinary and exceptionally gifted children.
This book is dedicated to all those who love children and their wonderful, often surprising, drawings. This means it addresses all those interested in their devel oping capacity to produce "iconic" signs: parents, teachers, child psychologists, artists, architects (since building drawings are treated here), and semioticians at large-to name but a few potential readers. Because of the broad audience, I tried to keep scientific jargon to a minimum. Whenever this was unavoidable, I tried to explain the terms in such a way that even beginners in psychology could understand my arguments. I received the first impulse to think about a book like this from the Interna tional Year of the Child declare...
The message of this book is a simple one: children learn to draw by acquiring increasingly complex and effective drawing rules. In this regard, learning to draw is like learning a language, and as with language children use these rules creatively, making infinite use of finite means. Learning to draw is thus, like learning a language, one of the major achievements of the human mind. Theories of perception developed in the second half of the 20th century enable us to construct a new theory of children's drawings that can account for their many strange features. Earlier accounts contained valuable insights, but recent advances in the fields of language, vision, philosophy, and artificial intelligence now make it possible to resolve the many contradictions and confusions inherent in these early writings. John Willats has written a book that is accessible to psychologists, artists, primary and junior schoolteachers, and parents of both gifted and normal children.
KIDS' DRAWINGS HILARIOUSLY BROUGHT TO LIFE. Have you ever wondered what the world would look like if children's drawings were real? Well, wonder no more. Global Instagram sensation THINGS I HAVE DRAWN does just that - and the results are AMAZING. 8-year-old Dom and 6-year-old Al are brothers who love to doodle, and then Dad Tom painstakingly transforms their creations into photorealistic scenes. In this book, join the family on a trip to the zoo and laugh your socks off at all of the weird and wonderful creatures, including a gurning goat, a terrifying polar bear and a rather smug looking flamingo. Spectacularly funny and disturbing, this book is packed with previously unseen material and the brilliant before and after images that have made @thingsihavedrawn such a cult hit.