diplomsko delo
Anamarija Založnik (Author), Jurij Selan (Mentor)

Abstract

Razvoj otroških risb je fascinantno potovanje, ki odraža njihov kognitivni, čustveni in ustvarjalni napredek. Od prvih čačk malčka do bolj podrobnih in kompleksnih umetnin starejšega otroka je napredek v otroških risbah pomemben pokazatelj celostnega razvoja posameznika. Med začetnimi fazami, običajno med starostjo enega in treh let, otroci izvajajo tisto, kar imenujemo čečkanje. Te čačke se lahko zdijo naključne in neobvladane, vendar služijo kot način, da mladi otroci raziskujejo svoje motorične spretnosti in eksperimentirajo s tem, kako držati in manipulirati s pripomočki za risanje. Te zgodnje oznake pogosto spremlja veliko navdušenje in veselje, ko otroci odkrivajo čarobno povezavo med svojimi gibi in sledmi, ki jih puščajo. V kompozicijskem smislu je za obdobje čečkanja značilno naključno ponavljanje in palimpestnost likovnih elementov, zato govorimo o pojavu nevezane kompozicije, pri kateri format še ni omejen v nobeno smer. Ko otroci vstopijo v predšolsko obdobje starosti od treh do štirih let, začnejo s prvimi poskusi posnemanja stvarnosti oziroma bolj interpretacije le-te. Pojavljajo se osnovne oblike kot so krogi, kvadrati in različno usmerjene linije. Ta faza se imenuje faza predshematske stopnje simbolne risbe in naključnega realizma, saj otroci pogosto sebe in druge rišejo kot preproste figure z velikimi glavami in majhnimi telesi (glavonožci). V risbe vključujejo tudi elemente svojega neposrednega okolja kot so hiše, drevesa in živali, narisano znajo tudi poimenovati. V tem obdobju se pojavi jasno razločevanje med figuro in ozadjem. Še vedno govorimo o nevezani kompoziciji, znotraj katere pa se organizirajo različni centri. Ko otroci napredujejo v osnovno šolo, okoli starosti šest do osem let, njihove risbe postajajo bolj podrobne in kompleksne, stopijo v obdobje shematske stopnje simbolne risbe. Začnejo razumeti koncept proporcev, saj dodajajo več podrobnosti in delov telesa svojim figuram. V tej fazi otroške risbe pogosto odražajo njihove razvijajoče se opazovalne sposobnosti in njihovo sposobnost, da objekte upodobijo bolj natančno, odnosom med oblikami se pridruži še odnos oblike do formata. Sam format se zgoraj in spodaj zapre, pojavi se talna črta, na katero nizajo oblike, ki so pogosto toge, se ne stopnjujejo ali prekrivajo. Otrok te oblike navadno niza v pasovih, zato govorimo o pojavu pasovno vezane kompozicije. Nadaljnji razvoj otrokove zavesti o kompoziciji in likovnem prostoru, ki se zaključi v puberteti, vodi v oblikovanje jasnih pojmov o vizualni naravi prostora. Pri najstnikih, starih nekje od devet do enajst let, se otroške risbe še naprej razvijajo in postajajo bolj realistične in izpopolnjene. V tej fazi otroci že razvijejo specifične interese ali stile pri risanju, raziskujejo različne tehnike, teme in medije. To je obdobje, ko se nekaterim pokaže nadarjenost za likovno ustvarjanje, kar rezultira v to, da se umetnosti posvetijo bolj resno. Otroci ozavestijo zaznavne konstance kot so prekrivanje, stopnjevanje in zvračanje in jih že znajo uporabiti v risbi. Format se tako zapre na vseh straneh in s tem odpre likovni prostor, kar daje otroku možnost neskončnega manipuliranja pri risanju. Pri diplomski nalogi sem raziskovala likovno kompozicijo pri otroških risbah. V teoretičnem delu sem pisala o pojmu likovnega prostora in kompozicije, kompozicijskih značilnostih in vrstah kompozicij ter kdaj se pojavljajo. V drugem delu raziskujem stopnje razvoja otroške risbe in predvsem značilnosti, po katerih lahko določimo, na kateri fazi risanja se otrok nahaja. Pri empiričnem delu sem s pomočjo analiziranja otroških risb raziskala, kako se na različni stopnji razvoja otroške risbe izraža in spreminja likovna kompozicija.

Keywords

Likovna kompozicija;razvoj likovne kompozicije;otroška risba;

Data

Language: Slovenian
Year of publishing:
Typology: 2.11 - Undergraduate Thesis
Organization: UL PEF - Faculty of Education
Publisher: [A. Založnik]
UDC: 7(043.2)
COBISS: 164221443 Link will open in a new window
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Downloads: 3
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Other data

Secondary language: English
Secondary title: Analysis of art composition in the development of children's drawing up to the age of 11
Secondary abstract: The development of children's drawings is a fascinating journey that reflects their cognitive, emotional, and creative progress. From the initial scribbles of a toddler to the more detailed and complex artworks of an older child, the progress in children's drawings is an important indicator of their overall development. During the early stages, typically between the ages of one and three, children engage in what is known as scribbling. These scribbles may appear random and uncontrolled, but they serve as a way for young children to explore their motor skills and experiment with how to hold and manipulate drawing tools. These early marks are often accompanied by a great sense of excitement and joy as children discover the magical connection between their movements and the traces they leave behind. In terms of composition, this phase is characterized by random repetition and palimpsest of visual elements, leading to what is known as unbound composition, where the format is not yet constrained in any direction. As children enter the preschool years, around the ages of three to four, they begin their first attempts at representing reality or interpreting it in a more symbolic manner. Basic shapes such as circles, squares, and variously oriented lines start to emerge. This phase is called the pre-schematic stage of symbolic drawing and random realism, as children often depict themselves and others as simple figures with big heads and small bodies (stick figures). They also incorporate elements from their immediate environment, such as houses, trees, and animals, which they can label and name. During this period, a clear distinction between figure and background appears. We still refer to it as unbound composition, but various centers start to organize within it. As children progress into elementary school, around the ages of six to eight, their drawings become more detailed and complex, entering the stage of schematic symbolic drawing. They begin to understand the concept of proportions, adding more details and body parts to their figures. In this phase, children's drawings often reflect their developing observational skills and their ability to depict objects more accurately. The relationship between shapes and the format itself becomes apparent. The format is closed at the top and bottom, and a baseline appears on which shapes are placed, often without overlapping or gradation. Children tend to arrange these shapes in strips, leading to the emergence of strip-bound composition. Further development of children's awareness of composition and pictorial space, which culminates in adolescence, leads to the formation of clear concepts about the visual nature of space. With teenagers, typically between the ages of nine to eleven, children's drawings continue to evolve and become more realistic and refined. This is the stage where some children develop specific interests or styles in drawing, exploring different techniques, themes, and media. It is a period when some children show a talent for visual arts and engage with it more seriously. Children become aware of perceptual constancies such as overlapping, gradation, and foreshortening and can apply them in their drawings. The format is closed on all sides, opening up drawing space and giving the child the opportunity for infinite manipulation in their drawing. In my thesis, I explored the art composition in children's drawings. In the theoretical part, I discuss the concept of drawing space and composition, compositional characteristics and types, and when they occur. In the second part, I explore the stages of children's drawing development and the specific characteristics that help determine the stage at which a child is. In the empirical part, through the analysis of children's drawings, I researched how art composition is shown in children's drawings and how it changes at different stages of children's drawing development.
Secondary keywords: Art composition;development of art composition;children's drawing;Kompozicija (likovna umetnost);Univerzitetna in visokošolska dela;
Type (COBISS): Bachelor thesis/paper
Study programme: 0
Embargo end date (OpenAIRE): 1970-01-01
Thesis comment: Univ. v Ljubljani, Pedagoška fak., Likovna pedagogika
Pages: 1 spletni vir (1 datoteka PDF (49 str.))
DOI: 20.500.12556/RUL-149648
ID: 19912916