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Case study

Structural development of child's
artistic expression

Sanja Filipović1*, Milica Vojvodić2
1* Faculty of Fine Arts, University of Arts in Belgrade, Serbia
2 Elementary school "Jovan Dučić", Petrovaradin, Serbia
*Email: argus4@open.telekom.rs

Abstract
Structural development implies control and capability of the expression usage in terms of independent creative
expression and making. Understanding of structural development of child's artistic expression as a phenomenon
(which is suitable to child's age) has some implications on methodical acts considering artistic education of
children and youngsters. Therefore, it is of unexceptional importance to know these laws as well as methodical
acts which encourage the structural development of artistic capabilities from an early age. Various experts dealt
with this phenomenon, particularly Bogomil Karlavaris. In his methodical research he has given an unexcep-
tional part to this problem. It has been a starting point for analysis of certain methodical questions which are
included in this work.

Keywords: structural-artistic development, artistic types, child's artistic creativity, teaching methods
of artistic education and upbringing

Introduction

Psychological and pedagogical importance of children's activity (exceptionally artistic ones)
and their artistic expression is fundamental for the creation of various tendencies and ed-
ucational styles in teaching. Many psychologists, pedagogues, aesthetics, artists and teach-
ers dealt with the research of children's artistic capabilities. Psychologists analysed the
problem of defining artistic capabilities in terms of art and aesthetics, while Art teachers
and pedagogues confided in experience gained throughout practice (Filipović, 2011).

In the research of artistic expression related to the youngest children, its function,
forms, laws and above all its meaning, D. Belamarić gained all of the importance of an-
alyzing and interpreting concerning this field. Child's development includes artistic and
common capabilities (perception, forming and creation). Without this knowledge, devel-
opment of the child would not be complete and with no positive results. Language of Art
or child's artistic expression is innate faculty of expressing, communicating and forming.
Therefore, Belamarić states that this faculty is not taken over or thought by surroundings.
According to her, artictic expression forms itself as a result of a spontaneous interaction
of the child's inner self and its surroundings. She also states that kids tend to express
content of their consciousness throughout characteristics and meaning of shapes (which
are not attainable by grownups). Different forms of artistic expression are indicators of

Journal of Subject Didactics, 2016

Vol. 1, No. 2, 119-126, DOI: 10.5281/zenodo.438177



the processes inside child's mind. They also strengthen child's abilities of perception and
understanding. Child's artistic creative capacity can develop or even weaken depending
on weather the child was given an opportunity or artistic expression ( Belamarić, 1987).

The uniqueness of structural development in Arts, starting in childhood, can help the
process of defining and optimizing the methodical acts and models encourage artistic
creativity of kids and youngsters. Children communicate in their own authentic way. De-
pending on the way the child uses certain expressive elements in its art works, the ap-
proach to artistic activities will be defined. By following that approach and its laws (which
are authentic, unique, different, in relation to general characteristics and inherent to child's
individual ability) artistic creativity will find itself on the right track. 

Aesthetic foundations of structuro-artictic development

Karlavaris has done numerous researches in this field which helped defining the child's
basic development characteristics in Arts. The phases of development are often defined
in different ways. Nevertheless, it is important that most of the researchers agree about
one fact. It is the rhythm of child's artistic ability. This research is based, more or less, on
those phases defined by Karlavaris (Karlavaris, 1975). Considering that children of the
same age draw in similar way he states that the reasons are anthropological. Some rea-
sons refer to specific segments of children's motoric and their consciousness. Karlavaris
said: "Child's artistic expression is made of various components which gradually develop
and which can be divided into internal and external" (Karlavaris, 1975). In this case
Karlavaris implies internal components to be the ones which refer to degree of inner sen-
sibility and rhythm, level of consciousness and to the possibility of the complete aware-
ness of all expressive components. It also refers to a degree of motoric development and
concentration of energy.  Those two elements must be in reciprocal coherence. External
components are referred to usage of expressive resources (media). Impacts from the
outside world can be verbal, optical or acoustic. Internal and external components de-
velop in all its complexity. Therefore, artistic expression changes itself in its qualitative
and quantitative manner according to those two components.

Karlavaris singles out these artistic elements: line, shape (looks), colour, shade, tex-
ture and primary relations between them (size, proportion, symmetry, repetition, alterna-
tion, internal rhythm, direction, dynamics, statics, balance, unity, dominance, space
volume, composing). Optical and thematic plan develop gradually from the ages 2 to 7.
Between the ages 4 and 5, creative plan develops abruptly, while structural plan stag-
nates. Artistic expression of the preschool child relies on line, shape and color. Charac-
teristics and specifics of knowing the art elements in the field of drawing and painting
between ages 5 and 7, Karlavaris described in his book "Art education" (Karlavaris, Kelbli
& Stanojević-Kastori, 1982). He defined the laws of child's artistic forming as a result of
numerous researches done by him. Milosević speaks about relations of the Art elements.
He also singles out aesthetic principles as primary relations. Those are: harmony, com-
position, rhythm and balance (Milošević, 2008).

In their book "The Form Theory" (2004) Bogdanović & Burić say that every visual
image has certain form (shape) which is made of series of artistic elements. Their aim is
defining of a certain form. According to Bogdanović & Burić, it is necessary in the first
place to define artistic conceptions throughout principles of artistic forming. In that way
we can understand artistic elements and their usage concerning child's artistic expres-
sion. "Regardless of whether the art piece belongs to an artist or to a child, it contains

Filipović & Vojvodić120



the same elements. Every art piece must be evaluated only on the basis of objectively
noted and critically observed relations. To accomplish this all artistic elements must per-
form entirely and simultaneously together" (Bogdanović & Burić, 2004: 8). They name
aesthetic grounds as principles and acts. With their help mutual relations of the structural
object are coordinated. Those relations are: harmony, contrast, balance, dominant and
unity. The idea of harmony can be understood as a harmony of similarity (to bring into
accord elements using their shapes), harmony of function (difference of shapes in their
form with common function), harmony of symbol (to bring into accord shapes which are
different in its form and function, but have common spiritual and abstract meaning). Con-
trast represents the difference of opposite (black must be opposed to white in order to
understand their value). Contrasts are necessary in order to emphasize what is meant to
be stressed. Balance represents the visual equalization and the easiest way of achieving
balance is symmetry which gives an impression of calmness, distinction and dignity. Dom-
inant represents central shape. The task of the dominant is to picture basic artistic idea.
It is pictured throughout size, shape, planed artistic procedure, colour and emphasizing
the form. Unity represents coordination of all artistic elements. Unity and connection be-
tween all these elements form an esthetic law of artistic shaping. It is important to bring
into accord stylistic and artistic unity with appropriate thematic idea. Once they are syn-
chronized, the harmony of contents and for is achieved (Bogdanović & Burić, 2004).

Specifics of structural-artictic development  

Karlavaris did a numerous researches for The Center of Child's and Youth's Artistic Ed-
ucation during the 1970's in Novi Sad. One of those researches was supervising of the
artistic development of the same students and the trend of intellectual and emotional ma-
turity in Arts concerning children between the ages 3 to 16 (1974). The aim of research
was to define the developing phases in child's artistic expression. It was impossible to
differentiate those factors which depend on inner laws of a person`s development and
on laws of external effects. He tried to determine the facts: 1. Relevant factors which in-
fluence artistic development; 2. Individual and typological differences within child's artistic
development. Karlavaris used specific measuring tools for the purposes of this research.
Standpoints for supervising the intellectual level in Art were: 

1. Security in observation used to picture single objects (shape, silhouette, other char-
acteristics and a number of details) and used to picture the object relations (size and
space relations, the way of object's logistic connecting); 

2. Persuasiveness in usage of adequate artistic elements while picturing objects (ade-
quate usage of shape, line, colour and texture); 

3. Security of the motive's technical realization (calmness of the hand, security of the
usage of technical resources); 

If we consider the supervising of the creative-emotional level as a key element, following
characteristics will be determined:

1. Creative level (originality, fluency, redefinition, flexibility, sensitivity to problems and
elaboration);

2. Level of the artistic abilities which are stimulative (sensitivity of observation, sensitivity,
creative thinking, emotional experience of motives and sensitivity of the mothoric
nerve);

Child's artistic expression 121



Every of these criteria had its own scale (0-10). In the end they were reduced to two
grades (for intellectual artistic matureness and for creative-emotional maturity).

The results of the research showed that artistic development indicates a tendency of
rise until the age 6-7 and then it is followed with an abrupt fall which matches the moment
of child's start of elementary school education. Karlavaris explains this as a result of cer-
tain disturbances in person's development continuity which are a product of that period's
education and upbringing.

By comparing the trend of intellectual-artistic maturity with the trend of creative-emo-
tional matureness, Karlavaris noticed continuative decline of creative-emotional compo-
nent and continuative strengthening of intellectual-artistic component. These trends are
bad according to him. This is because the laws of stimulating artistic development are
already known and because these two components are constantly changing as a condi-
tion for notification of creativity. Departure of these two components and the constant de-
cline of creative-emotional component lead to skill, routine, repetition of learned
(uncreative processes). Karlavaris explained this phenomenon with an intellectual orien-
tation of the educational system which expanded in that period and with the obvious de-
cline of art classes in schools. One of the causes was also disharmony between
institutions and primary schools. Therefore he stated that only continuity of contents and
methods in artistic expression (in all schools) can lead to continuity in artistic ability de-
velopment. 

Taking into consideration that artistic language is similar to every other language,
Karlavaris thinks that it can be learned spontaneously and consciously. Artistic language
is gradually acquired. Just like verbal language artistic one cannot be learned instantly.
It develops slowly. Child's structural development can be observed by the level of mas-
tering artistic elements and by supervising their mutual relations. Karlavaris has system-
atically defined and described this fact.

According to Karlavaris, line and shape are used as first artistic elements by pre-
school children. The line appears first. In time it forms into shape. Circular shape is the
easiest to a preschool child. It begins using it early. The children can notice the circular
shape within their toys. Some of them are ball and bicycle. Later they notice it on various
things that surround them in everyday life. In that case circular shape is not drawn sep-
arately. It is a part of a more complex composition. Small practices that are involved in
assigned games can be very helpful to children. Throughout them children learn about
other geometrical forms and how to implement them into larger composition. Portrait as
a form of expression appears at the age 6-7. Through portrait child expresses its emotions
according to model. There is no realistic similarity with a model. Children use line to un-
derline the details, colors certain parts of drawn shapes to emphasize what is important
to them. They can successfully combine different kinds of line: straight, curved, circular,
long, short, thick and thin.

Speaking of line and texture, the child first becomes aware of the line's length and
continuity. Afterward it becomes aware of line's ability to confine and of creating shapes.
B. Karklavaris states that older children have an ability to consciously use lines of different
thickness, textures and shades in order to enrich the drawing area or shape. This is pos-
sible only when appropriate pedagogical methods are used throughout the process of
teaching. In this age, child often uses line decoratively.

In accordance with the laws of development and sense to comprehend space, line
and space are manifested among the preschool children as a chaotic space, syncretic
linking of objects. They are also manifested by usage of simple and double frizzes, by

Filipović & Vojvodić122



breaking the frizz and by placing the objects in front or behind one another without re-
ducing its size. When child begins to separate its objects from the frizz line, it tries to
place them into space by putting some of them in front, and some of them behind the
others. The child is still not able to visually picture space and follow the laws of perspec-
tive. Children achieve the spontaneous way of picturing space on the grounds of directed
observing of the surrounding.

Basic and created colours can be learned by the preschool child. It can learn how
to create different shades of colour and how to use them consciously. In the beginning,
a child uses colour in a line form, draws using colors and finally fills the space with certain
color. Child gradually experiences colours and uses them in its artistic expression. Chil-
dren first use only one colour. They are not interested in colour as a pigment. They use
colour as a drawing tool. Therefore, it uses a brush and paint to draw lines and to create
object contours. Gradually it notices that colours can be used to make smudges, to cover
a large part of drawing area. Child plays with colours placing smudges side by side. First
it uses basic colours. Later it learns about possibilities of mixing and producing new
colours through game and conversation.

Local colour is not used by child at first. Children develop a sense for local shade of
colour gradually. Usage of organized pedagogical methods showed that older children
acquire this spontaneously. Children use colour decoratively in order to illustrate their
imagination. Child uses the favorite colour to emphasize things which are of certain im-
portance to it.

Colour and texture children experience mainly by using the sense of touch. Different
textures of the material are used in order to teach them about this. However, children
under the age of 8 do not use texture consciously. They spontaneously learn about it
through experimenting with colours. In that way child experience texture through dens
layers of colour or through painting with fingers. This kind of work is interesting to children.
They play, research and discover throughout the process.

Composition of colours is combined spontaneously by children of this age. It is com-
bined according to current mood or topic. Children do not know the laws of combining
the colours. Child usually composes live and contrast complementary colours such as
red-green, yellow-purple. In that way it produces strong colouristic contrasts. Children
can develop a sense for harmonious combining of colours if appropriate pedagogical
methods are used. 

Shade-brightness can be used as a mean of expression only by obeying developing
characteristics of artistic expression. That rule implies also to the preschool children. Chil-
dren of this age cannot solve complex compositional problems of larger shading contrast.
Child expresses itself by nature by using intensive colours. It does not mix colours. Mixing
of colours comes as a result of inappropriate handling of artistic material. Children should
get already prepared colours. They should be offered with all kinds of colours and with
different brightness. By doing so, children are able to use colours according to their
senses. They should mix colours with white and to paint directly out of pallet. Children of
this age must recognize and name colours of different brightness. They ought to use
colours by filling the painting area with them.

Bright-dark relations can be achieved by using collage or watercolors although these
methods should not be insisted on. Gradation of light is still a problem to a child. There-
fore, it solves this problem superficially without shading.

Brightness of colour can be learned gradually by children. The child should be sup-
ported during the improvement process which includes coloristic expression. However,

Child's artistic expression 123



there should be no insisting on the way children use space and form in sculpturing.
Colours of full intensity catch the attention of children. Therefore, they often use tube
colours. Complementary relations are often unconscious and spontaneous.

Line, shade, brightness are very familiar to children in the ways of linear expression.
They should be cherished, especially those applied on motives which encourage child's
artistic imagination. However, shading of the drawing is not common among preschool
children.

Balance of halftones is a relatively huge problem concerning preschool children.
They are insufficiently familiarized with fluid painting materials. Fear of certain technique
often represents an obstacle to a child's expression. Simple drawing is a first step of mas-
tering the Chinese ink technique.

Volume is likely to be represented by usage of shade. Therefore, preschool child can-
not define volume consciously.

Brightness and graphics can be learned among preschool children by experiencing
the graphics. For example, it can be achieved through cardboard print and monotype.
However, children must be mature in artistic fashion. The development of the sense for
graphic expression is a complex process. It begins with simple fingerprints and handprint.
Already prepared models are than used for printing. Motives can be simple and decora-
tive – dress patterns or wallpapers. Cardboard print can be manufactured by using papers
of different texture and relief. Lace can be used as a decorative supplement. Monotype
requires a work with smooth plate or linoleum. Since children work fast with colours, it is
possible to print matrix while it is still moist. Technical aspect is very important, but mustn't
be the only one that requires attention. Creativity is of the greatest importance. Knowing
the technique of print is sufficient for a preschool child to solve some artistic problems.

The shaping of the material is very applicable for a large number of games that stim-
ulate creativity. It can also be used in the adaptation of various topics. Children develop
sense for relation between masses, usable value of materials, construction and technical
skillfulness. Game must be a starting point in the process of creating. Within its bound-
aries certain artistic problems can be researched. It also allows gaining a certain technical
experience.

Considering that the artistic expression of the child is mainly spontaneous, preschool
children solve problems depending on their sensibility and idea. However, encouraging
them to find specific compositional solutions is possible. Children's spontaneity, inter-
ests, experiences must be taken into consideration during the adaptation of such complex
artistic problems. Therefore, children are given tasks which hold within itself certain artistic
problems. These problems are solved spontaneously through work by children. If the
task is organized in a fashion that requires more consciousness among children, than it
is possible to discuss about usage of composition in artistic terms (choice of composition
which is suitable for certain ideas and artistic messages).

Rhythm is familiar to children because of rhythmical functioning of life's physiological
processes. The child jumps, speaks and draws according to rhythm. Artistic task can be
in certain connection with other activities such as speaking (rhythmical pronunciation of
words or verses, singing). Children of this age cannot conduct stylization of the shape in
the right way nor precisely compose an ornament in the constant rhythm.

Symmetry cannot be learned among children of this age only by using theory of sym-
metry. Children spontaneously solve symmetrical problems.

Balance is a quality of an artistic organization and of other activities. Sensitivity for
evaluation of relations and respecting the laws of nature must be developed carefully.

Filipović & Vojvodić124



After successful development of these skills children are able to spontaneously organize
their art works and achieve balance in terms of artistic expression. Children of this age
easily accept symmetrical solution. Nevertheless, they can perform the decorative tasks
which include problems of rhythm, formal and informal balance. Solution of these tasks
should represent spontaneous expression without any imposed models. Motives should
be suitable to a child's age. Motives should be linked to child's direct expression (patterns
on mother's dress, patterns on a playing ball).

Repetition is familiar with children of a preschool age. They are able to organize artis-
tic unity by obeying the principles of repetition which are already included in task. That
way child can learn effortlessly. It can discover artistic relations throughout the work.

Gradation is not completely developed among children of preschool age. The play
with shapes and brightness can influence the improvement of the child's inventiveness
and creativity (the crucial significance of artistic activity concerning children of this age).

Harmony appears spontaneously because the preschool children reduce and connect
similar colors, shapes and other values. They are not able to obey basic principles of
harmony which include the right choice of similar qualities.

Contrast mainly appears through intensive color of complementary relations. That is
how the impression of contrast is achieved during the process of combining shapes and
colors. Suitable tasks which include this artistic problem can help the building of compo-
sition by following the rules of contrast.

Composing direction includes few variants: diagonal, vertical and central composi-
tion. Children are not familiar with these laws. Therefore, they come to these solutions
spontaneously while building artistic composition.

Stylization can be learned throughout the tasks which require the stylization of the
shape. However, it cannot be achieved completely at this age because children tend to
simplify and schematize almost every shape (Filipović & Kamenov, 2009; according to
Karlavaris, 1974). 

Conclusion

Artistic development is conditioned by various influences (family, surrounding, cultural
tradition, child's psychological structure). Therefore, it is possible to determine methodical
practices and approaches which deal with the development of child's individual potentials
from its early age. Line, shape and color are the first artistic elements that child deals
with. Shade and texture develop more slowly. The elements of volume and space are
the most complicated ones. Composition is usually used spontaneously. Children come
to compositional solutions naturally. According to Karlavaris's analysis, it can easily be
noticed that not all artistic elements and relations are acquired equally among children.
They develop in their own rhythm. However, child's individual artistic development can
be followed and adequate methods can be used during this development. It is possible
if artistic language is used and mastered in some degree.

References

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Child's artistic expression 125



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Received: February 9, 2017
Accepted: March 11, 2017

Filipović & Vojvodić126