Discusses murals done by Egyptian children. Differences in the drawing styles of American and Egyptian children are discussed. The author states that the significance of the wall drawings is that they represent a rich social setting in which children learn to produce art. (AM)

The authors describe how children draw stories, not pictures. They suggest that by encouraging children to draw, and to bring to school drawings that have been done at home, art teachers can help children to create fantastic worlds. (KC)

The authors suggest using graphic dialog--an adult and child drawing together and discussing their work--as a way of developing children's graphic skill. They illustrate the procedure through case studies and note that graphic dialogs between two children can also be effective. (SJL)

Drawing on the Kreilters' work with the psychology of adult artists, the authors show how children's story drawings develop the same four types of realities: origins, everyday experiences, normative realities (rules), and prophetic (anticipatory) realities. Illustrations are included. (SJL)

The authors present an art teaching idea which extends the graphic discussion method described in the October 1981 issue. Rather than drawing together, the two participants respond in writing to each other's completed work, which provides an essential aspect of art learning--responding to another artist's images. (SJL)

This fourth and final article in a series about children's story drawings describes a school art program based entirely on the visual narrative in which all art classroom activities and projects are based upon either visual storytelling or upon developing graphic vocabulary and grammar skills needed for visual narration. (Author/KC)