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.

"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 three to six year olds…. It is an invaluable experience." Professor Ken Baynes, Department of Design and Technology, Loughborough University, UK This book explores how young children learn to draw and draw to learn, at home and school. It provides support for practitioners in developing a pedagogy of drawing in Art and Design and across the curriculum and provide advice for parents about how to make sense of their children’s drawings. Making Sense of Children’s Drawings is enlivened with the real drawings of seven young children, collected over three years. These drawings stimulated dialogues with the children, parents and practitioners whose voices are reported in the book. The book makes a powerful argument for us to radically re-think the role of drawing in young children’s construction of meaning, communication and sense of identity. It provides insights into the influence of media and consumerism, as reflected in popular visual imagery, and on gender identity formation in young children. It also offers strong messages about the overemphasis on the three Rs in early childhood education. Key reading for students, practitioners and parents who want to encourage young children’s drawing development without ‘interfering’ with their creativity, and who need a novel approach to tuning into young children’s passions and pre-occupations.

"Making Sense of Children's Drawings is enlivened with the real drawings of seven young children collected over three years. These drawings stimulated dialogues with the children, parents and practitioners whose voices are reported in the book. The book makes an argument for us to rethink radically the role of drawing in young children's construction of meaning, communication and sense of identity. It provides insights into the influence of media and consumerism, as reflected in popular visual imagery, and on gender identity formation in young children. It also offers strong messages about the overemphasis on the three Rs in early childhood education.".

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.

nterest in children's drawings is contemporary with the birth of modern psychology but as yet there is no psychological theory that successfully accounts for the nature of children's drawing. The two main theories, visual realism and intellectual realism, fall short. The work of Georges-Henri Luquet is important because it goes beyond both theories. Luquet's work, though important and of interest to developmental psychologists, remains untranslated to date and so is often inaccurately cited. This translation of Le Dessin Enfantin makes Luquet's ideas available to a wider readership for the first time.

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 (drawing a man in a boat), Mostly Affect (drawing a house), Projective Significance of Child Art, The Whole and Its Parts, Global Features, Body Parts, Sex Differ­ences and Sex Roles in Western Society as Perceived by Children, Laterality and Its Effects on Drawing, Tree Drawings, and Personality Traits, Emotional Dis­order Reflected in Drawings, Pitfalls, Role of the Arts in Education for Peace, and Reflections. In his analyses, Dr. Di Leo skillfully singles out examples of overinterpreta­tion and other pitfalls, and answers questions such as: What does the thera­pist do when the child refuses to draw the family? Is the drawing a self-image? What are the differences between regres­sive drawings compared with the immature drawings of normal children? Even such fascinating topics as art brut, creativity, madness, and child art are discussed. The reader will find thought-provoking both the author's astute analyses and his keen awareness of the influence of society on children and the pictures they draw. Therapists in the field will find the book remarkably penetrating, while students in the field will delight in its clarity and thoroughness. Every­one who works with the drawings of children will find it absorbing.