Presents three studies of children's ability to create and detect expressions of emotion in drawings. Compared to younger children, older children used more strategies, experimented with line and color, and were more likely to explore themes of death, aging, and illness. Includes sample drawings and statistical tables. (MJP)

Discusses the tactile and kinesthetic areas of learning children experience when using clay. Includes practical tips for using and storing clay for preschool use and notes the differences between potters' clay and play dough. (HTH)

At the Yellow Ball Workshop, children and teenagers make animated films using simple art materials and camera equipment. Based on the animation techniques developed at the workshop, complete instructions for constructing backgrounds and characters and for animating the figures are provided. Setting up and using the camera, splicing film,…

Argues that for a child to respond to a teacher, whether by reading, talking, writing, constructing a village, or painting a drama backdrop, the child must relate, remember, relearn, monitor, problem-solve, and do all those other mental activities that help humans adapt and create new solutions. (HOD)

Describes stages of children's art development from scribbling to representations. Discusses ways to organize the space in the child care art center, and presents 11 art activities for infants, toddlers, preschoolers, and school-age children; lists materials and teacher instructions for each activity. Includes suggestions for keeping clothes clean…

Outlines four exercises for high school students to demonstrate how people perceive color differently because of changing light conditions, varying viewpoints, and the viewer's preconceived notions of color. Maintains that an artist can use color perception to control a viewer's mood. (KM)

Examines the way first-year public high school students drew the human figure from life, photographs, and copies of master drawings. Finds that the three referents were not significantly different in supplying information to learn specified art elements. Maintains that drawing from life needs to be reexamined. (KM)

Investigates the role of women in U.S. art education by focusing on the art education contributions of Eugenia Eckford Rhoads. Presents a biographical sketch and describes her published works. Questions the role of sexism in how art educators judge the success or failure of a professional career. (KM)

Considers both teacher-initiated and child-initiated strategies for enhancing young children's self-expression and creativity, based on the philosophy of the preschools in Reggio Emilia, Italy. Discusses how the classroom can be modified to best support children's emerging creativity. (HTH)

Describes Lucy Lewis' ceramic work which is inspired by the ancient pottery of her Acoma Pueblo artistic heritage. Discusses concepts of tradition, artistic heritage, and change over time. Outlines related ceramic and discussion activities for elementary and secondary students. (KM)

Describes a motivating activity for drawing still-life. States that students did contour drawings with markers and then layers of color tissue were used for enhancement. Students learned to appreciate the accidental variations caused by the materials. Concludes that this lesson increased students' motivation for contour drawing. Identifies…

Aims to show that children have a "functional use of drawing" which contrasts with the mechanistic stages model of drawing development. Observes that young children's images often show extended time sequences. Argues that, when considered from this viewpoint, children's drawing abilities develop gradually from a high to a low variety of…

Asserts that the arts offer students in developmental education new ways to acquire creative and critical skills that are essential for becoming self-directed learners. States that the arts offer alternative forms of literacy and ways to construct meaning and sensitize students to other cultures. Contains 19 references. (VWC)

This resource guide and the accompanying videotapes are based on the artist-generated lesson plans of the Very Special Arts Massachusetts artist residency program. Six arts units are presented: Collage, Puppetry, Movement I & II, Printmaking I & II, Theater Arts I & II, and Self Concept I & II. Each of these units consists of…

Presents a lesson plan which uses Marilyn Levine's "Brown Boots, Leather Laces" to introduce students in grades 10-12 to naturalistic representation and the "trompe l'oeil" artistic tradition. Discusses Levine's background. Includes instructional strategies and student objectives, as well as a photograph of the artwork. (GEA)