Abstract
In the broad research field on children’s paintings the analysis of color is often neglected, so that findings on how children are using color are sparse. This study tries to fill this gap partially by empirically examining the use of color through a number of receptive, productive and reflexive tasks
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given to children aged 10 to 12. It seeks to develop a deeper understanding of visual competencies and observable color phenomena in children's paintings by using a multi method approach. Results of a perception test examining children’s ability to differentiate color show, that almost all children can distinguish finest color nuances. Although accurate perception of color shades is presumably a fundamental prerequisite for reproducing hues, no direct correlation between color discrimination capability and results of color mixing exercises could be demonstrated. Investigating the use of color in more complex contexts reveals consistent tendencies across all tasks. Partial matches are found in the pursuit of contrast-rich, color-intensive effects and the avoidance of dull and bleak colors. In contrast, large inter- and intraindividual as well as inter- and intramedial variances of color scale, color application and reflexive abilities dominate the coloruse of the agegroup. The sum of the variations shows a striving for varied ways of dealing with the medium and the importance of influencing factors. The retention of universal, pure-developmental colorstagemodels is therefore not justified. The results prove that children have a repertoire of painting principles, which can be divided into three representational tendencies: perception-oriented-differentiated, formal-simplistic and individualistic-differentiated. These tendencies rarely appear in pure but rather in heterogeneous forms and must not be understood as separation-sharp types. Transitions prove to be fluid, the coloruse influenced by external influences. When taking the task into account, the comparison of observable phenomena reveals differences which lead to the construction of an elaborate and a basic competency-level. A number of criteria such as the scope of the repertoire, the quality and flexibility of the problem solution as well as the degree of reflection and the complexity of the work process define the two levels. A broad repertoire of representational tendencies combined with a high degree of reflection proves to be an essential component of high visual competence. Morover is the graduation of visual competence decisively characterized by a dynamic and flexible use of the repertoire. Accordingly, theories of multiple repertoires formulate an adequate response to varying situations as the endpoint of the development. The study shows that an isolated analysis of pictorial products falls short. In addition to productive competencies, receptive and reflexive competencies are also manifested in the products. The comparison of the pictorial results with the utterances of the children demonstrates the central role of reflexive, metacognitive aspects in dealing with color. In particular, the interpretation of the task and the resulting creative intentions are extremely important for the pictorial result and therefore also decisive for the graduation of the observed competencies. The inclusion of reflexive competencies in the investigation of visual competence thus appears to be a central factor for future research.
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