Examines the hypothesis that errors in children's drawings of objects in anticipated states of rotation result from their inability to imagine the objects in those states. The hypothesis was tested by comparing children's performances on a drawing version and a reaction-time version of a rotating squares task. (Author/RH)

Three media used in a longitudinal, cross-sectional investigation to determine the rate of artistic development in young children were clay modeling, drawing, and storytelling. The most significant result of the study reveals that artistic competence does not proceed upward across all media as the child matures. (JN)

Described is a program which brought talented high school juniors to a summer camp where they participated in ceramics and drawing programs. It took place on the Plymouth State College campus where group classes were taught by professionals using an interdisciplinary approach. (KC)

In a theoretical and philosophical discussion, the author examines the results of two drawing exercises he used with elementary students. Exercise One, "blind contour" drawing from life, was based on child-centered art learning theory. Exercise Two, copying an artwork, emphasized the learning of graphic conventions and cultural forms. (SJL)

After reviewing the socialization models of Berger and Luckmann, Speier, and Piaget, the author relates the drawing process to these theories as a form of social interaction, citing changes in drawing style and subject matter with gains in social maturity. She concludes with implications for art educators. (SJL)

Describes the "Museum in the Schools" program of Cornell University's Johnson Art Museum. To encourage museum use by secondary school students and teachers, workshops are designed and presented by the museum's team, based on the specifications of the classroom teacher. This article focuses on a workshop in drawing and line. (Author/SJL)

The Draw-A-Person Test was administered to an adolescent sample of Blacks and Whites. The findings generally supported those of Schofield, and the racial identity and preference literature as a whole, in revealing Blacks to be less accepting of their racial identity than Whites. (Author/GDC)

Reports three experiments which investigate: whether familiar objects have standard graphic orientations (Experiment 1); the relationship between use of object orientations and more conventional methods in depicting familiar objects in motion (Experiment 2); and whether orientations are used differently in novel objects whose only defining feature…

Describes how comic strip development stimulated an elementary bilingual classroom. Shows results of four girls' fotonovela. (HOD)

Frames a developmental psychology of art by contrasting the structural orientation of the study of drawing and the functional orientation of the study of artistry. This model maintains that graphic symbolization emerges with early mark-making, children's representative art is guided by perceptions of affordances, and children continue to engage in…

Describes an art lesson used in an advanced drawing course in which the students created artworks of a portion of a chosen game board, such as "Monopoly," implementing photographic realism. Explains how the students created their pictures and includes the learning objectives for the lesson. (CMK)

Describes an art lesson that was part of the Youth Art Month (YAM) in Georgia with the theme of "YAM: Piecing It Together." Explains that the students created self portraits using black outline pens and markers. Reports that all portraits were attached to ceramic tiles and placed on the "Millennium Wall of Fame." (CMK)