Child drawing concept.
You know, that there are no recipes for a good painting solution, you can only talk about better or worse. When a child realizes a certain concept, never solves it definitively. Striving for some perfect results makes no sense at all and always leads to absurdity. Work of art, and a child's work of art, is always just one solution among many possible ones. Our assessment should therefore aim at finding out, whether a given solution is on the line of development and progress, or retreat of a given unit.
Another important issue is the finish of the painting. It is extremely difficult to say, in what phase is a given painting finished. The principle of the so-called "doing all the details" cannot be accepted. Here, too, we must keep the right measure. In some cases we shall regard as a finished work a picture of broad and essential lines, even completely sketchy, so in a few lines and spots, and other times the whole thing will have to be supplemented with meticulously worked out details. It will always depend on the adopted painting assumption, which must be placed by the child, and respected by the teacher.
In evaluating these matters, one should be guided by the sense of significant painting values, and not a predetermined dead "rule" and accepted "pattern".
The child's temperament is the primary factor in the realization of the work. They are calm children, others are alive, Some people are prone to daydreaming, others develop a greater sense of reality. Such differences must manifest themselves in the children's work. The nature of their work should suit their disposition. If such differences have been erased and different children work equally, the teacher is teaching the subject wrongly. The image made by the child must be an accurate reflection of his temperament and disposition. The legibility of this reflection should not be blurred, for in this way we will lose one of the important and valuable features of a work of art.
Also the material, which the child uses when realizing his composition, influences the nature of the form of the work. The same compositional idea implemented in a drawing should be implemented in colors in a fundamentally different way. One of the most common mistakes is treating a drawing as a preliminary work for painting. The drawing should not be colored. A drawing can be a finished painting form, just like a color picture. In both cases, the nature of the work should be different and consistent with the nature of the material. The more we become sensitive to these properties, the easier it is to understand the differences of even related materials. Then we will sense the features, which should be preserved in pen drawing, pencil and crayon or in tempera and watercolor. So instead of a completely superficial division of the program by topics, attention should be paid to such significant variations. The program needs to be set up like this, so that the child can feel all these painting subtleties.
There is no doubt, that the study of this subject will be best conducted by a good and insightful painter, who knows various aspects of the subject from his own creative practice. With one caveat, however: he should not use his own works in science, because by showing his projects, he can easily impose his own way of expressing himself on children, and that could give disastrous results. But also a teacher, who is not a painter himself, i.e. I can't draw or paint by myself, can teach this subject well. He should only have a general understanding of artistic values, be able to look carefully and have the ability to quickly and accurately evaluate the work. When discussing a child's work, he must not be a harsh critic or, what worse, constant mentor, rather, he should have much forbearance for all kinds of failed attempts, and much good feeling for partially correct solutions. Therefore, the teacher makes his comments only in necessary cases. Rather, she experiences the intricate process of creating a work together with the children, together with them discusses and considers different ways of implementation and different outcomes, while never forgetting the unique potential of each child. The right criteria for the so-called. great art cannot be adapted to the art of a child. The results of the children's work can be discussed with the whole team, the teacher should play the role of a unit of this team, expressing her thoughts very carefully and discreetly.
The educator creates an atmosphere for children's creative work. At the same time, he must count on the slow and natural development of the team, in which individual individuals interact with each other and stimulate each other's development. The team is the best "educator". The teacher can gain authority in this team thanks to correct observations and experience in artistic and technical matters, but his comments should not go beyond the sphere of children's creativity. In relation to children less able or, which is more common, inhibited may use "praise". This helps children regain their freedom to express themselves.
In children's art, the image is never detached from concrete reality. In the most fantastic and fairy-tale realizations, the child always uses specifics. However, this is important, whether they were expressed by means of painting and on the basis of the operation of painting contrasts.