DOCUMENT RESUME

RD 100 102 95 EC 070 972

AUTHOR Luca, Mark C.; Allcn, BonnieTITLE Teaching Gifted Children Art in Grades One Through

Three.INSTITUTION California State Dept. of Education, Sacramento. Div.

of Special Education.SPONS AGENCY Bureau of Elementary and Secondary Education

(DHEN/OE), Washington, D.C.PUB DATE 74NOTE 46p.; For additional information, see ED 088 253 and

254 and ED 082 433

2DPS PRICE HF-$0.75 HC-$1.85 PLUS POSTAGEDESCRIPTORS *Art; Class Activities; Creative Ability; Creative

Expression; *Curriculum Development; CurriculumGuides; Exceptional Child Education; *Gifted; PrimaryGrades; *Program Planning

IDENTIFIERS Elementary Secondary Education Act Title V; ESEATitle V

ABSTRACTThe handbook for teaching gifted children art in

grades 1-3 provides guidelines for curriculum development andteaching suggestions. Among topics considered in an overview of theart program are past and present art, the use of environmentaldesign, pupil involvement in art, and identification and selection ofgifted children. The art curriculum for the gifted is discussed withregard to program aims, emphasis, and content as well as area skillsin art (such as sensory awareness and manual control) and sequentialcurriculum planning. Presented in chart form are suggested teachingmethods for children from preschool through fourth grade. Examinedare organizational considerations such as pupil grouping, scheduling,acceleration, instructional aids, the interrelationship of art withother subjects, and continuity and articulation in the art program.Attention is given to the creative process and intellectualdevelopment, creativity and guidance and the evaluation process, and

new horizons in art education. (LH)

0

3

Lu

Teaching Gifted ChildrenArt in Grades OneThrough Three

Prepared for the

Special Education Support UnitCalifornia State Department of Education

by

Mark C. Luca

and

Bonnie Allen

U 5 DEPARTMENT OF HEALTH,EDUCATION A WELFARENATIONAL INSTITUTE OF

EDUCATIONTHIS DOCUMENT HAS BEEN REPRODUCE° EXACTLY AS RECEIVED FROMTHE PERSON OR ORGANITATION ORIGINATING IT POINTS VIEW OR OPINIONSSTATED DO NOT NECESSARILY REPRESENT OFFICIAL NATIONAL INSTITUTE OFEDUCATION POSITION OR POLICY

This publication, which was funded under provisiops of Title V ofthe Hen:emery and Secondary Education Act, wis edited andprepared for photo- offset production by the Bureau of Publications,California State Department of Education, and was published by theDepartment, 721 Capitol Mail, Sacramento. CA 95814.

Printed by the Office of State Prin' IN and distributed underthe provisions of the Library Distribution Act

1974

FOREWORD

We need art in .cur schools today more than ever before in ourhistory. We need teachers of art who understand the importance ofhelping children to expsess themselves, to learn to be sensitive to allaspects of life, to gain a richer appreciation for creativity, and toexperience art.

The California State Board of Education has given its support for a"reemphasis on arts and humanities education in the schools of thestate." And the Board has asked the school districts of the state tohelp reverse the "trend to deemphasize arts and humanitieseducation."

One of the ways the Department of Education has responded tothis need has been by preparing and publishing materials that schooldistricts can use in bringing new emphasis to the teaching of art.Teaching Gifted Students 4,1 in Grades One Through Three is thefifth such publication pertaining to the visual arts which theDepartment has published in recent years; it follows the ArtEducation Framework for California Public Schools and three priorpublications in the series on art education for the gifted (one forgrades four through six, another for grades seven through nine, andthe third for grades ten through twelve). I believe ti together theyrepresent a significant conti ibution to the reel. anis on artinstruction as an integral part of the curriculum.

As the authors of this pu. lication state: "Art as a form ofcommunication is the natural language of mankind. It is the oldest oflanguagesolder than speech, reading, or writingand is used by allthe peoples of the world." As "the natural language of mankind," arthas a special place in the educational experience of the very youngchild. And I am particularly pleased that the authors of thispublication include in it material relating to the preschool andkindergarten years as well as for grades one through three.

We in the State Department of Education pledge our continuingefforts to making the classroom a place where the natural creativeurge of our pupils is en,:ouraged rather than r..tified. Teachiqg GiftedStudents Art in Grades One Mrough Three represents anotherexample of that continuing effort.

iii

Superintendent of Public Instrurt;,m

PREFACE

This publication is one of the products of an education projectauthorized and funded under provisions of the Elementary andSecondary Education Act, Title V. It is intended for use by theteachers of pupils whose mental ability is such that they are classifiedas mentally gifted. It is also recommended for use by administrators,consultants, and other professional personnel involved in helpinggifted children.

Teaching Gifted Children Art in Grades One Through Three is oneof a group of curriculum materials designed for use by teachers ofthe mentally gifted in grades one through three, four through six,seven through nine, and ten through twelve. These materials wereprepared under the direction of Mary N. Meeker, Associate Professorof Education, and James Magary, Associate Professor of EducationalPsychology, both of the University of Southern California.

Also developed as part of the education project is a series ofcurriculum guides for use in the teaching of mentally gifted minors inelementary and secondary schools. The guides, which containpractical suggestions that teachers can use to advantage in particularsubject areas, were prepared under the direction of John C. Gowan,Professor of Education, and Joyce Sonntag, Assistant Professor ofEducation, both of California State University, Northridge.

LLSLIE BRINEGARAssaciate Superintendent ofPublic Instruction: apd Manager,Special Education &wort Unit

ALLAN SIMMONSChief. Bureau for Mentally

Evreptional Children

PAUL D. PLOWMANConsultant. Mentally attied

Minor Program; andPrincipal Project Coordinator

CONTENTS

ForewordPreface

Chapter

Page

iii

I Overview of the Art Program 1

The Nature of Art 1

Past and Present Art 2Use of Fnvironmental Design 2Source of Material and Inspiration ...... 3Development of Human Potential 4Pupil involvement in Art 4Identification and Selection of Gifted Children 5

2 The Art Curriculum for the Gifted 9Aims of the Art Program for the Gifted 9Emphasis of the Art Program 9Area Skills in Art 12Sequential Curriculum Planning 15Content of the Art Program 17

3 Organizational Considerations 24Grouping of Pupils 24Scheduling of Art Activities 26Acceleration in the Art Program 26Classroom Aids for Art Instruction 27Interrelationship of Art with Other Subject Areas 27Continuity and Articulation 29Teacher and Administration 29Schools and Facilities 31

4 Intellectual Development, Creativity, and Evaluation . . . 32Development of Higher Intellectual Skills 32Creativity and Guidance 34Evaluation Process in Art Education 35New Horizons in Art Education 36

Selected References 38

WAR

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.

LIST OF TABLES

MM. Page

1-1 Nature as Source of Art Material and Inspiration . . . . 3

11:1 Suggested Uszs of Art Media for Gifted Children in GradesOne Through Three 13

a

l 1-1o suggested Teaching Method for Teaching Art to GiftedChildren, Preschool Through Grade Three 18

11-3 Suggested Teaching Method for Teaching Art to Gifted$ Children, Grade Four 23

viii

Chapter 1

Overview of the Art ProgramAs art programs for gifted children in grades one throug!' three are

considered, several questions present themselves, including thefollowing:

What are the existing programs of art in the primary school andthe capacity of those programs to enhance or support programsfor the gifted?What kinds of programs can be selected that will engage theinterest and capacity of the child and the faculty?What is the level of art experience of the teacher? Teachingmethods? Guidance procedures?Will the programs be instituted by a school district with centersfor teaching aids and team specialists, or will the programs bedeveloped at the individual school?

Increasing doubt exists that the public school at any level caninstruct students adequately in the accumulation of knowledge in artor in any other subject. Art study must, therefore,, be concentratedand coordinated so that the teacher can pass on what is structurallyimportant for cultural awareness and personal sensitivity.

As a process of physiological and psychological growth, creativeinvolvement in art enables the student to gain personal identificationand clarify his expression. Art programs for the gifted should,therefore, promote the use of the child-centered or individualizedmethods of teaching that emphasize discovery and design. The roleof art in life is so bound to the practice of art that the creative act isthereby made relevant and meaningful. A general base involving boththe objective and subjective areas in art must be provided for eachchild as he develops physically and mentally so that his creativepotential can be enriched and ennobled.

The Nature of ArtArt is not static. It is a dynamic relationship between man and his

environment. For the creative process does not operate in a vacuum;it flourishes in diversity at all levels of intelligence among all humanbeings. The human mind responds to relevant data and creates

2

patterns that organize incoming data. Programs for the gifted seek tofurther this . natural impulse to impose order and to inspire theresponsible and sensitive use of creative minds.

Art as a form of communication is the natural language ofmankind. It is the oldest of languages older than speech, reading, orwritingand is used by all the peoples of the world. Under a broaddefinition of art can be included the works of children, folk artists,Sunday painters, commercial artists, and artists whose sole aim in lifeis to create. A huge amount of art is produced every year becausefrom the beginning man has felt the need to express his thoughts andfeelings in a creative manner.

A3 children progress in their schooling, they should become moreproficient in art; however, the opposite is usually true. They loseconfidence in themselves and in their skill. Art for primary childrenshould begin with a broad base. Introduction to past and present artreveals to the young child the scope and meaning of man's changingrelationship to his environment. The child's own expression is thefirst step in the use of this rich heritage.

Past and Present ArtThrough the art of the past we gain insight into ourselves and into

the world. Art produced since the Renaissance places emphasis onideas; art produced before the Renaissance can serve a.: an introduc-tion to a wide variety of media and artistic ends. Art objectsproduced recently are probably among the most difficult things toevaluate. Only a small portion of the art of the past has withstoodthe test of historical change; contemporary art remains unculled.However, work that evokes fresh insight and new stimulus should beintroduced to children in an educational setting so that their powersof evaluation can be put to work early in the learning process.

Contemporary art speaks in contemporary idiom, and the youngcan often appreciate this kind of art more readily than the art of thepast. The ability to recognize materials and finished products anddivergent techniques is the beginning of cultural and artisticawareness. Children gain much from trips to museums and togalleries. They gain by (l) observing and discussing original drawingsand paintings, reproductions of paintings and sculpture, and hand-crafted articles; (2) visiting an artist's studio or craft shop; (3)looking at art bcoks; and (4) having an artist present a demonstrationand discuss it with the children.

Use of Environmental Design

From building blocks in kindergarten to building modvls in thethird grade, many opportunities exist which can introduce design

3

concepts to the child. In the immediate environment children canprint their own draperies, design a school mosaic, and design andassist in the landscaping. Commercial design and industrial designoffer other opportunities for exploration. Students can discuss Indianand pioneer American architecture in relation to the needs of acontemporary American city. They can even design a city of thefuture. For sheer abundance and variance in quality and price, thematerial available for developing the child's understanding of designis limited only by the ingenuity and insight of the teacher. The resultof involvement is the child's growing sense of self and communityinvolvement.

Source of Material and InspirationBoth nature and culture exert vital influences on artistic expres-

sion. Both work dynamically on the artist and on the child. Table I-1can be a starting point for a focus on nature as a source ofenrichment. As indicated in Table I-1, art activities can be correlatedwith sources of contacts with nature and types of contacts. Emphasisshould be placed on discovery and intuitive utilization rather than onrote memorization of terms or ideas.

TABLE I-1

Nature as Source of An Material and Inspiration

Source Jf contact

Direct contact

Nature walks; field tripsto farm, park, zoo,lake

Within classroom: rockand fossil displays;growing plants; keepinganimals or insects

Indirect contact

Photographs, slides.movies, TV: memoryrecall in verbal orwritten descriptions;use of nature in art(landscapes, still fifes,reflections)

Type of contact Art activity

Looking for elements used Paintingin art: line, texture, pat- Drawingtern, shape, and color Collage

AssemblageObservation and discussion Junk sculpturefollowed by comparing art Dioramawith nature Panorama

ScrollsHome assignments or field Model buildingwork (e.g., sample col- Stone mosaicSections, photos, and Glass mosaicsketches) Seed mosaic

MuralSketch books; card files; Carvingbooklets of pressed leaves Printingand flowers Displaying

WeavingComparisons between illustrationpatterns, shapes Dance inter-

pretations

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Development of Human Potential

An enormous responsibility for educators in the primary grades isto inspire creative behavior and, in so doing, perhaps to set the tonefor the lifetime of each child. Educators must concern themselveswith the aims and objectives of human growth and development,with increasing cultural diversity, and with the need for qualitativeunderstanding. They must always keep in mind that the children intheir care will become the designers, craftsmen, and consumers of thefuture and that the perceptions and judgments of these children willshape the future of mankind functionally and aesthetically. The aimof education as a whole and of art education in particular should beto increase as much as possible the number of individuals who, whileenjoying full creative development, are sensitive and responsible in asocial context.

In art study the efforts required to coordinate intellectual,physical, and emotional growth contribute to self and socialawareness. Regardless of his ethnic origins, cultural background, oreducational readiness, any child can begin a program and find himselfimmediately engaged in problem solving and in producing work ofwhich he can be proud. At this early age he is taking his first steps inthe long, slow process of acculturation. For him art may be anendless ladder of growth and enrichment. Whatever the programselected for the gifted in art, perhaps the most important element isthe commitment of teachers and administrators to preserve anddevelop the open inquiry and spontaneity that are characteristic ofyoung persons.

Pupil Involvement in Art

Art programs should be exciting. Unfortunately, emphasis on rotelearning and on academic achievement measured by averages hasfrustrated efforts to allow creative abilities to emerge. Curriculumstandards have posed an additional problem in that educationalplanning, teaching methods, and perspectives have tended to sacrificecreativity for measurable and practical skills. The failure to involve

creative ability is evidenced in the rapid grvrt of negativeself-concepts that find expression not in art but in negative learning,negative social behaviors, and nonproductive individual or groupactivity.

The gifted, whose ability includes a capacity to work faster and toperform more consistently with less supervision than the nongifted,constantly test the skill, insight, and patience of their teachers. Evenin grades two and three, pupil protests againsi the system cansee discerned in their attitudes toward the community and toward

S

themselves. They may withdraw, disrupt, or destroy. It is apparentthat many children in the primary grades are insufficiently chal-lenged and are uninvolved.

Gifted pupils need more than information and uhnulation; theyneed guidance in the organization of the information they naturallyacquire. For many, a broad gap exists between the vicariousexperience gained from television and the real experience of life.Children frequently give .so much evidence of verbal sophisticationthat it is forgotten that their knowledge is not experiencedknowledge and that their developing minds are vulnerable andsensitive. For them, getting used to a new teacher, a new tool, or anew idea is not always easy or pleasurable. What is needed inteaching art to them is a child-centered, individualized approach thatacknowledges the establishment of positive self-concepts as funda-mental to positive learning behavior. The child's needs and interestsmust be paramount considerations in the planning of the artprogram.

In art as in any other subject, learning occurs in direct proportionto the degree of self-involvement. In art the child begins where he is.Enrichment parallels the development of skills, both motor andintellectual, so that natural gru Ali and creative growth become oneand the same. The activity of art is assimilative, a testing ground forcombinations of fact and feeling that establish structure, form, andcommunication. The child in the primary grades should not berestricted solely to media or motor skills; he should be involved inthe unfolding of human creative history through exploration,discovery, and creation.

Identification and Selection of Gifted Children

The potential of gifted children is measured primarily accorling toability to use written language. Art study, on the contrary, isprimarily concerned with the nc,nverbal, at least until the studentbegins advanced work where conceptualization is very ab..tract.Increasing evidence exists of a high correlation betwc-n creativityand intellectual skills. Evidence also ..xists that child/ en enjoy artwork and that the transfer of art concepts to ether areas c'oe., occur.The realization that has been slow in coming is that nc -.erbal duesnot mean unintelligent and that the highly imaginative mindinterested in art is also a highly resourceful mind.

intelligencc and Creativity

The aigh correlation between intelligence and creativity must beweighed against the fact that many potential art stJents have lost

6

interest by the end of the first and second grades. Emphasis on skillsin academic subjects ilistead of in art prevents many pupils fromshowing preference for art subjects and activities. As a result theartistically gifted must satisfy their particular interests outside ofschool. When the art curriculum is freely organized and diversified,the student can expect to seek the subject matter that interests him.Because creative ability cuts across racial or cultural distinctions,selection for the program must be made from a large base, one thatincludes an equal opportunity for each type of special ability.

Early identification of creative ability is essential. Yet identifica-tion is complicated in that neither intelligence quotients (IQs) norpreference for art work has proved effective as an indicator. Artpreference as an indicator is inadequate because if a child hasexperienced discontinuity in his art experience, he may havedeveloped a very limited perception of himself as a creator. Or artpreference may be inhibited or retarded by behavioral immaturity orcultural bias against the value of art. Or the child may not be readyfor art study. An academically gifted child may exhibit a lack ofideas in art simply because he is trying to please the teacher. Manychildren are too self-conscious, even at the age of six or seven, tomaster a technique or complete a project; they want to avoid theembarrassment of the trial-and-error process. Other children havebeen subjected to ridicule by parents, peers, and teachers or toevaluations that were insensitive to the originality and invention ofthe child's work.

The problem at hand is to identify both the academicaily giftedand the artistically gifted child. The characteristics of creative abilitymust be reviewed. And it must be asked whether, on t e primarylevel. it is useful to separate academic ability from artisti ability. Ifthe aim of art is to develop alternative ways of seeing, th nking, anddoing, then this objective cannot be served by the teaching of art asisolated from the intellect.

Characteristics of Creative Children I

Some of the main characteristics and behavioral complexes ofchildren with the potential to be creative in art are the fcilllowing:

I. Interest in ana. Stated or direct evidence of interest (e.g., "I like art" ur "I

made this")b. Past experience in art or having an artist as a 'member of a

child's familyc. Verbal and nonverbal fluency in art; ease with subjectd. Stated or indirect preference for nonverbal communications

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(e.g., pencil hoarding, failure to turn in art work, doodling onwork sheets)

e. Evidence that one is a motor learnerf. Constant working with pencil or crayons

2. Learning behaviora. High IQ score or evidence of outstanding cognitive abilitiesb. Early motor maturation; finger dexterity and muscle coordi-

nation evidenced in attention to uniform surfaces whilecoloring; frequent doodling; interest in calligraphy; andperformance in dance or sports

c. Surges of energy; restlessness other than mere motor excite-ment indicative of an alert state of mind (e.g., flights ofthoughts, rapid turnover of ideas)

d. Easy recall evidenced in work and study as well as involunteered information and comparisons (e.g., "We used togo" or "I tried that once")

e. Compulsion to organize; desire for precision and clarityf. Completeness in design; use of entire page; attention to

detailsg. Adaptability and flexibility indicated by easy and early

conformity to social situation in classroom; adherence torules and regulations as well as study routines

h. Ability to go from one activity to another without weakenedattention

i. Persistence in seeking alternatives (e.g., frequent requests"May I do it this way?"); sometimes resisting change (e.g.,reluctance to set aside art project); persistence in doodlingand performing calligraphic experiments; even obstinacyrefusal to try assigned task because of the desire to handlethe task differently

j. Advanced interest in representation of real scenes or objects;pronounced imitation of adult behavior and art styles

k. Highly developed sensory perception (e.g., marked sensitivityto color, textures and shapes, rhythm, and pattern)

3. Social behaviora. Independence of ideas and flexible role playingb. Potential for leadership; frequent supplying (sometimes to

the teacher's dismay) of ideas for class activities4. Performance patterns

a. Persistence in single motif or structural problem; strongconcentration on a theme and varEtion

b. Inventive and original solutionsc. Sensitivity and flexibility in symbolic associations (e.g.,

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frequent recourse to imaginative interpretations)d. Desire to work alone; tendency to linger over art projecte. Elaborations of assigned task (e.g., intense interest in

elaborate designs, lettering, doodles, and caricatures; balanc-ing of shapes; implementing of storytelling possibilities,enlarging on details)

f. Thorough handling of assignment .

g. Deep sensitivity to various aspects of a question or potentialof a medium (sometimes leading to anguish and inhibition ifthe teacher does not assist the child to select amongalternatives)

Behavioral immaturity or physical immaturity complicates theprocess of learning for the academically gifted. The same complica-tion exists for the artistically gifted; in fact, because art education inthe public schools is frequently in a tenuous position, even greaterlearning problems face the artistically gifted. Yet the creative impulsedemands expression. If direct channels are not provided, indirectones will be found. Marked independence can turn into hostilewithdrawal; ready adaptability, into passive conformity. Positivelearning abilities can become dissipated if not directed to creativeends. The teacher must be ready to recognize unevenness in theabilities of the gifted child and remain alert to the indirect and directindications of ability.

Chapter 2

The Art Curriculum for the GiftedArt for the gifted child in the primary grades offers opportunities

for enrichment in an area of formal learning; it also continues thechild's own creative beginnings. The primary curriculum is notdesigned for the gifted; therefore, the curriculum must be revised tomeet their needs. Art education has traditionally emphasized theteaching of art in isolation. The result is that pupils do not achievethe understanding that art is everywhere in man's work or that thecreative process infiltrates all aspects of life. Children must be taughtto compare and analyze art objects and to see the interaction of theparts that makes comparison meaningful. Through an understandingof the relationships of the parts, the child attains a total experiencein art.

Aims of the Art Program for the Gifted

The art program for the gifted should aim to improve the child'sability to do the following:

1. Use materials and tools to their limit.2. Usc verbal and nonverbal symbols.3. Relate art work to the effort and products of other cultural

periods and peoples.4. Analyze and revise artistic effort without sacrificing individ-

uality.4. Analyze and revise artistic effort without sacrificing individuality.

Emphasis of the Art ProgramWhat is to be emphasized in an art program depends on the several

parts of the teaching and learning situation. These parts include (I)readiness of the child to do art work!. (2) training, experience, andpreference of the teacher; (3) availabilty of equipment, materials,and funds; (4) traditions of the school; (5) programming, scheduling,and methods of grouping; and (6) community resources. A programdeveloped according to a sequence enables the child to assimilate andreassociate information, thought, and feeling. The result is acommunication of his expression in an art form.

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To be included in an introductory course on art in grades onethrough three are (1) the cultural role of art; (2) the elements ofdesign; and (3) the use of media and tools.

Cultural Role

In this section is presented a list suggesting a line of sequentialdevelopment and growth of understanding. None of the items ispresented in isolation; repetition, expansion, and interaction serve toreinforce the meaning of each. in a survey of the nature of art,efforts should be made to link the concepts presented to studies inmedia or cultural comparisons. For example, a historical study ofclay reveals a variety of forms to achieve a single purpose. Or,reversing this approach, the class can produce a variety of formsleading to group discovery in which the concept of diversity in art isreinforced by cultural comparisons. The list of concepts togetherwith suggested art activities is presented as follows:

Concept

Art is a universal language.

Art is problem solving; itarises from man's confronta-tion with materials and tools,thought, and feeling.

The forms of nature and ofart are sometimes alike andsometimes different.Art is not confined to onestyle or one material.

Art depends on awareness andindividual decisions.

The variety of so!utions to artproblems may depend onwide experience with mediaand tools.Sometimes the artist prefersto work alone; at other timesa project requires a team.

Suggested art activity

Compare art themes of pupils with art themesof artists in different times and cultures.Present a problem or allow a problem to arisefrom the class inquiries that can best be solvedin art materials (e.g., How shall we use thissandpaper? This leaf? This yellow clay?)

Observe and discuss the shapes of leaves ormoths or flowers. Compare them as seen inphotographs, in paintings, and in sculpture.Collect pictures of many examples of media;select a theme and a variety of media so thatthe child is free to choose how he wishes toexpress his idea. Discuss these differences andsimilarities.Discuss how individual pupils would paint orconstruct a particular theme.

Start a media storage center where displays oftechniques and products encourage newchoices.

Set aside a few locations where pupils can workwithout interruption and peer influence. Havepupils select a project for group effort (e.g., alarge papier-mache sculpture, a play with pup-pets and stage, an Alice in Wonderland chessgame played by real players in costume withrules written by the group).

Cottetpt

One's own feelings are ex-pressed in art and are inspiredby art.

Artists develop insight and aspirit of inquiry.

Artists work to stretch theirvision and abilities throughcritical thinking.Everyone has different valuesand tastes in art.Art served different purposes.

Artists develop self-under-standing and strengthen theirunderstanding of themselvesthrough their art work.An art work is a mirror of thecultural period and the envi-ronment in which it iscreated.Art as practiced in a demo-cratic environment permitsvariety in product design andcultural purpose.

Design Elements

I I

Suggested an activity

Discuss what artists write about their work.Compare feelings aroused by a piece of music, apainting, or a rock and roll dance. Comparehow three different painters felt about a land-scape (e.g., Picasso, Van Gogh, and da Vinci).Look at and discuss drawings done by da Vinciin his studies of anatomy and motion, flight,and waterfall.Have children redo, their best painting inanother set of colom.oi retell the story inanother medium.Discuss the different reactions to an originalwork of art or a reproduction.Compare the purposes of a designer of chairsand a designer of paintings.Model a self-portrait in clay, once by looking inthe mirror and once by feeling only. Whatdifferences are revealed?

Have groups or individuals do a comparativestudy of cultures or see how different productsof a period have similar design features.

Give a fair hearing to ideas expressed byindividual pupils. Discuss tl .mes in art showingvariety of design and purposes.

Elements of design for the primary grades should be taught for thepurpose of increasing the vocabulary of the child. The child is thusenabled to use both the verbal and nonverbal modes in expressing hisideas. Each child should learn to use and to recognize the use ofelements and relationships. The child should discover relationshipsthrough the examination of a work rather than through memoriza-tion. Emphasis on mere verbal understanding should be avoided. Artproducts and the art skills of the child in the primary grades, whetherthe child is gifted or not, are the by-product of a natural process andare not to be thought of as self-conscious quests for academicachievement.

The child should learn the following:Elements of design. He should learn how to recognize the

elements, where to use them, and how other artists have used them.

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He should also learn about line, colt xture, pattern, shape, mass,light, movement, sound, and space.

Qualitative relation ships. fie shot.... :earn how the elementscombine to produce different effects; that is, unity, variety, contrast,rhythm, balance, and repetition.

Practice: Medium and Tools

At every grade level, emphasis on practice should be balanced byinstruction on the cultural role of art. Too often, only the making ofthings is stressed. The gifted especially need to have the making ofthings oriented to the meaning of things. These children sense arelation between practice and purpose; they question mere "mak-ing." One child has expressed his opinion that "art is dumb; I'vemade the same thing over and over for three years "

Teachers should emphasize the purpose for using art techniques.They should permit the children to see how others have accom-plished their purpose in art, thereby enabling the children to discovera greater number of options for individual solutions. Mere innovationwithout foundation in the principles of art or without relevance tothe individual is not serving the cause of art education and cannotsatisfy the artistic and creative needs of the child.

As shown in Table II -1, media can be worked in a variety of ways.By his manipulation of the media, the child learns about themedium, tools, variety in purposes and styles, and the relationshipbetween technique and expression. Although some suggestedactivities may seem difficult for children in the primary grades, itshould be noted that the suggestions are set forth to challenge theindividual, not to discourage him. Some children in grades two andthree are capable of even more difficult work (e.g., enameling,metalworking, simple soldering, and wood burning). The standard ofachievement is not that expected of an adult but that expected of achild.

Area Skills in Art

In his introduction to art education, the child is initially involvedin awareness and the assimilation of data. Then follows a complex ofactivity involving both physical and psychical abilities, includingcomparison, contrast, synthesis, and the patterning of data. In art thefinal form is an art object, a structure for the communication of thetotal creative response of the individual.

The gifted child has a highly developed learning system withpotential for greater concentration and more flexible adaptation ofdata than does the nongifted child. The degree of skill present in

TABLE 11-1

Suggested Uses of Art Media for Gifted Childrenin Grades One Through Three

Material

Pencil

Chalk

Crayon

Tempera

Watercolor

Paper an ..3 cardboard

Clay

Process or methods

Draw, trace, rob or.; com-bine with watercolor,crayon, or stercils

Draw on with starch orwater; draw on and spraywith fixative

Draw, rub on, and thendo a sgraffito; cover paper,then wash with ink; painton (encaustic), melt overcandle; melt crayon shav-ings between sheets of waxpaper with warm iron;"weld" crayon bits insculptures, then paint withhot wax

Apply with brush, stick,finger, string; do prints,stencils, crayon resists,lettering; combine withcloth in collages; paintconstructions

Paint witNvariety applica-tors brush, stick, or Q-*4:4 wash with wet paper;stipple and dry brush; doa crayon resist; use twocolors on a brush

Paint, print, stencil, weave,glue, mat, tear, cut; use inpapier-mache, construc-tions, or as two-dimensionalsurface

Modeled with basic mil,slat-, and pincti methods,wet or allowed to dry forfiring and glazing orpainting

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Products

Drawings, sketches, dia-grams, doodles, lettering,parts of paintings, sketch-books

Illustrations, designs, anddecorations; "paint withchalk"

Designs on a variety ofPagers to suit type ofapplication: firm paperfor drawn, sheer for shav-ings

Paintings, rubbings, maps,posters, cards, letterheads,illustrations, body orna-mentation, masks, puppets

Paintings, bookmarks,booklet designs and illus-trations, manuscript of na-mentation scrolls

Cards, bookiets, portfolios,bookmarks, decorations,maps, dioramas, scenery,masks, animals, itiwelrY,mobiles, stabiles, collo-graphs

Figures, landscapes, dio-ramas, portraits, pots

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Malarial Process or methods Products

Plaster

Modeling materials:salt + flour, sand +wheat paste, papier-rnSche, sawdust +wheat paste,shreoded asbestos

Wood scraps,dowels, and match-stick

Wire, tin, and foil

Yarn and cloth

Selected junk:variety of two andthree-dimensionaltextures and sizes

Cast and model; pour intomolds in clay or sand;carve blocks of plaster;carve and then print(shellac before using withwater base paints)

Mix, then model; combinewith other materials;paint and texture

Saw, sand, nail, glue,carve

Bend, twist, shape on edgeof table or around solidwood form; combine withpaper or cut metal shapes;punch with holes in tin(care with sharp edges)

Weave, glue down onpaper, stitch printstencils, or blockprint

Sew, glue, nail, and paintor tie

Wall hangings, sculpture,jewelry , free forms; blockprinting

Jewell y, mobile:., puppets,figures, relief maps, partsof landscapes or dioramas

Constructions and sculp-tures, wood block prints,houses, toys on wheels

Mobiles, stabiles, free-formsculptures, tin collages withother textured material,anatomy figures in actionor contour

String and box construc-tions, wall hangings, pup-pets, curtains, stuffed sewnsculpture, collographs

Collage, collographs, con-structions, and assemblage

each gifted child, however, varies from individual to individual. Thegifted child's potential may or may not include advanced develop-ment of sensory processing or highly developed motor control.

In general, the art program aims to develop skills in (I) sensitivityor sensory awareness; (2) manual or motor control; and (3)intellectual or cognitive functioning. Each skill may be developedwithin the context of the practice of art (use of medium and tool)and in a survey of the cultural role of art. The orientation to artshould involve a natural progression from data to patterned form; forexample, a study of leaves progresses to prints, drawings, or claysculpture. Students will demonstrate different levels of ability tomake these learning transitions when creative insight is encouraged.

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Gifted children utilize a broad coverage of subject matter, transform-ing facts and figures into significant relationships that expresspersonal meaning. The mastery of skills, tools, and terms and thedevelopment of a sense of awareness are of primary importance.

Sequential Curriculum Planning

Art is expandable along *sequential lines with relationships thatmay be approached from front or back, up or down, and onwhatever topic or at whatever learning level the teacher chooses tobegin. Because of the adaptability of the learning behavior in art, thepupil should never l without work regardless of his grade level orpotential.

Gifted children come from all races and segments of society. Thusa class may parallel life itself in a wide base of human variability forwhich there are no artificial boundaries. Like art, the class may beseen as a microcosm of the world cultural scene. Individual aims andabilities are 'welcomed in a spirit of democratic participation.

Guidance and program planning should be organized alongsequential lines. Both the developmental level of the child and thesequence of the learning process should be utilized. The child isenabled to assimilate information that stimulates him to organize thematerial and express his feelings about it.

Media and skills are the vehicles for the message in art. For theperioeof assimilation, the motivation for developing art forms comesfrom the exploration of media and tools. The gifted quickly learnbasic skills and quickly begin to inquire beyond these fundamentals.Motivation for more art work comes from fresh associations,symbolic transfers, and creative insights.

Ideas need to be balanced between student-initiated ideas andteacher-initiated ideas. Student-initiated ideas should result fromactivities oriented toward specific understandings planned by theteacher. Themes on the nature of art, lessons on design elements and

a awareness, inventions, hunches, and special feelings all may becomethe basis of the art program. These activities foster the establishmentof the relationship of the sequence of source, method, and productto particular ideas. Some of the suggested activities for pupils arelisted as follows:

Make a totem pole, using the members of your own family asmodels.

Take a trip to the zoo and study animal sculpture and the use ofprotective camouflage and coloration. These activities will helpto improve one's knowledge of textures and patterns.

Learn what it is like to live in another environment (e.g.,underwater as a marine explorer). This activity enables one to

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study sea flora and fauna and to develop a sculpture for a fishbowl.

Learn from a visit by a writer or scientist. This activity mayinitiate the writing of a story to be illustrated or a model to besketched and then built.

View a motion picture. This activity may inspire the production ofa flip-page booklet or the making of sand paintings that presentframes of sequence action.

Read a news bulletin. For example, reading about the astronautsin space may inspire the building of rocket models.

Perform a scientific experiment. For example, the viewing ofseeds -their shapes and the beginnings of their growth-mayinspire sketches and modeling in clay.

Select an imaginary radio station over which poems, stories, andriddles can be read and for which stage design can be a relatedart project.

Begin the study of a culture. For example, the study of Africanculture may involve looking at pictures, making masks, learninga dance, painting the body, paying attention to the rhythm ofdance, and so forth.

One classroom aid is an idea center where children and teacher canlook at books and prints to gather and develop ideas. Concepts suchas how to fasten or how to assemble may be utilized in group lessons,or a single concept like masks of different lands may be utilized.Activities that can produce imaginative responses are a study of thesimilarities and differences of the patterns on leaves, snakes, and treebarks; and a series of lessons on a medieval theme, like castles,dragons, crowns, and armor.

Responses that may be made on a sample theme, "The Journey,"are presented as follows:

After recourse to the idea center, pupils select their own mediumfor the journey as well as their own theme. Examples are aflip-card journey of a flea; Alice and her friends on acheckerboard construction; a paper box time machine; a comicstrip; modules and mobiles; a diorama with models of landscapeand movable figures; and a booklet with accordion folds ofSiegfried's journey on the Rhine, a summer trip, Columbus'voyage, the wanderings of Odysseus, and Jack and the bean-stalk, or the search for the Golden Fleece. The illustrations inthe booklets can be compared to Rauchenberg's drawings forDante's Inferno or illustrations of any written material. Theinteraction between written or verbal and nonverbal cr visualcommunication can be the topic of discussion.

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A group can select from projects that include making a friezemural of a journey taken by the class; taping music or soundeffects of an auditory journey and relating it to a light show; ordoing a puppet show journey where one group stops and letsanother complete or perform the next stage of the developingaction. A scroll with frames for completion by differentindividuals in the group can illustrate in different styles thesequence of animated journey, or the group can begin to studyanimation as the rapid movement of single frames.

Content of the Art Program

Basic ideas underlying art education in the primary grades are thefollowing:

The growth of the individual parallels the historical growth ofthe arts.The development of learning in art parallels the learning processitself.The composition of a class relates to the cultural base fromwhich art ensues.Skills, media, and the cultural role of art are learned together,with the understanding that the feet, road, and signposts are allpart of the journey.

Content for the art program in the primary grades is consideredoutside the limitations of grade or age in the context of the child'sphysical and psychological growth. A child-centered or individualizedcurriculum is suggested that allows for (I) necessary adjustment tothe uneven development of the gifted child in the primary grades;and (2) adaptation of the study of art to his level. The curriculum istoo rigid if it is inapplicable for the child six to nine years of age.Because no prototype of a gifted child exists, the subject matter ofthe curriculum is the esscr.ce of programming (see Table 11-2.)

The achievement of some pupils in grades two and three canbe expected to compare with the achievement of pupils in the fourthgrade. A few may even attain the proficiency of those in the fifthgrade. especially where art learning relies on the understanding ofterms and concepts aild where independent, self-directed workreinforces steady growth. Self-directed activities with overtones offuture application normally occur distinctly for the first timebetween the ages of eight and ten. It is inadvisable to prevent thegifted child from growing by giving him busywork. For this reasonmaterial on the fourth grade is presented in Table 11-3.

IS

TABLE H-2

Suggested Teaching Method for Teaching Art to Gifted ChildrenPreschool Through Grade Three

Characteristics Implications Art activities

Preschool

Use of materials as earlyas age one and as late asage six

Extension of explorationsin materials; "getting intothe act"; scribble ormanipulative stage

A kinesthetic manipucation of the environ-ment

Guidance required toavoid danger in use oftools and experimen-tation

Working process moreimportant than finishedproduct

Scribbles and armmotions which graduallylocalize in finger con-trols, poking, pushing;use of clay, crayon,felt-tip pen, and finger-paints

Encouragement of explo-ration with emphasis onchild discoveries

Kindergarten

A few still in the mani-pulative stage but most inearly symbolic or sche-matic stage

Highly creative and freelyinventive behavior

Good time to introducenew material which willat first receive mani-pulative experimentationand then move to sche-matic stage

Less interest in messyinvolvement with mate-rials; some inhibition offree use

Guidance, encourage-ment, and interaction Sriprocess of play, dis-covery, and change

Flexible program withlimits only on wheretools are kept, whatareas may be used, andmaintenance of workingareas for shared use(Such limits must bepresented in terms ofsafety and sharing, notin terms of neatness orperformance of chores.)

Teacher - provided oppor-tunities for explorationand self-identification:name on work, photobulletin, "that's me"drawing, transcrip-tion by teacher of thechild's story explainingthe work

Variety of art materialsavailable for child tochoose from: crayon,pencils, clay, weavingmatter, modeling dough,rhythm tools, and take-apart-assemble toys

Simple but challengingactivities: oil-base clay,wet sand, clay, wet anddry use of chalk, bubbleblowing, flower andleaf arranging, blockand model building,drawing and painting,weaving and stitcheryfor nimble fingers,printing with gadgetsand taking rubbings,gluing and pasting, easelpainting, modeling withpapier-Ache (Somestilt respond well tofingerpainting.)

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Characteristics imptcations Art activities

Grade One

A few in scribble stagebut most in the pre-symbolic and some insymbolic stages

Progression from (1) hap-hazard placement of iso-lated objects in drawing;to (2) objects related tobase line and some indica-tions of background; to(3) elemental ways ofpresenting background bymeans of overlap, fold-over, and x-ray

Emotional meanings andgreater complexity in detail

Subj9ctive use of color formeaning and emergence ofuniversal symbols for realthings (e.g., circle forsun, circle for face, topof tree, body of man,etc.)

Retention of flexibleprogram with openchoice of materials forthose who need addi-tional time in explo-ration

Need for more challeng.ing activities; cautionagainst overstimulation

No realistic drawingsfrom this age childHelp with child's vividimagination and self-identification

Continued attention tothe formation of workhabits on the basis ofsafety and sharing

Teacher -p; posed: pic-ture file or "visualbank" of other students'work, of reproductionsand originals; soundeffects and music forcomparisons and "justlistening"; puppet playsand book production

Extensive use of displayareas for showing work

Individual and groupactivities oriented to-ward sharing responsi-bility for bulletin board,for displays in hallways,and the gathering ofvisual aid materials

Continued use of mediaintroduced in kindergar-ten but oriented towardmore complex ideas of thecultural role of art

Media to be included: Wet clay worked in coil, slab and pinch methods, fired

and glazed or dried and oainted; plaster blocks scraped, scored, and printed;prints made from collages, coliographs, or by stamp met; ..41 with potato cuts

and odd tools; modeling in clay, flour-salt-and-oil dough, papier-mache, or wire;

constructions in paper, cardboard, matchstick, or wood scraps; puppetrycombined with modeling heads; costume stitching; stage design and dioramas;music and books for listening and looking; murals on large papers; scrolls on long

papers; masks, box costumes, and lettering

Grade Two

Most children in the pre-symbolic or symbolicstages of development

Employment by each childof a symbolic schema thatis a satisfying vehicle forstories, drawings, anddrama

Work of greater com-plexity, reality, andperfection of detailrepresentation

Growing i.hility anddesire f.)r sum& inter-change' e.nerging con-cerns with self-

.101M1.1111.

Group murals and culturestudy projects

Appreciation of the artof India, Amerind, andEgypt; paintings byPicasso, MirO, Klee,and Matisse; designsand figures in stick

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Characteristics Implications Art activities

Grade Two (cont.)Liking for both symbolicpresentations and lineardesigns; significant devel-opment of both motor andmental coordination

Use of a base line, foldover, and proliferation ofdetail in drawings; strongemphasis on mood; monsters employed as expres-sive of this new necessityto represent emotions;battle scenes or otherdynamic situations(storms, winds) depicted

Color used less symbol-ically and more visuallyrealistic

Art viewed as a reflec-tion of the child's interestin his environment and insocial relationships

relationships, with leader-ship, and with verbal skills

Need for teacher to watchfor children who haveinhibited the learning pro-cess (e.g., getting stuck ona single repeated drawingthat does not show varia-tions); guidance of chil-dren away from peer influ-ence which may inhibittheir experiments anddeprive them of creativepotential

Venturing new formswhen fixity indicates thattasks are too elemental orrepetitive

Exposure to fresh ideasand variety of purposes tochallenge the child's artability

Emphasis on the creativelife of mankind and notthe necessity to becomeartists (Teacher shouldavoid inhibiting the cre-ative response by assert-ing only one goal for artwork.)

drawings inspired byGreek pottery

Construction of deviceswhich can be used forart work: looms, draw-ing rigs, and compasses;composition of books,covers, stories, illustra-tions, and contentsdeveloped in sequence

Sand table or long tablecovered with a modeledlandscape and miniaturesof cultural art, houses,costumes on figures, andso forth as part of thecultural studyCollections of naturalobjects (e.g., rocks,fossils, leaves, flowers,butterflies) illustratingtexture, shape, pattern,and color in nature

Exhibits which show thedifferent reactions tothe natural object (e.g.,a group of paintings o-sculptures arrangedaround a display ofleaves and illustratinga variety of responses)

Media and techniques to be included: Chalk, wet and dry; crayon; pencil;watercolor; tempera; ink; modeling in papier- mache, clay, oil-base clay, orplasticene; pottery and ceramic sculpture to be fired or painted when dry;weaving on looms with found materials (e.g., leaves, sticks, wires, and string plusstrips of cloth and yarn); printing with collograph or plaster block or linoleumlithography; etching from plastic which has been incised or scratched: mobilesand stabiles: wood assemblage and junk sculpture; jewelry from seeds

Terms and concepts to be introduced: Properties of color: warm, cool, highvalue, low value, hue, primary, and secondary; properties of tine: vertical,diagonal, circular, horizontal, dot-dash, zigzag, etc.; properties of volume:height, width, and depth; texture; pattern; rhythm; unity; variety; contrast;repetition; direction; and movement

Characteristics Implications

Grade Three

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Art activities

Very few children in themanipulative stage nd atthe other end of the scale, avery few in "dawnir g real-ism"; almost all evolvinginto or quite entrenched inthe symbolic or schematicstage of drawing

Picture-making styles ofsecond-grade pupils c3ntinu-ously modified and even-tually displaced (e.g., baseline placed higher on pageand overlapping begins);less use of foldover anc"x-ray"

Increased care in use ofmaterials and tendency t3prolong working time;work less linear with ten-dency to combine massesand line in free forms orin very involved detaileddrawing

Surprisingly skilled realismfor some children whosemanual control developedearly; calligraphy andelaborate doodling animportant outlet for some

Marked increase in peerinfluences (Some childrenwill insist upon repeatingsecond-grade stage in theirwork, dicating that theymay not have felt securein making changes naturalto their growth. Thisuncertainty may find outlet in rebelliousness or inmarked conformity toeither peers or teacher.)

Higher level of teacher-inspired guidance; self-direction very strongfor a few

Prominent use of audio-visual bank

Library use with bookson art and art-relatedsubject matter; studentresearch

Delicate handling ofstimulation by teachervery important (Somechildren need only thepresentation or sugges-tion of alternatives topush their own work in-to new realms; otherswill be very uncertainand tend to question dis-cussion and dictation.)

Subject matter moread ilt; guidance neededto 3revent the tendencyto extreme sensitivitysome children this ageexhibit

Need for teacher toinspire child tc choosealternatives; rigid repe-tition indication ofanxiety over skill asothers in class progress

Guidance needed to en-sure safety with toolsand regard for sharingof spaces

Group planning used tocoordinate efforts bychildren of like inter-

Picture files, tape andslide bank (Students canassist in making tapesfrom phonograph records,radio, and live play.)

Attending museums, gal-leries, concerts, anddramatic events

Appreciation of culturalrole of art, focusing onvery definite branches inartistic activity: com-mercial design, furnitureand floor plans; lampsand chairs; cars and ships(How does form revealfunction? How doesmaterial change form?)

Introduction of apprecia-tion of different stylesin history of art, alongwith the question of howpeople in other timesdrew, painted, orsculpted (Realism is notthe only aim in art, butrealism may be seen asthe artist's attempt toportray reality as hesees it. Thus, Byzantine,early Christian, and earlyRenaissance art showsstruggles with presentingreal figures in real space.Later styles explure vol-ume, light, and increas-ingly more abstract andsymbolic relationships.)

Terminology a part oflesson planning (Childrenmay look up words in artand choose examples of

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Characteristics Implications Art activities

Grade Three (cont.)

Use of color with in-creased literal accuracy;color for symbolic mean-ing less important to childas first abilities to drawrealistically grow

Pupil generally moreenergetic and capable, work-ing with concentration,decision, and renewed senseof purpose

Ability to handle greatervariety of materials andtechniques; longer atten-tion span, making moreintricate projects pleasur-able

More interest in productand less in process for itsown sake, indicating thatbasic assimilation of skillsand techniques is levelingoff

ests or to even up a bal-ance between interests

Need for additionalscheduled time for proects and for teacher toassist pupils in comple-tion and perfection oftheir work

the word to exhibit withthe definitions.)

Group activities such aspreparing compositions,scrolls and illustrations,posters and displays

Interrelated program-ming to facilitate theexpression of variety ofinterests and questions:science and art; relatedarts; anthropology andart (Each can enrich theother as the child be-comes more intellectuallyand creatively involved.)

Art and history now be-come a dominant theme asthe child asks about thepast and the meaning oftha present. (Work can in-clude illustrations of his-torical events, the projectof a time machine, potterythrough the ages, or cos-tume through the ages.)

Media and techniques to be included: Compilation of visual-aid bank; researchin art themes and :application of terminology; the making of portfolios withintroduction to care and pride in the child's work; painting (tempera,watercolor, and mixed media); drawing (pencils, ink, chalk, and crayon); paperwork : tear, cut, glue in collage, sculpture, and stage scenery or dioramas; use ofplants and nature in arrangements, collections, booklets, and rubbings; sketchingfrom nature and studies in texture, pattern, and repetition or contrast; letteringand calligraphy with ornamentation; body ornamentation with study of masks,hairdos, wigs, costumes; houses and buildings; use of plants in landscaping orturtle tank; copper enameling and tin soldering; etching on dry metal or plasticsheets; cutting and carving plaster or soft woods; clay modeling

TABLE 11-3

Suggested Teaching Method for Teaching Artto Gifted Children, Grade Four

Characteristics Implications

Stylistic transition fromsymbolic to dawningrealism

Earlier forms of spacerepresentation (base line,x-ray, and foldover) nowrare

Extended awareness andinterest in relationshipswith others, with teacher,with the community, andwith the world

Capable of more self-directed activity and com-plexity of art projects;capable of combiningseveral steps and stages

Strong drive for peerapproval

Opportunities to expressboth fantasy and real-ism; child seeking guid-ance in his realisticefforts

Possibility of dis-couragement from toomuch pressure

Discovery chief meansof initiating ideas andresearch

Need for explicit direc-tions to prevent con-fusion (The fourth-grade child understandsvariety and can readinto directions andquestions meaning notintended. This wastrue from first gradeforward, but verbalcommunication makesit easier to correct infourth grade.)

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Art activities

Appreciation of bothsymbolic and realisticstyles in art history;response to the frag-menting of experiencewhich is presented inincreasing degree by artstyles since 1850; re-sponse to "romanti-cism": medievalism,castles, beasts, andghosts

Interest in spirit andfeeling of Gothic andmedieval art and rela-tionship to both religionand pagan superstitions

Crafts and art studyoriented toward specificpurposes and related tocultural studies; themaking of puppets, sten-cils, and villages

Chapter 3

Organizational Considerations

In designing an art education program for gifted children, theeducator must consider the noncontent elements which may restrictor enhance art instruction: grouping and scheduling practices,acceleration, classroom aids, relationships with other subject areas,administration policies, and school facilities.

Grouping of Pupils

A well-structured and competently run program can overcome thedifficulties posed by the traditional curricula in the primary gradesthrough the use of child-centered or individualized instruction andthrough emphasis on development in stages. Special groupings usedin art programs include the following: (I) heterogeneous groupingwith enrichment and acceleration within the regular classroom; (2)grouping of academically and artistically gifted; (3) special class forthe academically gifted; and (4) special class for the artisticallygifted.

Heterogeneous Grouping

In the regular classroom all pupils receive an equal opportunity tobenefit from an iliterchange of ideas and mutual assistance. Aspecialist or art assistant can provide a special challenge for giftedstudents by having them engage in experiences such as the following:

Making charts and other audiovisual aids for class useAssisting as special classroom aides in charge of individual projects;

e.g., storing props for the puppet stage, repairing stage design,arranging displays and nature or art exhibits

Planning projects in cultural studies or initiating more difficultgroup projects that the whole class will later complete

Learning special techniques; e.g., creating mosaics and illustratingbooks, weaving and textile printing, book printing, copperenameling (Abilities developed here may then be used to assistother members of the class.)

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25

Contracting with the art specialist or his assistant, as in the Daltonplan, to initiate a project, develop an idea, complete the work,and, on approval by the teacher, make a new contract

Academically and Artistically Gifted Groups

The distinction between artistically gifted and academically giftedpupils resides in the degree of verbal and visual development. Thepurpose of grouping the academically and artistically gifted is toimprove communication of meaning and transfer of ability. Thus thevisually oriented pupil is enabled to gain verbal experience and viceversa. Although these groups of pupils have differing modes ofexpression, they are alike in their ability to seek out the significant,to abstract, to synthesize, and to unify. The lively interchange ofideas and skills enables each participating pupil to enhance hisability.

Class for the Academically Gifted

Academically gifted pupils who work fast require time forenrichment through art study. In addition, their ability in verbal andwritten skills calls for a class much different in organization than thatfor the artistically gifted. Material may be presented on a more verbalor conceptual level than with those not academically gifted;translation of the instructional material by the teacher is minimal.One reason given for the grouping of the academically gifted is togain time, but the pupils should not be overworked. Gifted childrennormally work hard without external pressure.

Class for the Artistically Gifted

Children in grades one through three may be given instruction inprinting and etching, photography, soldering, sculpture, and ceramics.In a class of only a moderate number of pupils. they will find themuch-needed support that artistically gifted children do not usuallyreceive. Furtherance of a positive self-image is a strong argument forthis kind of grouping. So that specialists in art may be made use of,classes may be held in conjunction with after-school programs,summer classes, or classes offered in art schools and museums. Ifinadequate facilities exist within the school, pupils raay be trans-ported by bus to the special class at a central location. In this way asingle facility may be used to service several schools that may sharethe expense for special facilities.

Classes may be scheduled for either one or two days per week, oreach group may meet on alternate days. Enough time must beallowed for the child to plan and complete his projects. Periodsshould, therefore, never be less than 45 minutes in duration. If pupils

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meet as infrequently as once per week, the class should be at least 90minutes in duration.

Scheduling of Art Activities

Art is suited to either special classes or an accelerated programwithin a self-contained classroom. Many experiments with flexiblescheduling are now going on in the schools. These experimentsshould be helpful in the improvement of programs in generaleducation and in art.

Art is somewhat unusual in that materials and equipment maynot be taken out of the laboratory for homework. In addition,unpredictable setbacks sometimes occur in a pupil's skill in thehandling of materials and tools, and assistance is required. Projectsare not always completed within the prescribed amount of timebecause the pupil's ideas often change as he works.

Art in the self-contained classroom has great potential forinterdisciplinary approaches to art. Enrichment through broadenedperspectives and the sharing of projects with the rest of the class areonly two of the benefits derived from the interdisciplinary program.Art classes at least 45 minutes long should be conducted inconjunction with regular daily classwork. For pupils in grade three,whose attention span exceeds that of pupils in grades one and two,the scheduling of art classes twice a week for 90 minutes should beconsidered. In the self-contained classroom and in special classes, theteacher needs assistance in guiding special art projects for the gifted.

Acceleration in the Art ProgramBecause of the nature of art, it is questionable whether the term

acceleration applies to art programs for the gifted. A child is usuallyaccelerated because of high scholastic achievement. However, in artthe concern is with challenge and enrichment, not with acceleration.The use of the child-centered method of instruction and of adevelopmental program makes possible acceleration, outside theregular grade or classroom solely on the basis of potential andregardless of age, grade, or readiness.

Those gifted both academically and artistically may remain withtheir classmates at the same grade level but may take on additionalclasses or seminars under the guidance of a specialist. These specialclasses direct the child's attention to the uniqueness of art, thusinspiring probes into the nature of art. In the primary grades, whenphysical and social maturation is uneven and when departure fromthe group may have an adverse effect on sensitive pupils, tyingprograms closely to normal class routine may be found moredesirable than other methods.

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Classroom Aids for Art InstructionClassroom aids should include an audiovisual reference pool.

Materials for the pool may be accumulated and arranged by thepupils under the direction of the teacher as part of the study of thecultural role of art. The audiovisual pool may be established in theart room, hi the classroom, or, least desirably, in the library.

The file of materials for the audiovisual pool should include a wideselection of styles and subjects related to art. The collection shouldcontain as many good reproductions as possible, and the historicalspan should be as wide as possible. A picture file should be collectedand stored in permanent storage files or in labeled and decoratedcardboard boxes. Phonograph records, speeches, readings, books, andcolor slides should also be included in the audiovisual reference pool.

Material should be cross-referenced by the use of a file of 3x5cards listed under subject category, period, style, or artist's name(e.g., ships, landscapes, toy?, impressionism, mosaic, painting, and soforth).

Interrelationship of Art with Other Subject AreasThe relationship between the cultural role of art and art activity

should be studied at the primary level. Many teachers prefer amultisubject classroom that allows them greater control over subjectmatter and more opportunity for flexible coordination.

The translation of many stimuli into a variety of symbols in art ismade by means of a series of steps between the concrete and abstractends of the creative. process. A schedule that allows for interrelatedprogramming will lead to creative activity in other subject areas.Flexibility of method allows art to give meaning to diverse data, andat the same time art activity becomes meaningful and relevant to life.

Positive self-orientation is a part of the involvement to be exploredin flexible relationships between subject areas. Questions arise aboutart. What is art? How is it useful? Who makes art? What materials aresuitable? How does art affect us? What does art inform us of? Thesequestions are more readily answered in the context of interrelatedprogramming. Some activities that may be undertaken are thefollowing:

Drama: study of costume from puppets to people; dioramas of stage playsand ceremonials; body painting and ornamentation; masks for Hopi Indiandances. African dances, or Kabuki plays; illustrations of great theatricalscenes; stage design for a crass- created play

Reading and writing: individual notebooks of written and illustratedobservations; lettering of quotations illustrated with design; illustrations ofnews, literature, or self-composed poems and stories; writing of a play or

2g

folktale to he acted out in costume (e.g., "Siegfried's Incredible Journey,""Barnaby Grubb in an Old Wash Tub," "Alice and the Chess Game")

Health and anthropology: "I Am Walking Art" (a study in wigs, hairtextures and colors, lengths of limbs, body shapes and how they move);sketches of figures; relationships of reflection in water and reflections in amirror and how they change a self-portrait; the senses and what elements ofart each sense relates to (e.g., line, motion, pattern shape, texture, etc.);athletes in art (e.g., battles for Persians, Greek runners on archaic pottery)Minoan art, dancers, and tumblers; masks, rituals, music, and dance; foodcolors and shapes; plaster or clay forms, painted

History and other social sciences (emphasis on the cultural role ofart): vocations and products (e.g., pottery of Greece, weaving of Ghana. metal-smithing in Mexico, plastic chairs in the United States); man and materials(e.g., iron age, steel age, wooden and clay and stone tools, how they changedwith machines); environment and community life (e.g., clay models ofarchitecture or townscapes, murals of farm life, scroll of a trip to the zoo);"Culture Gives a Different Look" (e.g., comparing pottery styles or observingthat Amerind art includes the same styles expressed in sandpainting, beadworking, basketry, and feather headdresses); noting that portable life makesfor portable art (Indians) and old cultures have durable art (Egyptians) (Do aswell as watch; make these things and know how the artist feels and thinks.)

Mathematics and arithmetic: the study of planes, lines, solids, andnonsolids; classical geometric styles in architecture and painting; relation oforganic to geometric forms; acting out addition; making solid costumes (e.g.,as square) (Illustrating the question "Can a Square Dance?" combinesmathematics, art, and dance.)

Music: making simple instruments (e.g., inner tube drums, rattles fromgourds, or papier-machi shaped over small balloons; wooden xylophones); theillustration of scenes from an opera composed by the child (e.g., "How theBirds Sang in Summertime"): setting paintings or poems to music

Sciences: objective and interpretive drawing (limited to developmentallevel) of insects, leaves, things, self, and people; collections and displays; colorand reflections in mirror and water: animation: how we move, flip- hooks;models of science and industry and art (e.g., old cider press, Trojan horse,Leonardo da Vinci's notebooks, robots, space rockets and ships, sailingstructures), kites, boats, and planes; making drawing tools; concepts (e.g.,stickiness is: flour paste, syrup, and taffy, but also glue and clay); fastenings(e.g., nail and hammer, sewing thread and needle, and the like)

Social environment: "Look at Our Town," or farm, or city, or moonstation; modeling, drawing, or constructing in cardboard; bulletin boards anddisplays; nature walks and "safaris"; "Let's plan a park"; trips to zoo, "Whatdo animals wear?"; planting a landscape in boxes to take home; gatheringresource material; gathering photos and drawings by the cuss aboutvocations, the community, aid its facilities

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Continuity and ArticulationSeparation of process from history, theory from practice, thought

from feeling, and design from fine art fails to promote the concept ofintegrative enrichment proposed for gifted children. The fact that artdoes begin with the young in their first encounter with materialindicates that the process of art education should begin at the verystart of life experience for each child. The process of acculturationbegins from the center, where man is, and works outward inever-broadening spirals. Art corresponds so closely to the funda-mental learning process itself that it is undesirable to articulate interms of what is to he learned. Rather, the associative learningprocess itself should lie approximated in which increasingly greaterdetail and more profound understanding are combined.

The art program for the gifted may combine associative learningwith developmental levels of articulation and child-centered orindividualized teaching. Often repetitious in its basic subject matter,art content must be reappraised in terms of growth and new levels ofexperience. Learning becomes more comprehensive and at the sametime more specialized. A conscientious program of cumulativerecords and counseling by knowledgeable educators can be useful inthe identification and development of gifted children. Small drawingsdone by the child in kindergarten and grades one through six canprovide a meaningful indication of personal and intellectual growth.These drawings should be kept in the pupil's file. The child's successor failure in the study and practice of art can have an importanteffect on his self-concept. Conversely, the child's self-concept caninhibit or encourage his development in art.

The production of art in grades one through three should be seenas an effort to continue and foster mental and physical activity thatbegan at birth and continues to adulthood. The child in grade onemust make a critical transition from a manipulative schema to asymbolic schema; the child in grade two, from a symbolic schema torealism. For this reason the teacher must be attentive to the child'spresent and past ability as well as to the environment from which hedaily emerges. The natural impetus toward growth and enrichmentthrough which the chila is enabled to produce sensitive and creativecommunication must be sustained.

Teacher and Administration

The success of the program for the gifte' depends on thecoordinated effort of teachers and administrators to see that themaximum benefits of enrichment are obtained. An administration

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sympathetic to the innovative methods and ideas developed by theteacher is an important ingredient of the art program for the gifted.Artistically gifted pupils from a variety of economic and racial back-gounds should be identified and included with the academicallygifted when special programs are being considered. Cooperation isalso needed so that appropriate equipment and supplies will beprovided.

Teacher deployment can follow several plans already in operationin various parts of California. What plan is to be adopted by theschool or school district depends on the condition of existingfacilities, the budget, and the educational philosophy of theadministration. Some of the plans used in California are thefollowing:

I. Artists serve as volunteers in conducting special classes.2. The regular classroom teacher is assisted by volunteer resource

teachers.3. Art specialists act as consultants to regular classroom teachers,

compile art frameworks, form art kits, and conduct specialclasses for the gifted.

4. Art specialists act as teachers, conducting all special classes.5. A team of creative resource specialists conducts classes on

alternate days or in single sessions one day a week, makingseveral choices in art study available to different potentialgroups. Emphasized are music, dance, painting, printing, sculp-ture, model building, environmental design, or a combination ofthese.

The regular classroom teacher, although he may be dedicated andpersevering, is frequently hesitant to teach art. Frequently heard isthe exclamation "But I can't even draw!" Art is reduced to topicalprojects in media, and little allowance is made for creative variations.Typical. projects are the making of covers for social study papers, thecoloring of mimeographed nature studies, or the making of cater-pillars from egg cartons. These projects do not subdue invention andvariation, but neither do they encourage the exploration anddiscovery essential to creative learning.

Quality instruction and fulfillment of the goals of art programs forthe gifted are aided substantially by the employment of a teacherwho is a specialist in art. A teacher who knows and cares is able toguide and inspire children at this age without forcing conformity. Ileshould have a good gasp of the aims of the program, the nature ofthe arts in their cultural role, and the practice of art.

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Schools aid Facilities

It is not necessary to eliminate art programs because of inadequatefacilities. Although a functionally designed special art laboratory isstrongly recommended, regular classrooms can be arranged toaccommodate recommended procedures. Individual learning areas,room for art equipment and materials, and storage areas for resourcescan be provided. A good teacher and a well-organized program withsufficient art materials and resource materials can often transformpoor working conditions. Creative cooperation between the teacherand the administration can ensure that existing facilities are made asattractive and serviceable as possible.

Art kits for individual classroom use can be developed anddistributed in the same manner as kits used in mathematics andscience. Each kit should contain basic materials and instructions. Artmaterials that cannot be housed within the classroom can be placedon a portable cart together with audiovisual aids, projectors, books,prints, and a variety of media to be used. The cart can also be used tostore supplies.

Although it is preferable to have an audiovisual center immedi-ately available in each classroom, the center can be set up in theschool library, or a districtwide audiovisual center can be establishedunder the supervision of the art specialist. The district center can betied in to the center in an individual school by the use of mobiledisplay units.

Facilities can be further extended through the use of communityresources, production plants, and museums. Ample enrichment canalso be provided by the visits of artists and craftsmen.

Chapter 4

Intellectual Development, Creativity,and Evaluation

Effective teaching of art to gifted children requires an understand-ing of the development of higher intellectual skills, creativity andguidance, and the evaluation process.

Development of Higher Intellectual Skills

The gifted child develops certain abilities to a greater degree thandoes the average child. Art results from the combination of cognitiveand affective abilities in varying proportions. Choice, decision, andfinal arrangement into patterns are all involved in the creativeprocess. Some of the characteristics and activities that enable giftedchildren to utilize their potential are the following:

Characteristic Activity and development

SensitkitySensory awareness Identifying objects and surfaces (e.g., wood

grain, hark, silk, water); comparing shapes,textures, and colors

Intuitive awareness of right- Interpretation of music in painting or clayness in color and balance model; of nature (e.g., textures, shapes, lines,

and colors)Kinetic response Dance, rhythm, weaving, designs

Memory ability

Attention and retention

Flexible recall and reassocia-tion of data

Language ability

Symbolic transformations;fluency and flexibility ofverbal and written language

Drawing from memory, recall of things seen;classes; configurationsSequential study which uses learning carry-over(e.g., learning three ways to fasten or assemble);written, drawn, and danced interpretation

Writing a poem for a painting; taping aninterview or poetry reading; a "broadcast,"opera. play, or puppet show; "travelogues"with walking scenery and narrator

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Characteristic

Response to sound and imi-tation of sounds

Problem-solving ability

Recognition and solution ofa problem; gathering andarranging facts

Evaluation of solution forits fulfillment of goal

Productive ability

Coordination of hand andeye; coordination of sound(ear) and hand (drawing,transcribing)Convergent and divergentutility of total abilityPerseverance

Qualitative think...g

Arrangement of select datainto units; searching for like-ness and for common princi-ples

Idea formation

Affective abilities

Feeling which states clearand motivating behaviors inpositive art learning andwhich affects choicesExpression which relies up-on awareness and responseand that which is a result ofthe techniques and mediumused

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Activity and development

Interpretation of sounds and patterns in speech,birdcalls, and music; dialect and discussions onwhy it occurs

Planning a show (Consider and test alternativesin design of stage, costumes, masks, and musicscripts; choose one alternative; decide who candirect, store, draw curtain, make costumes.)Discovering solutions in art work (How can wemake a chair? Try feathers, clay, wood, carvedsoap, pencil and paper, and determine whichone can be used and for what.)

Art practice in a variety of media

Translating different sensations into visualmedia or rhythms into design patternsProblems in art practice that involve longertime spans with alternatives to choose from;e g., tasks in three stages: model, paint, andmount

Reports; collections of natural objects: rocks,fossils, leaves, and flowers; arranging and dis-playing; collages and collographs; junk sculp-ture; work which includes sorting, selecting,patterningAnswering questions such as "Why are barksand snake skins in this list together?" "Whatdoes tho. spider do like this Indian weaver?" and"What does a beaver do that men do too?"

Recognizing the fact that responses are differ-ent for each person (How do you respond tothis music, this painting? Draw or sculpt yourfeeling.)Answering such questions as "What does thecomposer tell us about motio?" "What motiondoes the painter express?" and "Can you tell usin painting about the wind?"

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Creativity and GuidanceThe finest skills, the most heroic subjects, and the strongest

driving purpose are all components of the creative process. Arteducators are increasingly expected to serve as prime contributors tothe development of individual creative expression and development.

Creativity in the elementary schools is little understood and hasbeen impeded by the practice of excessive copying, overemphasis ona particular motor skill, rewards for conformity, and misplaced stresson cleanliness and neatness. The orderliness of the creative process isnot readily comprehended by the teacher who has never participatedin creative freedom. Overemphasis on verbal skills and mathematicalskills has not encouraged the use of creativity. Skills are tools to beused; they are not ends in themselves. No less unfortunate has beenthe misconception that art is only a spontaneous activity, that it isprimarily involved with feelings and not with learning. In art thechild makes use of life experience in a unique and personal way.

All children possess rhythm, mood, and balance. The creativeprocess involves growth of inventiveness through assimilation ofinformation, association of ideas, and instinct to organize andarrange these ideas into patterns. The child should be enabled tobalance his visual and verbal abilities, thereby being able to organizehis experience and expression through flexible choices. Lethargy inart practice can be indicative of lack of skill and experience inplanning or using art ideas. Sometimes slowness in art is the result oflate motor maturation but more often is due to inhibiting self-concepts that prevent or limit natural responses. The teacher muststand by to guide and reinforce and to limit choices, but he mustnever structure lessons excessively so that self-discovery is furtherinhibited.

A child-eentered approach to instruction fosters unique insights byassisting the child to trust his own judgment and to discuss his ownideas. What is necessary for the child-centered approach to work isthat emphasis be placed on clarity of response and totality ofinvolvement. The child should be helped to express the feelings,attitudes, preferences, and natural energy fundamental to bothinspiration and motivation.,The teacher should challenge the child'sinterest and ability to choose and provide him with options forchoice and involvement.

Although every child in the gifted program will have somepotential for creativity, favorable conditions are needed for it toflourish; simply going through the motions of art activity does notensure creative learning.

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Teachers must recognize frustration and supply alternatives for thechild to choose from. They must know when to prevent conformityby channeling efforts into new directions; when.to lead and when tofollow the child's inspiration; when to retreat from facts and figuresinto abstract feelings; and when to effect closure of an art form.

Contemplation of their own work by the pupils should occurbefore they ask for assistance or the opinions of others. Toencourage contemplation, the teacher can explain that contempla-tion time is equivalent to production time. Contemplation isencouraged when the work of each Mid is stored in a portfolio or onspecial shelving as well as in displays and exhibits. When a pupilshows a tendency to flit back and foith between projects or todiscard an uncompleted project for a new one, he demonstrates apossible inability to perform at as high a level as his fluency of ideas.

Evaluation Process in Art EducationThe evaluation process consists of two parts: (1) what is done by

the teacher in assessing the progress of the child; and (2) what isdone by the child as he progresses in his ability to evaluate his ownexperience. The two parts combine in a total learning situation. Theteacher's attitudes and aims influence the child's growing awarenessof the demands of both artistic process and product. A develop-mental continuum is established in the process of forming self-concepts and artistic convictions that give added strength to the nextcreative project. If the teacher imposes his own preferences on thepupil, the process is externalized. Conformity, rejection, or rebellioncan ensue.

In the working process the key issue must be clarity of expression(or form). The pupil's best effort can be the result of a spontaneousbreakthrough or of a great number of tests and retrials. The teacheris to provide permission, support, and objective suggestions.

Pupils should be guided in the consideration of the presentationand care of their work so that they exhibit with confidence in thevalidity of their own work. Completed work may profitably besubmitted to evaluation by the group. All work should he consideredin terms of common problems in art, never as good or bad. Individualachievements should be praised. Insights into positive features shouldbe encouraged; negative criticism or false praise should be discour-aged. Objective evaluations can be concerned with related subjects inart and in the community.

A one-man show provides an opportunity to observe the style ofthe pupil as it aevelops, to note his preferences in structure ormedium. Shows must be rotated without partiality. Each pupil has aright to careful attention, pride of achievement, and success.

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The young child works best when he knows that his work is beingobserved and that he will be helped when he is in need. Satisfactoryprogress reports are preferable to letter grades in that the formerindicate the degree of self-progress. A final conference betweenteacher and pupil should be held in which all of the pupil's work,whether contained in a portfolio or in an exhibit, is reviewed.

New Horizons in Art EducationThe work which is being done to provide a creative art program

for the gifted represents an exploratory beginning in efforts to makeprograms effective for all. Educational reforms of any magnituderequire extensive effort and large amounts of money, but manychanges can be accomplished through the diligence and insight ofexperienced teachers and administrators. Examples of changes thatcan be effected from within the framework of existing budgets andfacilities include (1) new methods of teaching, including child-centered guidance and discovery methods; and (2) research onsubject content and structure. Pupils, faculty, government, andbusiness must work together so that children can be enabled to leadcreative, fulfilling lives through the development of their abilities.

Attention should be directed toward the following needs:Better design of classrooms and schools (e.g., new or renovated

interiors with more functional rooms for art display areas, sinks,and work carrels)

Use of the school grounds for creative design; the building ofmosaic retainers, sculpture, and furniture

Technological innovation including the use of computer equip-ment, learning labs, and programmed instruction; better lightingand viewing rooms

Acknowledgment of cultural differences and the widespreadvocational uses of art and creativity in the community whichthe school serves

Use of innovative techniques of science and industry (e.g., largedisplay centers such as are found at World's Fairs andDisneyland); increased communication between community andeducational institution

The present attempt to design functional, attractive, and efficientarenas for learning will, it is hoped, result in better education for allchildren. State and federal funding has encouraged the developmentof innovative ideas; the best of these ideas must now be put intoeffective operation.

An example of an idea put into operation through the combinedefforts of federal and local agencies is the resource center which

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serves the Berkeley Unified School District. Called the EducationalProgramming of Cultural History (EPOCH), the resource center grewout of the idea that a large-scale resource center can best serve a widegeographical area. The basic concept governing the operation of thecenter is that audiovisual materials (slides, reproductions, tapes, andrecords) should be used in the context of a time-place schema for thepurpose of re-creating vital aspects of cultural heritage. Through thecombination of resource materials and the architectural environment,the subject matter is arranged in both a chronological fend geographi-cal context. A resource laboratory for children includes originalitems, tape recordings, disc recordings, filmstrips, and slides. EPOCHnow schedules regular sessions for classes throughout the district andprovides demonstrations for visiting teachers and administrators.

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Selected References

Art Education. Sixty-fourth Yearbook of the National Society forthe Study of Education, Part II. Edited by W. Reid Hastie.Chicago: University of Chicago Press, 1965.

Art Education Framework for California Public Schools: Kindergar-ten Through Grade Twelle. Sacramento: California State Depart-ment of Education, 1971.

Art for the Academically Talented Student. Washington, D.C.:National Education Association, 1961.

Barron, Frank. An Eye More Iiintastical. Research Monograph.Washington, D.C.: National Art Education Association, 1967.

Education for the Gifted. Fifty-seventh Yearbook of the NationalSociety for the Study of Education, Part H. Edited by N. B.Henry. Chicago: University of Chicago Press, 1958.

Eisner, Elliot W. "Arts Curricula for the Gifted," Teachers CollegeRecord, LXVII (April, 1966), 492-501.

Getzels, Jacob W., and P. W. Jackson. Creativity and Intelligence.New York: John Wiley & Sons, Inc., 1962.

Kellogg, Rhoda, and Scott O'Dell. The Psychology of Children's Art.New York: Random House, Inc., 1967.

Lark-Horovitz, Betty, and Others. Understanding Children's Art forBetter Teaching. Columbus, Ohio: Charles E. Merrill Books, Inc.,1967.

Luca, Mark, and Robert Kent. Art Education: Strategies of Teaching.New York: Prentice-Hall, Inc., 1968.

Mc Fee, June King. Creative Problem Solving Abilities in Art ofAcademically Superior Adolescents. Washington, D.C.: NationalArt Education Association, 1968.

Principles, Objectives, and Curricula for Programs in the Educationof Mentally Gifted Minors, Kindergarten Through Grade Twelie.Sacramento: California State Department of Education, 1971.

Reproductions and Paperback Books on Art. Washington, D.C.:National Art Education Association, 1967.

Research on the Academically Talented Student. Washington, D.C.:National Art Education Association, 1961.

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Slides and Filmstrips on eta Washington, D.C.: National ArtEducation Association, 1967.

Smith, James. Creatire Teaching of tlw Creatire Arts in tlwElementary School. Boston: Allyn and Bacon, Inc., 1967.

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