Creative
Form Drawing
with children aged 6–10 years
Workbook 1
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Angela Lord
Creative Form Drawing with Children Aged 6–10 Years, Workbook 1 © 2015 Angela Lord
Angela Lord is hereby identified as the author of this work in accordance with section 77 of the Copyright, Designs and
Patent Act, 1988. She asserts and gives notice of her moral right under this Act.
Published by Hawthorn Press, Hawthorn House,
1 Lansdown Lane, Stroud, Gloucestershire, GL5 1BJ, UK
Tel: (01453) 757040 E-mail: info@hawthornpress.com
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Website: www.hawthornpress.com
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All rights reserved. No part of this book may be reproduced, stored in a retrieval system or transmitted in any form by any
means (electronic or mechanical, through reprography, digital transmission, recording or otherwise) without prior written
permission of the publisher.
Design by Lucy Guenot
Printed by Melita Press, Malta.
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English Edition Creative Form Drawing with Children © Hawthorn Press 2015
Illustrations © Angela Lord
Printed on environmentally friendly chlorine-free paper sourced from renewable forest stock.
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Every effort has been made to trace the ownership of all copyrighted material. If any omission has been made, please bring
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this to the publisher’s attention so that proper acknowledgement may be given in future editions.
The views expressed in this book are not necessarily those of the publisher.
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British Library Cataloguing in Publication Data applied for
ISBN 978-1-907359-54-5
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Creative
Form Drawing
with children aged 6–10 years
Workbook 1
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Angela Lord
Contents
Introduction 5 Structured forms: Angles 71
Using this book 7 Circles and angles 75
Teaching methods 8 Circles and triangles 76
Flowing lines crossing over 77
Part One Flowing forms 79
Developing patterns 83
Class One 6–7 years old
Lines and curves 85
The first lesson: Dividing a circle 86
Introducing the first two forms 12 Mirroring 87
Straight lines 16
Evaluating the children’s work 91
Curves 19
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Mirror drawing 24
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Flowing lines 26
Rhythmical flowing lines 29
Circles 30
Class Three 9–10 years old
Variations 34 Curved forms in three spatial directions 94
The lemniscate or ‘figure of eight’
Zig-zag forms
Diamond forms
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Flowing forms with four directions in space
Lemniscates with circles and ellipses
Straight lines and curves
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Diamonds into stars 39 Straight lines and lemniscate curves 102
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Angles and triangles 40 Transforming a straight line into curves 103
Triangles into six-pointed stars 43 Sequences which grow 105
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Spirals 44 Transformations 106
Straight lines, curves and spiral 45 Sequences with angles 107
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Circle and ellipse (oval) 46 Diagonal lines 110
Giving and receiving 48 Radiating diagonal lines 112
Symmetry and mirroring: Above and below 49 Symmetrical drawings 113
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Symmetry and mirroring: Right and left 51 Symmetrical sequences 114
Shapes: Triangles, squares and diamonds 115
Evaluating the children’s drawings 53
Forms with diamonds 116
Forms with rectangles 117
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Part Two Forms with lines 118
Class Two 7–8 years old Rhythmic forms 119
Rhythmic circles 122
Straight lines and diagonal lines: Star forms 56 Enhancing forms 125
Creating forms with lines: Horizontal lines 57 Diamond forms 126
Creating forms with lines: Vertical lines 58 Mirror forms 127
Creating forms with lines:
Evaluating the children’s work 129
Vertical and horizontal lines 59
Flowing lines 60
Flowing lines and loops 61 Quotations from lectures by Rudolf Steiner 130
Straight lines and curves 64 References and recommended reading 131
Organic forms 68 Acknowledgements 132
Using this book
Conclusion Teaching methods
Healthy child development is supported through mean- The first part of this book deals with the practical aspects
ingful, inter-related experiences, which are appropriate of teaching form drawing, and outlines an integrated
for their particular age group. The structuring of this book pedagogic approach. The suggestions ensure that a well-
provides the forms which children need at particular times balanced, well-rounded educational process is possible, to
of their growth. Young children (aged 6–7 years) will be en- foster children’s learning in a healthy way. The methodology
grossed in the doing, in the activity itself. Children aged 8 of form drawing is based upon educating children beyond
upwards will begin to develop an aesthetic sense, to make mere ‘head learning’ or cleverness. It is designed to incor-
discerning judgements and to self-evaluate. Some children porate movement of the whole body, bringing meaningful
need the security and authority which the teacher provides co-ordination as well as fine-motor skills, and to provide a
in the given forms. Other children will enjoy the challenges secure foundation for learning, in gradual steps, through in-
of creating their own original drawings. creasingly complex, intricate and challenging forms.
In this way form drawing is both prescriptive, defini- Teachers themselves need to practise the forms be-
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tive and creatively predictable, as well as allowing interpre- forehand, so that their authority and certainty is conveyed
tation, free expression and individuality to flourish. to the children. Form drawing should be absorbing, fasci-
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nating and enjoyable. When the teacher (or parent) finds
enthusiasm and interest in this subject, a love of ‘learning
through doing’ is conveyed directly to the children.
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Learning processes and exercises
Each section in Parts One, Two and Three is based upon
developmental stages according to the children’s age, and
in relation to the Waldorf School approach regarding the
numbering of the classes (e.g. Class One, Class Two, and so
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on). This is intended as a guideline. What is important is the
actual sequencing of how each stage relates to the next, as
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each new step is built upon the preceding one in a natu-
ral, integrated and carefully considered process to provide
the children with an inter-connected, readily assimilated
healthy learning process.
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The beginning of each Part lists the skills which the
children in each age group are developing. These devel-
opmental skills will vary, according to the individual child.
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They provide teachers (and parents) with a reference for
assessing a child’s learning progress, and a way of gauging
the specific skills that form drawing is developing at each
particular phase.
Then follows a list of actual experiences, i.e. the prin-
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ciples contained within the exercises, or ‘what the children
are learning’. These key phrases provide a synopsis for the
content of the exercises and will help the teacher know
what is being learned.
Drawing size
The illustrations in this book do not indicate the
size of the children’s drawings. Children should
draw large forms, filling the whole page.
Using this book 7
Teaching methods
In the classroom classes need to ‘breathe out’, especially if many
1. The teacher draws the form (in one direction only) on children are not walking to school and need
the board while the children are watching. physical exercise; other classes may need to set-
tle down indoors to focus quietly.
2. The children stand up and draw the form in the air
with their arm and hand. This can be done several 5. The children draw the form into an unlined book of
times over, with movements in both directions, and plain white paper using large crayons or large col-
with both arms (up/down; left/right; clockwise or anti- oured pencils. The children can sit or stand (depend-
clockwise). Each child should have sufficient room to ing on their choice). They need to draw in a relaxed
move in large, uncramped gestures. The atmosphere uncramped process, moving their fingers, hand and
should be quiet and concentrated. arm gently but firmly. They are then able to live into
the universal principle that ‘all form is movement
3. The children can also ‘draw’ the forms in the air with come to rest’.
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their heads, following their noses.
In Class Two (or towards the end of Class One) 6. Rubbing out with a rubber (eraser) is not necessary.
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some children might like to come up and draw The same form can be drawn over several times until
their own form on the board, copying the teach- it is balanced. The children should feel relaxed in this
er’s form. This can be done one at a time in front process and trust that they can ‘self-correct’. An atti-
of the class, or in groups of three or four at the tude of ‘there are no mistakes, but processes’ is impor-
same time. It is important never to judge or
correct – just let the form ‘be’. The board will be
crowded with forms (as far as the children can
reach) – a wonderful social experience!
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7.
tant, and the teacher can support this approach by
using comments such as: ‘the form is coming’, ‘it’s on
its way’, ‘it’s nearly there’.
Learning happens in different ways and on different
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4. Classes One, Two and Three can also ‘move the forms levels. Observing, moving, focussing, concentrating,
in space’ by walking them in the classroom, school self-correcting, adapting, re-creating, co-ordinating
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hall or in the playground. Many possibilities can be and socially interacting are all essential ingredients of
explored with the children moving individually, in a learning process. They can all be incorporated into
pairs and in groups. Interweaving and crossing forms; the form drawing lessons.
forms which differ inwardly and outwardly; intersect-
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ing lines; circles; squares and stars can be moved in Using colours
groups, with one child moving at a time. The forms can be copied several times using different col-
Moving the forms with the whole body is an es- ours. As forms become more complex different colours can
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sential and integral aspect to the learning pro- be used for intersecting lines, for varying lengths of line,
cess, requiring careful supervision on the part of for combinations and for metamorphosis (or transforma-
the teacher. Forms need to be moved carefully tion) forms. Remember that the experience of movement is
so that the expansive spatial experience can be important and this is experienced in the line itself. Colours
transferred through the whole bodily experience enhance the sensitively felt expression of movement in
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into the reduced form drawn in their books. This the line, rather than emphasising the surface areas. Some
‘living into’ a form on a large scale supports spa- children might colour-in their forms, in a spontaneous way.
tial orientation and co-ordination; observation This is neither encouraged nor discouraged but the teach-
and awareness of other children; ability to follow er tactfully emphasises the line itself, bringing the child’s
instructions; and provides a vital learning process focus to the movement of drawing and to following the
which engages the whole child. line with their eyes.
The teacher will need to assess the class before-
hand as some children need to move in this ex- Adjacent colours
pansive way before drawing in their books; other Colour sequences can be used in a progressive order relat-
children may need to ‘settle down’ to drawing di- ed to the rainbow sequence in the colour circle. For exam-
rectly after the hand drawing in space. The class ple: red, orange, yellow; or green, blue, violet; or red, violet,
may vary from one day to another and it is neces- blue, and so on. These adjacent colours create a harmoni-
sary that the teacher assesses their need to find ous and pleasing experience of colour and enhance forms
the best and most appropriate method. Some which are more complex. They can be very satisfying aes-
Teaching methods 8
thetically. Children may discover these themselves, but the times a year; or as a weekly lesson throughout the year. The
teacher can also provide such examples on the blackboard children will very quickly compose their own forms which
with coloured chalks. can be done during the lesson time. Class Two onwards can
continue drawing forms at home, as set homework.
Contrasting colours Children who are quick at completing any classroom
Combining colours which have strong contrasts defines a subject can be encouraged to take out their form drawing
form more clearly. Structural aspects of the forms can be books and to work on creating their forms. If they can be
enhanced by using the complementary colours: quietly engaged in this, then they won’t be bored or dis-
ruptive whilst other children are still finishing their work.
Red + Green Home schooling
6 TO 10 YEAR OLDS
Draw the form on a blank sheet of paper with the child
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(or children) watching.
The child draws the form several times in the air in
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Orange + Blue both directions. This can be done together with the
parent. They can also ‘draw’ with their head, following
their noses.
They copy the form into their books (as outlined
Purple + Yellow
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They can also walk the form both indoors, and out-
doors in a garden or park, together with siblings,
friends, parents or their teacher.
Children aged 8, 9 and 10 can create many of their
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The children might also enjoy choosing colours which are own forms, related to the examples given.
bright and active in connection to the forms that are lively
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(red, orange, yellow) and quieter passive colours for the
forms that are more flowing (green, blue, purple).
Vocabulary and language skills
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I have included a descriptive vocabulary in relationship to
the various forms. It can be immensely satisfying to the
children to express their experiences, feelings and obser-
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vations related to their work, and they will often need new
words to describe their discoveries. The children will also
bring their own verbalisation to what they are perceiving,
and this should flow spontaneously and quite naturally.
Some children may prefer to assimilate quietly and in-
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wardly, so descriptions should not be forced or analytical.
The teacher can use the vocabulary with the whole class
in a ‘free’ way, towards the end of a lesson. Always allow
time for learning processes to settle to avoid intellectualis-
ing, so some descriptions may only arise after two or three
lessons. It’s also not necessary to associate the forms with
objects (‘it looks like a…’). This may happen, of course, but
it’s not necessarily sought for. Language skills will develop
from the actual experiences of doing the form drawing, its
aesthetic qualities and its dynamic nature.
Timetabling
Form drawing can be taken as a main lesson for two to
three weeks on a daily basis and repeated two to three
Teaching methods 9
Part One
Class One
6–7 years old
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Exercises suitable for Class One (6–7 years) are developed in order to support:
Hand and eye co-ordination
Dexterity of the hand
Preparation for handwriting skills
Observation skills
Ability to compare
Sensitivity to contrasting forms
Spatial orientation
Inner sense of balance
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The examples which are included here provide a foundation for experiencing:
Proportion
Relation
Contrast
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Movement
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Sequence
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Strength and security in the single form
Artistic feeling in the rhythmically repeated forms
Comparing straightness and roundness
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Developing the principles of straight lines and curved lines
into more complex forms
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Class One 11
The first lesson: Introducing the first two forms
The very first forms are simply a straight line and a curve
drawn side by side:
The teacher draws these in front of the children, large
enough for them to see clearly. Although simple, the straight
line and the curve are the fundamental foundations of all
drawn forms. It is important that the children see, feel and
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experience the differences in these two gestures. Drawing
the forms in the air and moving them in space enable the
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children to ‘live into’ these archetypal forms.
Note that the forms will be drawn on the board in one direction:
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But the children will walk them in the opposite direction
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so that they are walking forwards in order to develop cer-
tainty and balance in spatial orientation.
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Then they can turn and follow the forms in both directions
and draw them in both ways.
Class One 12
The forms are drawn from above, downwards.
The children imagine a straight line.
They walk the line, feeling it inwardly.
Then they turn and follow the line back again.
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The children can also ‘draw’ the forms ‘with their noses’. Sit-
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ting at their desks, the head is moved slowly and gently up-
wards and downwards, as they imagine their nose drawing
the form. First, the straight line, and then the curve, both
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upwards and downwards. Then the two forms are drawn
in their books:
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Followed by different patterns:
The children can listen to the sounds which their pencil
makes. They will hear a difference between the straight line
and the curve. Subsequently the forms can be drawn over
several times, both upwards and downwards.
Class One 13
In the next lesson the curve can be turned in the other direction:
Followed by different patterns:
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Class One 14
The teacher can draw a variety of patterns on the black-
board and encourage the children to complete them, both
on the board and in their books.
NOTE: The patterns follow set rhythms – they are not arbitrary,
but develop in related sequences. The children experience:
order
rhythm
security
relation
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artistic feeling
sequence
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contrast.
Variations in size can be explored, by extending the length
of the vertical line:
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Class One 15
