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The innovative method of acquiring the skill of artistic self-perception in students in

the context of the visual arts culture by using childrens drawings and pictures
All young children are encouraged to quickly acquire cognitive thinking. The
omnipresent electronic media contributes to this, is awakens in children the feeling of
passion and suspicious pleasure.
Visual arts and other creative eperiences, which in time transform from play to
esthetic perception of the five senses, are a good basis on which a child can form a
moderate and balanced approach to electronic media.
The child!s personality is straightened through the implementation of new
methods and visual arts activities. "ut this can only be achieved by a preschool teacher
with modern visual arts eperience.
The preschool teacher needs to develop the eperience of visual arts self#
perception $reflection and to acquire new knowledge from the visual arts%.
Artistic culture knowledge, as a statement in the contet of esthetic value of
eperience, is a fragile and dynamic eperience. As such it needs to be practiced
constantly and industriously.
The most common product of children!s visual arts activities are drawings and paintings.
The children!s art as a product of artistic education becomes a natural didactic
tool for the renewal of esthetic self#perception in the visual arts in both students and
preschool teachers.
&ork methodology and eperiences from those workshops are included in the
tet. The basis is the activities of students talented in the visual arts. 'ince they are the
first to acquire and connect knowledge as well as self#perception they are leaders who
convey their eperiences and convictions to their colleagues.
(ey words:
)nnovative method, acquiring skills, self#perception, knowledge, visual arts culture,
workshop, talented students, practice, assessment.
+uring their studies the preschool teachers are introduced to the methodology of
teaching visual arts to preschool children as well as the artistic phases and types of
children. )n the visual arts practicum classes students acquire the knowledge of visual arts
material and techniques.
)n visual art classes students acquire the knowledge on the phenomenon of visual
arts along with the knowledge on modern and postmodern art.
The knowledge and visual art eperience from this sub,ect form the basis for
multidisciplinary work with children.
The biggest part of a child!s artistic epression is painting and drawing. )t is
common for a child!s painting to contain basic information. Those are their initials, year
of birth, the year in which it was drawn, the topic and name.
That is the usual technical information. Rarely does the child!s visual art contain
information on the artistic techniques and material.
-tremely rarely about the child!s visual art type or the its fa.e of development,
about the esthetic domain, inquiries, and some similarities with important artistic works.
The lack of these professional notes is probably common because of the
superficial evaluation, but also the effort which is needed for the decoding of a child!s
A child!s work is conceptual and like in the conceptual art a great prior
knowledge is needed for it to have meaning.
The prior knowledge consists of knowledge on the child!s visual art development,
the phases of that development, but also the self#perception ability of the artistic
evaluation and reaching value ,udgments which are synchroni.ed with the perception of
other preschool teachers.
That artistic self#perception is needed so that the preschool teacher could define
the child!s visual artistic type. /urthermore the preschool teacher should develop a
sensibility and criteria for spotting the esthetic range of some works of children, to mark
them and eplain in short.
That is not ,ust a statement of the preschool teacher!s capability, because
from such notes one can defer concrete conclusions and observations regarding the
child!s development, acquiring skills and development, eventually spotting giftedness or
Admittedly the esthetic assessment of visual art is very delicate but with practice
a high consistency can be achieved. 0ractice is achieved by eliminating ambiguity in the
terminology, uncertainty and possible misconceptions and over#confidence.
)t is usual in visual arts methodology classes for the students to eposed to
children!s artistic work, so that they could acquire the knowledge and have a perception
of that work.
'till that material is not unambiguously acquired, practiced and regularly applied
in the future work.
1ore eperience tells us that children are earlier abandoning visual art activities,
and in general real creative activities like creative games and mastery of materials.
This is probably a natural process, but it needs to be softened with quality visual
arts activities in the time that we have left.
Visual arts activities in children are the most dynamic, most important and most
inspirational form of encouragement and eperiencing the child!s creative eperience as a
basis for a stable and self#confident personality.
Those more delicate ambitions can be implemented only by preschool teachers
with innovative knowledge and ability.
0osters with statements on the learning characteristics of children!s work become
display ehibits in the classroom, faculty and kindergarten. They are a reminder of the
preschool teacher!s ability for fluent and fleible thinking as well as the responsibility o
working with children. )t is also recogni.ed in the new assessment of the value of their
&ith newfound energy self#confidence the preschool teacher will lead the artistic
development of the child, introduce new topics in the visual art and introduce new
The knowledge from the visual arts becomes a new space in which the
interpretation of the children!s work gats a new fuller content and depth.
'imultaneously the preschool teacher articulated with new phrases their self#
perception and intuitive value ,udgment, along with etending the space and scale of their
)ntroduction of new terms: identification of the children!s work with modern
mediums, information technologies, multimedia, children and cell phones, computers, the
development of these, as a challenge the present and the future of a preschool teacher
form a clearer awareness of the unity of the time in which the children live and their
That identification of the unity of social and technological situation increases the
importance of innovation in the work with children.
They become an aware eperience and ideas in the preschool teacher!s
knowledge. This kind of atmosphere develops self#perception, fluency and fleibility in
the preschool teacher!s thinking when it comes to decoding the child!s drawing.
)t is a culmination of professional ability when the students achieve the ability to
recogni.e and emphasi.e the esthetic reach in the child!s work, to recogni.e the formal
and epressive solutions which resemble the works of modern and postmodern art, as
well as to notice the signals of psychological and social truths of the child.
The new widened and acquired competencies of the preschool teachers increase
the responsibility with which they innovate visual arts work methods with preschool
Today!s generation of children is dramatically confronted with the challenges of
modern technologies which overload them with information, dynamics and abundance
which looks like stress, but is not an ambient of creative atmosphere which we can see in
the kindergarten.
*hildren mature, get tired of it by identifying themselves with the content.
This is the ob,ective situation which will only develop more, in learning and
writing mathematics directly on the keyboard, painting, drawing and not to mention
playing games.
2ne cyber reality becomes the spiritual condition of the child. )t is as if the care
and the ethical concern for the balanced development are loosing the battle.
'imultaneously the world of the preschool teacher is also a world, with less and
less conventional eperience, a gallery of concepts poetry and images.
The preschool teachers need to renew their potential for esthetic eperiencing and
assessment so as to be able to counter the trend of the functionality of soullessness.
&e need to increase the self#perception and value ,udgments of the future
preschool teachers in order to innovate work methodology and introduce to the children
the new challenges in a way in which they will play, sing and tame the challenges instead
of becoming a biological part of the electronic production.
(indergartens are not oases for the protection of children, but institutions in
which the children buy time before, with the help of the preschool teacher, they grow up
to form protective eperiences acquired through games, creativity and success without
Those protective eperiences are the formation of a personality which does not
function by suppressing the spirituality, but only violence and alienation. They can form
their own functionality of a grown individual precisely on the stable structure of a being
which has grown.
The methods of practice are not methods of control but a tool with which the
preschool teachers can get to know themselves again.
)n this case they would be very useful methods for the students of consolidating
These times of speed and superficiality leave no time for rest of the self#
perception. Tents of seconds are required for the student or preschool teacher to be able
to verbally formulate the content analy.ed through self#perception. This is the time that it
takes for the two multi#cognitive processes to form and give results of a delicate mental
)n the described procedure of eplaining children!s works the students
simultaneously learn new content and literally measure and eamine the level to which
they have acquired the content and with no epenses further practice, until they have
become professionally confident.