Digital Self: Primary Students and Computer Art

by

Jenny Rebecca Evans

A Thesis Presented in Partial Fulfillment

of the Requirements for the Degree
Master of Arts

ARIZONA STATE UNIVERSITY

May 2010

i
Digital Self: Primary Students and Computer Art

by

Jenny Rebecca Evans

has been approved

April 2010

Graduate Supervisory Committee:

Mary Stokrocki, Chair

Mary Erickson
Bernard Young

ACCEPTED BY THE GRADUATE COLLEGE

ii
 ABSTRACT

This study evaluates primary students, aged 6-11, exploring their creation of a

digital and virtual self, while learning they learned positive uses of blogging on Facebook

for a research study at a small computer art camp. The methodology was action research

as well as a pre- and post questionnaire that evaluated the growth of knowledge in digital

art, along with separate analysis of their meanings and expression in their virtual galleries

that identified symbols, colors, feelings, and subject matter.

This study offers an opportunity to combine computers, art, learning, and playing.

Gee built on Vygotsky’s theory of play by showing that digital games enable children to

create a ‘cycle of expertise’ and thus to develop strategies to cope and problem solve.

This study puts these theories in action by offering an opportunity to combine computers,

art, learning and playing. The researcher/instructor monitored the secure social network

in order to create a safe Internet experience to protect the campers’ privacy. Campers

learned to use MS Paint, Adobe Photoshop, and the Virtual World of Pet Society to create

a digital self in a decentralized classroom.

This study demonstrated that primary students are capable of creating meaningful

digital art and a virtual self with professional, 21st century technology. Comparison of

pre and post questionnaire indicated improvement in identifying digital art. The campers

in their self-portraits established individual meaning. These campers were capable of

creating meaning, digital and presenting themselves when given the opportunity,

materials, technology, and challenge.

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 TABLE OF CONTENTS

Page
LIST OF FIGURES .......................................................................................................... VI  

DIGITAL SELF: PRIMARY STUDENTS AND COMPUTER ART............................... 1  

Purpose of Study ........................................................................................................... 4  

CONCEPTUAL PERSPECTIVE ....................................................................................... 7  

Research Questions....................................................................................................... 8  

Limitations .................................................................................................................... 8  

Definition of Terms....................................................................................................... 9  

Review of Literature ................................................................................................... 13  

Using Technology as a Method of Learning ........................................................ 13  

Children and Computers ....................................................................................... 13  

Children Online..................................................................................................... 16  

Studies in Virtual Worlds ..................................................................................... 17  

Studies in Meaning Making.................................................................................. 18  

QUALITATIVE METHODS ........................................................................................... 21  

Type of Research Design ............................................................................................ 21  

Context and Participants ............................................................................................. 24  

Research Procedures ................................................................................................... 25  

Description of Program............................................................................................... 27  

What is MS Paint? ................................................................................................ 29  

What is Photoshop? .............................................................................................. 29  

What is Facebook?................................................................................................ 31  

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Description of Program Page

What is Pet Society? ............................................................................................. 32  

RESULTS ......................................................................................................................... 34  

Description of Observations During Class ................................................................. 34  

Data Analysis .............................................................................................................. 42  

Comparative Analysis................................................................................................. 58  

Gender Differences ............................................................................................... 60  

Age Differences .................................................................................................... 61  

CONCLUSIONS AND IMPLICATIONS........................................................................ 63  

Implications for the Future.......................................................................................... 71  

REFERENCES ................................................................................................................. 76  

APPENDIX A: PRE/POST QUESTIONNAIRE ............................................................. 82  

APPENDIX B: UNIT LESSON PLAN OVERVIEW...................................................... 84  

Lesson for Facebook................................................................................................... 86  

Lesson for MS Paint.................................................................................................... 89  

Lesson for Photoshop – Special Effects ..................................................................... 93  

Lesson for Photoshop – Copy and Paste..................................................................... 97  

Lesson for Pet Society............................................................................................... 101  

APPENDIX C: RESULTS FROM PRE-QUESTIONNAIRE ....................................... 107  

APPENDIX D: POST QUESTIONNAIRE RESULTS ................................................. 112  

APPENDIX E: VIDEO TRANSCRIPTS ....................................................................... 118  

APPENDIX F: PARENTAL PERMISSION SLIP ........................................................ 122  

APPENDIX G: CHILD PERMISSION SLIP ................................................................ 125  

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 LIST OF FIGURES

Figure Page

1. Action Research Model............................................................................................ 22

2. MS Paint Freehand Student Example ...................................................................... 34

3. MS Paint Template Student Example ...................................................................... 34

4. Pet Society Example ................................................................................................ 35

5. Photoshop Special Effects Example with a pink outline filter ................................ 35

6. Facebook Comments Example ................................................................................ 36

7. Pet Society and Comments Examples...................................................................... 37

8. Mr. Picassohead Example ....................................................................................... 37

9. Photoshop Copy and Paste Example ....................................................................... 38

10. Photoshop Head Switching Example....................................................................... 38

11. Photoshop Progression Example, neon filter, copy/paste, both, freehand draw...... 39

12. Photoshop Extreme Example, multiple filters, copy/paste...................................... 40

13. Computer Aided Drawing by Tim Wells................................................................. 43

14. Pencil Drawing, Howard by Tim Wells................................................................... 43

15. Painting, Fueled Fire by Jeff Evans ......................................................................... 43

16. Digital Photograph by Jenny Evans......................................................................... 44

17. Pencil Drawing, Glove by Tim Wells...................................................................... 44

18. Computer Aided Drawing by Tim Wells................................................................. 44

19. Pet Society Example of Self-Presentation................................................................ 54

20. Photoshop Guess Who? Example............................................................................ 55

21. Pet Society Petling Cause Example ......................................................................... 55

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Figure Page

22. Pet Society Self-Presentation Example.................................................................... 56

23. Example of male camper's art using Photoshop ...................................................... 60

24. Example of female camper's artwork using Photoshop........................................... 60

25. Example of artwork by youngest camper, six years old, in Photoshop................... 61

26. Example of artwork by oldest camper, 11 years old................................................ 61

27. Self- Presentation Emotion Example, Happiness .................................................... 66

28. Self-Presentation Example, Sadness........................................................................ 66

29. Collection of Self Portraits, MS Paint, pink line filter in Photoshop, virtual self,

freehand drawing in Photoshop, and Mr. Picassohead ........................................... 69

30. Facebook Lesson Plan, Facebook Comments Example .......................................... 87

31. MS Paint Lesson Plan, Self Portrait Example ......................................................... 89

32. MS Paint Lesson Plan, Toolbar Example ................................................................ 91

33. Photoshop Special Effects Lesson Plan: Toolbar Comparison................................ 93

34. Photoshop Special Effects Lesson Plan, Neon Filter Example ............................... 94

35. Photoshop Copy and Paste Lesson Plan: Original Digital Photograph Example.... 97

36. Photoshop Copy and Paste Lesson Plan, The Gifted Family, Example .................. 98

37. Pet Society Lesson Plan, Self Portrait Example..................................................... 101

38. Pet Society Style Shop ........................................................................................... 103

39. Pet Society Icon Example ...................................................................................... 103

40. Pet Society Icons Example 2.................................................................................. 103

41. Pet Society Information Bar, Coins, Level, and Points Example .......................... 104

42. Pet Society Well-being Icons ................................................................................. 104

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 1

Digital Self: Primary Students and Computer Art

Primary students need the opportunity to learn current technology as a part of art

education to prepare for the future. Studies such as “Digital Beginnings” in England and

“Zero to six” in the US demonstrate that children are competent in the use of a range of

hardware and software from a young age (Marsh, 2009). I propose that when given the

appropriate program and supervision primary students can learn and create meaningful

artworks using 21st century technology.

According to the National Association for the Education of Young Children

[NAEYC], “There is considerable research that points to the positive effects of

technology on children’s learning and development” (1996, p. 1). Multiple studies done

by Davis and Shade (1994); and Van Scoter, Ellis, and Railsback (2001) have provided

compelling evidence that educational technology has a major, positive impact on

children’s social, emotional, language, and cognitive development. When used

appropriately:

• Computers are motivating for young children, and add to cognitive and social

development (National Association for the Education of Young Children, 1996)

• Computers can enhance children’s self-concept and improve their learning

attitudes (Silvin-Kachala and Bialo, 1994).

• Children share leadership roles and initiate interactions more often (Clements,

1994).
 2

In addition to the benefits of technology, Bamford (2006) found in her study that

“students develop greatly in terms of risk-taking, confidence, and ownership of learning

through involvement in the arts. The arts really are involving: they promote a sense of

community through a shared spirit and encourage student motivation to learn. Through

establishing connections with students, the arts offer something unique and intrinsic to

the quality of education” (p. 20). Therefore, computer art can positively enhance the

education of young children.

So, why are educators (primary and/or art educators) who have access to a

computer lab at their schools not taking advantage of utilitizing computers and the

Internet for artwork? Administrators, teachers and parents are in a position to make this

possible, yet are hesitant due to security, time and money (Solvie and Kloek, 2007).

However, current studies offer answers to these concerns and suggest that the need to

make good use of technology is critical. Even NAEYC recommends, “… teachers in

collaboration with parents should advocate for more appropriate technology for all

children” (1996, p. 4).

Some critics of online forums state its lack of use is due to privacy and security

issues. However, research by Lawley and Lawley (2009) shows that not all children are

equally at risk of victimization; on the contrary, only a tiny fraction of online youth are at

risk from predators as a result of online activity. The vast majority of young people face

no predators, but cyber bullying and harassment (Lawley and Lawley, 2009). However,

in a safe environment, monitored by educators and parents, students cannot only learn

from each other but also, educate, reflect, and communicate with each other.
 3

How do students and teachers use technology and the Internet in art classrooms

today? Roland (2010) surveyed art educators regarding this exact question. His study

suggests that the most common response, 70%, was to gather information and images for

group research projects. The potential of the Internet and computer technology as an

innovative learning tool for students to display their artwork for feedback, design their

own websites, explore virtual worlds, engage in socially responsive projects, or exchange

work and collaborate with students in other schools or countries, has yet to be realized

(Roland, 2010).

According to Overby (2009), positive outcomes of using blogs outweigh the

negative. Positive outcomes for high school students include a space to reflect on their

art-making process with others. Publishing artwork within a social network such as

Facebook extends the classroom to home. Students can login anywhere and at anytime,

share with parents, and continue to communicate with other students about their artwork

outside of the classroom.

Educational technology is not a way of the future; it is the way children are

learning now. According to a 2005 study by the National Center for Education Statistics

93% of public school classrooms in the United States had Internet access (compared to

3% in 1994) (Parsad, 2005). Yet, according to Gee (2009) most schools are frightened of

modern learning, lagging behind the libraries, community centers, and after-school

programs, which are starting and demonstrating a new paradigm. Since, I had the

opportunity of teaching at a community center, I attempted to discover whether primary

 4

students were able to create digital and virtual art while responsibly using a social

network to create meaningful art.

Purpose of Study

My intent with this study was to use spring break camp to determine whether

primary aged campers (age 6-12) were capable of creating and editing meaningful digital

and virtual art, while evaluating it via a social network. Experts, like Gude, state that art

education must include helping students increase their capacities to make meaning

(2008).

Following the basic theory that children learn by playing and experiencing, Gee

(2009), stated, “Games and virtual worlds [microworlds] can allow kids to experience

how the words [technological terminology] attach to the world and to experience it

[virtual worlds]”(p. 7). This comparison contributed to ascertaining whether the art

created by the students was meaningful.

Meaningful art is a very broad term. In this study I used it in the simplest sense of

the word that the campers explored. What do their pictures say without words? In this

camp, art was not created by happenstance. According to Rudolf Arnheim (1997), a key

researcher in perception, “Art is the capacity to express the nature and meaning of

something through its sensory appearance” (p. 11). Another definition is “the ability to

engage and entertain ideas and images; it is the ability to make use of images and ideas to

re-imagine one's own life experiences. It is the ability to investigate and represent one’s

own experiences” (Gude, 2008, p. 103). The art in this camp contains self-portraits. The

camp/study is about the self and by default necessary for the art to have meaning.
 5

In her study “Children Online: Learning in a Virtual Community Online” Thomas

(2005) stated, “As far as language is concerned, children are learning that to be literate is

to have power” (p. 35). Specifically in her study, the level of technology skills children

achieved exceeded expectations of teachers in schools. The opportunities for freedom of

expression, for the exercise of power, and for the opportunities to create meaningful

relationships with others, offered children a place where they could be themselves, and

the motivation to belong was the drive for learning. In her opinion, what the [virtual

world] community offered the children in her study satisfied the technology needs that

were currently not available in schools. She presented the challenge to educators to

bridge this gaping difference between what they do and what is available to them to do,

in order to account for the children of this technological age (Thomas, 2005). The

campers expressed their emotions, and feelings in art that is a reflection of them.

Following Thomas, Gude explained in “Aesthetics Making Meaning” (2008) that

the expression of the students’ emotions and feelings into meaning is necessary.

Aesthetics matter because through aesthetic practices people make individual and

collective meaning. Making meaning can be understood as two important goals of art

education, to engage and understand artworks through active interpretation and to act as

an artist--creating art from which the artist and others can find meaning, pleasure, and

purpose. Meaning making is the ability to utilize ideas and images, to re-imagine one's

own life experiences in order to represent ones personal experiences (Gude, 2008).

As art educators, it is our job to introduce and engage our students to the

techniques that make or provoke deeply engaged experiences. In this study the campers
 6

connected meaning to expression by selecting from their virtual gallery, one piece of

digital artwork that they created that best reflects them. Using the comments section

under the picture, each camper answered the following questions: How it looks to you?

What do you think of it? What were your intentions? What do you think others will think

of it?
 7

Conceptual Perspective

Piaget, Montessori, and Vygotsky all agreed that children learn by playing

(doing). This study offers an opportunity to combine play and learning with computers,

and art. Children in this study are using the programs that are available and used by

professionals. According to Efland (2002), Vygotsky assessed that the play of children

often portrays the roles they will carry out as adults and that children explore the roles of

adults in common daily experiences. Gee (2003) added to Vygotsky’s theory that by

using digital games children create a ‘cycle of expertise’ to develop strategies to cope and

problem solve.

In this study I initialized learning, yet provided support creating a

decentralized/socio-constructivist classroom; I allowed the students to question original

thought and express ideas without fear of rejection, and empowered children through a

process of negotiating their own learning with their peers and the environment a similar

premise of a study completed by Pitri (2006). I encouraged students to experiment with

ideas and materials in non-conventional ways similar to what Adejumo recommends

(2002). Students learned how to use the computer software and how to create art by

playing with the computer programs that are used by their parents, teachers, and

commercial artists.

Given permission to play and experiment students encountered unlimited

possibilities. They had freedom to experiment without risking irretrievable failure;

although saving and posting artwork online is not without the possibility of error. It is

impossible to definitively ruin a work in a digital creative process, as the undo option is
 8

always available. The undo option gave the campers permission to take more risks

artistically and experiment with different possibilities. Saving each stage as a separate

digital image allowed students to see the evolution of their creations.

It is hard to perceive that using computers in this way would have any possible

negative effect on students; it seems that it would have only the positive effect of

empowering students to make artistic choices. It is our role as art educators to introduce

our students to the techniques of empowered experiencing and empowered making that

make deeply engaged experiences possible (Gude, 2008). Computer programs not only

can be rich promoters of visual thinking skills and expression but also provide a visual

springboard for writing (Rezabeck and Ragen, 1988).

Research Questions

1. What kinds of digital art can young campers ages 6-12 distinguish and identify?

2. What digital artworks can campers create and what do they mean to the campers?

3. What kinds of self-presentation (symbols, color choices, and patterns) do campers

demonstrate when exploring digital identity?

Limitations

The City of Chandler Tumbleweed Recreation Center (TRC) and myself

organized the camp with a small group (11) of campers. The community center computer

lab was limited to the programs and applications available on the TRC network. There

were also issues with saving work. Campers uploaded all data (artwork) to Facebook, as

the community center computers would not allow anyone to save to the hard drive or the
 9

network. The campers could have saved to a CD, but in doing so seemed more trouble

than it was worth since all of the artwork was saved and available on Facebook.

There was also a low enrollment of only eleven campers. The community center

allowed the class because there were more than seven enrolled, but the results could have

varied with fifteen campers or even multiple camps.

Definition of Terms

Blogging – A new form of electronic communication, normally a website of a writer’s

views on a particular idea, chronologically organized that includes additional

information and websites (Overby, 2009).

Decentralized classroom – According to Adejumo (2002) the teacher becomes a partner

that initiates educations and supports when necessary, and does not stop intuitive

or innovative thinking.

Digital Art - Most commonly refers to art created on a computer in digital form, art using

computer graphics software, digital photography technology and computer

assisted painting to create art (Paul, 2006).

Digital Culture – Is described as an emerging value system and set of expectations as

particularly expressed in the activities of news and information media makes and

users online, includes participation, remediation and bricolage as key elements,

sustained through on going self production which gets expressed online as an

expression of individualization, post nationalism and globalization (Deuze, 2006).

Digital Dialog –Simply put is verbally keeping a log of expressions, allowing the writer

to conceptualize, analyze, synthesize, apply and evaluate their learning

 10

experience, by linking visual and verbal thinking art students participate in a

powerful forums for developing critical consideration and constructing a personal

knowledge of art (Stout, 1993).

Literacy – Often, literacy is defined to the advancement of reading and writing. A

broader definition incorporates a learner’s ability to communicate and

comprehend knowledge. Literacy in art embraces the ability to communicate and

comprehend aesthetic responses to stories, knowledge, ideas, and feelings (Leigh

and Heid, 2008).

Meaning – According to Gude (2008) a core concept of art education is students’ need to

increase their ability to make meaning. Meaning-making is the aptitude to employ

and think about ideas and images; the ability to make use of images and ideas to

re-imagine one's own life experiences, the ability to examine and symbolize one’s

own experiences, to enhance students' abilities to engage, to analyze, to

apprehend, to make, and to enjoy. “Through such signifying practices we make

meaning of our lives and we make meaningful lives--with style, with purpose, and

with pleasure” (p. 99). Gnezda (2009) includes that authenticity; (relevance to

their lives), and substantive responses from adults and peers to the messages and

images in their artwork is also necessary.

Microworld – A kind of software with which children play and discover concepts and

cause-effect relationships (Davis and Shade, 1994).

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Netiquette – Simply put etiquette for the Internet. Deuze (2006) further lists consensual

ethical behavior, an evolving set of ethical guidelines for communication and

publishing online.

Social Game - Social games are games that programmers design to be played together

with friends. Traditional computer games focus on stand-alone game play on

consoles, your PC, or on your mobile phone. Games that do allow you to play

together with others online normally require you to buy the game, go online, and

try and find like-minded new friends who are also playing the game. This is

something that usually only the most dedicated gamers are prepared to do

(Playfish, 2009).

Social Network - Sites that are web-based services that allow individuals to (1) construct

a public or semi-public profile within a bounded system, (2) articulate a list of

other users with whom they share a connection, and (3) view and traverse their

list of connections and those made by others within the system. They also

provide rich sources of naturalistic behavioral data (Boyd, 2007).

Socio-constructivist- A perspective of education generally aims at empowering children

through a process of negotiating their own learning with their peers and the

environment (Pitri, 2006). In this situation the teacher/researcher does not provide

a conclusion but instead provides specific setting and examples of theories, which

could serve as stepping-stones to extrapolating theories in similar contexts.

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Virtual Art – Art that is not physically real. This can include digital art, immersing

oneself in the image space, moving and interacting there in “real time,” and

intervening creatively (Grau, 2004).

Virtual World – Three-dimensional environments where individuals are represented by

avatars, residents have the freedom to design their avatars, create their environment,

and to function in ways that mirror the real world, as well as flying, walking

underwater, or teleporting to other locations (Kluge and Riley, 2008). Marsh

defined it as a persistent virtual environment in which people experience others as

being there with them and where they can interact with them (2009).
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Review of Literature

Using Technology as a Method of Learning

Parks explores “Video Games as Reconsructionist Sites of Learning Art

Education” (2008) in her discussion stating that art education has been in the midst of a

transformation shaped by several factors, including changes in contemporary art theories,

political and economic factors, and technological developments. Today, many educators

and researchers recognize the potential of video games to engage players in multi-

sensory, complex learning processes. Games that promote social action, which have

become popular over the past five years represent a new genre that researchers from a

range of disciplines are beginning to investigate. This discussion of video games

examines simulation, situated learning, and social realism gaming schemas as well as

social reconstructionist art education. “A common thread shared by many of these

visions of art education has lain in the recognition that social aspects are a fundamental

part of how we come to know the arts and the impact of media and technological

developments on art and society” (Parks, 2008, p. 235). Art educators need to remain

current with technology as children are using computers thus the relevance to computers

in this study.

Children and Computers

There are many studies include children utilizing digital media, but do not

necessarily include art. “Children’s Literature and Computer Based Teaching”

(Unsworkth, Thomas, Simpson, and Asha, 2005) connected classroom teaching of

 14

children’s literature with the digital age. It celebrated the charm of children’s literature

and its role in literacy development, as well as the appeal of information and

communications technology (ICT) to students and technology’s capacity to enrich

students’ learning and enjoyment of literary texts. The study described and discussed

implementation for educators of activities that extended traditional approaches to literary

texts and take advantage of available technology (Unsworkth, et. al, 2005). The

researchers explored new directions in research and classroom practice using electronic

literature for children guiding future educators, yet not specifically art educators.

Solvie and Kloek (2007) conducted a research study that investigated the use of

technology tools to support constructivist-learning experiences in a pre-service teacher

education reading methods course in “Using Technology Tools to Engage Students with

Multiple Learning Styles in a Constructivist Learning Environment.” They found that

“using the four modes of concrete experience, reflective observation, abstract

conceptualization, and active experimentation, technology tools can be successfully

integrated to support students’ construction of knowledge” (Solvie and Kloek, 2007, p

23). Although their study explored reading methods, the study also validated children’s

construction of knowledge utilitizing technology in general.

Studies by Catchings and MacGregor (1998) and Murphy, DePasquale, and

McNamara (2003) covered the primary age group but not specifically digital art and

social networking. In “Stoking Creative Fires, Young Authors use Software for Writing

and Illustrating,” Catchings and MacGregor (1998) compared first and fourth graders
 15

illustrating stories that the students wrote. Half of the students in each grade used

traditional crayons and markers while the other half used an electronic paint program.

Overall, with the exception of getting use to using a mouse to draw, the students

used the electrical paint program made more detailed, colorful illustrations. Their

research found the first graders needed more time than the fourth graders, and the

younger students used more electronic stamps (templates) while the older used the stamps

but modified them to be more elaborate to express their ideas. Catchings and MacGregor

encouraged other educators to not be afraid to use technology by stating “publishing

activities engage students because they are interesting, challenging and creative, by

adding technology to these activities, you can make the projects even more exciting by

providing them with professional end products” (p. 23).

For those educators who are hesitant to bridge to technology Murphy, et al,

(2003) spent time creating a “how to” for teachers in “Meaningful Connections Using

Technology in Primary Classrooms.” They stated that many school systems have the

technology, yet the teachers are hesitant to use it because they are not familiar or

comfortable. They not only spelled out the educational standards, but gave examples of

lessons by teachers who had already implemented them, including images from the

students. Murphy, et. al, highlighted specific software programs, digital technology and

concept mapping software. They also challenged educators to use technology in

stimulating ways to promote learning and social interaction so that students can become

confident and skilled with the use of technology while in school and throughout life.
 16

Students are not only utilizing education software in the classroom but also exploring the

Internet.

Children Online

Sonia Livingstone examined three teenage examples of the “Internet generation

(those that have not lived without the Internet)” in “Internet Literacy: Young People’s

Negotiations of New Online Opportunities (2008).” Although she stated that “young

people themselves – who are undoubtedly enthusiastic, creative and motivated in their

exploration of online opportunities – but in order to make visible society’s failure to

sufficiently support their Internet literacy through design, education and regulation” (p.

115). She is optimistic that Internet literacy could represent a means of empowerment

for young people in a mediated world, using Victor Quinn’s definition of

“empowerment” as enabling children to be able to do what they can do best (Quinn,

1997).

Taking this empowerment point of view, it is not enough for parents and

educators to leave children on their own, but rather they need to listen, respond, provide

feedback on creative or other forms of activity, encouraging critical reflection, and taking

their participation seriously. “Celebrating young people’s enterprise and enthusiasm

while failing to support, respond, or engage with their online activities, risks failing to

bring to fruition the ambitious hopes we hold not only for the Internet but, more

significantly for young people” (Livingstone, 2008).

Angela Thomas (2005) also studied pre-teens online in “Children Online:

Learning in a Community Online.” In this study, children (average age of 13) often
 17

learned without an expert, using processes such as trial and error, verbal communication,

and through the construction and transformation of their identities, both in and out of the

fictional role-playing context. Thomas makes a case that children in a particular virtual

community are learning through their participation in the discursive and social practices

of the community. Pre-teens in her study regularly figured out mutual problems together

to find the answers, motivated by the need to be successful and to gain status in the

[virtual] community. She claims that independent play learning is rarely attributed to

children, as the field of education often relies upon a Vygotskian theorization of learning

through interaction with expert others (Thomas, 2005). One way to interact with other

people, students, or friends is in a virtual community, online.

Studies in Virtual Worlds

Most of the literature on digital art education focuses on secondary or higher

education. For example, Liao (2008) in “Avatars, Secondlife and New Media Art” and

Lu’s (2008) “Art Café” are specific studies on high school students. Marsh (2009)

discusses the need for art educators to explore virtual worlds, as primary children do use

them, and to voice their concerns as educators rather than allowing software designers to

make the decisions. Turvey (2006) explains the concept of being a responsible learner in

a virtual community and that there is a potential for cohesion as participants unite

towards the common goal of creating and sharing knowledge through the virtual

community, thus enforcing the social network.

Marsh (2009) conducted a descriptive study in a primary school in England with

children aged 5-11 in Club Penguin. Her survey found that 52% of the 175 children used
 18

virtual worlds on a regular basis. Marsh concentrated on noticing literacy for accessing or

displaying information, e.g. signs; using emoticons; reading game instructions; reading

clues on quests; reading catalogues; reading the newspaper to find out about events/ tips

and reading maps, too. Children also spent time crafting avatars, some the same gender as

themselves, older children more likely to experiment. Although Marsh’s study did

include the younger children, her concentration was more on literacy than art.

Other studies in virtual worlds include “Literacy of a Cybergirl” (Thomas, 2004).

This study includes the virtual environment of The Palace with adolescent girls. By

analyzing both words and images, the author highlighted the particular ways that girls are

creating cyberbodies that are encoded surfaces of the girls’ dreams and desires. Her key

finding includes: “For girls who are disenfranchised in other everyday practices, The

Palace, coupled with expertise in digital literacies, provides a site for empowerment,

relative freedom, originality, exploration and reinvention” (Thomas, 2004, p. 380).

Thomas found positive aspects of the virtual world; although she did not utilitize it for

artistic purposes and limits her study to only adolescent girls. This study evaluates the

use a virtual world for artistic purposes.

Studies in Meaning Making

Several researchers have studied meaning making with students. Eli Trimis and

Andri Savva (2009) studied 50 children drawn from three different urban early childhood

classrooms in Greece, in “Artistic Learning in Relation to Young Children’s Chorotopos:

An In-depth Approach to Early Childhood Visual Culture Education.” The children

explored different exterior environments doing rubbings, creating sculptures from found
 19

objects, and sand art while the researchers observed their art of learning. They also

observed the teachers and how they used their environment to create visual culture. They

found that most of their 50 children did not have the opportunity to explore art museums,

yet were able to create meaningful art. Their findings highlighted the importance of

relationships between objects, places, and people in learning in, through, and about art.

Learning about art generates questions about the possibilities of extending the specific

programs in exploring children’s daily interactions and learning through images and

object in the contemporary world involving the global and multicultural aspects of their

space.

Two other researchers studied young children in “First Graders Constructing

Meaning Through Drawing and Writing” (Leigh and Heid, 2008). In this study, 104

students were given the opportunity to express themselves with drawing, words, or both

on the premise that communicability of drawing and writing as vehicles through which

children currently make and share meaning. Leigh and Heid found what they define as

“code-switching” moving from drawing to writing to communicate. When students

construct meaning outside of language they are engaging in careful analysis of their

personal feelings along with scrutiny of the sensory qualities of their artwork. They

found that 30% of first graders created drawings without words, while 63% used both

drawing and writing. They caution that when educators dismiss the simple drawings of

expression, educators communicate to children that writing is more important, and

trumps all other modes of knowing. Some children may find comfort and greater ease in

expressing themselves with drawings, and turn to pictures in order to illustrate their
 20

expressions. Both of these studies concluded that young children are capable of making

meaning within their art and that meaning is necessary to their education, which is a

focus of this study.

 21

Qualitative Methods

Type of Research Design

Qualitative research is the collection and analysis of extensive narrative data in

order to gain insights into a situation (Pitri, 2006). Its purpose is to promote greater

understanding of not just how things are, but also why. It involves intensive data

collection in a naturalistic setting. Qualitative methods focus on the qualities of an every

day activity. This study was qualitative and more specifically, used a participant

observation approach. As a participant observer I taught, described, analyzed, and

interpreted a class to fully understand it (Stokrocki, 1997) but also learned how to

improve as a teacher from my participants. I also used an action research method.

Action research is a relatively new method of research in education used to study

teaching practice (Mertler, 2009), though it has been used in other fields. There are many

variations from numerous authors and researchers in fields other than education. Kurt

Lewin (2007) in the field social psychology is credited for coining the term action

research in 1946 (Lewin, 2009). Specifically in education, Emily Calhoun (1994), Cher

Hendricks (2006), and Eileen Piggot-Irvine’s (2006) not only use action research, but

published books to educate other educators on how to follow suit. Margaret Riel (2007),

and Ernest Stringer (2007) also use action research and argue that it necessary to evolve

the teaching process. All styles of action research are cyclical with variations of study:

action, analysis and reflection. Most importantly, action research provides educators with

alternative ways of screening education questions and issues with new ways of examining
 22

their own educational practices. Action research as a methodology is beginning to

become popular in the art education field.

Wanda May, an art educator, as early as 1993 published a framework of action

research summarizing action research as:

Inquiry into our own practice, [it] grounds us viscerally in real place and time

with real persons, begs our questions and possibilities, makes us responsible

for what we believe and do. When done well, teaching as inquiry provokes

our most aesthetic, pedagogical sensibilities, helps us to envision and craft

ourselves and our work (May, 1993, p. 124).

Following an action research cycle of observing, reflecting, and acting, I improved my

ability to teach by observing the campers, thus

increasing their learning and their artwork.

Figure 1 illustrates the repetition of the cycle.

Each cycle builds on the next allowing for

modifications based on observations of the

situation and the students. The repetition

improves the overall teaching and learning

process.

Eliza Pitri (2006) also discussed action

research in her article “Teacher Research in the

Figure 1: Action Research Model
Socioconstructivist Art Classroom.” Pitri
 23

emphasized action research in education in order for the art teacher to not only teach, but

also serve as researcher in the classroom. Action research is supported by concepts from

socioconstructivist ideas and illustrates the argument that action research empowers both

the art teacher and the students. Pitri explains “any teacher's attempt to situate learning

through the method of emergent curriculum for project development and negotiated

meaning and problem solving requires initially descriptive case studies and action

research” (Pitri, 2006, p. 44). Observation is a way of investigating phenomena that

emphasizes the search for facts as they occur naturally in the environment. By using

action research as case studies, researchers provide theories that are incorporated into

narrative form.

As recent as 2006, art education researcher, Sara McKay, challenged art educators

to ‘live the question’ by encouraging participants to think broadly about sources of

learning in art. She also used computer technology as well as written interpretations as

evidence. Linking digital art to action research in her project ensures the continuation of

the process, as technology is constantly changing to stay current (McKay, 2006).

Action research provides an opportunity to create situation-specific knowledge

and is thus associated with qualitative methods. Other educators, such as Eisner (1991),

Stout (1993), and Sullivan (1993) agree that action research is natural to art education.

This is potentially a generative source for both theory and practice in teaching and

learning. Participant observation research embraces the interpretation of ongoing

processes. These were my observations as I participate with the class, situation-specific.

As Suler (1996) stated, “they are just that, MY conclusions, they may not necessarily
 24

apply to others, because the individual researcher’s subjectivity becomes the investigative

tool, the truths of the method may vary from individual to individual”(p.1). Situation-

specific observations lead to conclusions from a qualitative perspective, which highlight

the meaning of the phenomena and the experiences that have meaning (Labuschagne,

2003). Action research is describing a constantly changing educational situation, rather

than generalized knowledge.

Context and Participants

All students registered for a Computer Art Class in Chandler, Arizona at the

Tumbleweed Recreation Center (TRC) for a fee of $50. Campers were in camp three

hours a day for five consecutive days, a total of fifteen hours during the week of spring

break. There were no known learning disabilities within this group. Participants did not

receive any compensation. For this study, the campers included 15 students. There were

five male campers and six female campers ranging in age from six to twelve years old,

with the average age being 8.5. There were two sets of siblings, other than that the

campers did not previously know each other.

The city of Chandler is in middle class suburbia and has approximately 240,000

citizens according to the United States Census Bureau (2006). Just under 30% are

younger than 18, while the average income is $58,000. The Tumbleweed Recreation

Center is one of five community centers in Chandler, Arizona. On average about 8,000

people visit the TRC a month, with 3000 being children (under 18 years old). Susan
 25

Fenton, the Director of Activities at TRC, estimates that the division between men and

women is at 50/50 (Fenton, 2009).

The computer lab has a total of 35 computers plus one instructor computer

attached to the overhead projector and sound system. The computers are running a

Windows XP operation system, with standard Windows Office software. Additionally

there is software for web development and the Adobe Suite of Photoshop, Reader, and

Dreamweaver. Special Permission from the Information Technology department to have

access to Pet Society, the application was blocked prior to camp with the Community

Center’s Firewall. The computers are on a reservation system, requiring an administrator

to block out the class time, each camper had to log into the computer with a login and

password, and a time limit of the class block plus and additional fifteen minutes.

Additional time on the computers would require permission from the TRC administrators.

Research Procedures

The three steps of qualitative action research are: collect, analyze, and compare

data (Stokrocki, 1997). In this study, qualitative research is similar to the knowledge

attained from art. It cannot be quantified. This does not mean that it is a substandard

kind of understanding, but it does mean that it is different, because it requires active

participation of the reader to identify with the situation and relate the findings to his/her

own situation (Labuschagne, 2003) rather than completing a statistical analysis.

I collected data by having the campers take a pre and post questionnaire (see

Appendix A), via Survey Monkey on the first and last day of camp. In addition I
 26

reviewed all postings (artwork, digital image modifications and personal responses) to the

social network to evaluate. Additionally, I reviewed the campers’ responses to each

other’s artwork.

I analyzed the data (campers’ artwork and responses) by placing their artwork and

their responses into an art criticism chart headed: describe, analyze, interpret, and judge.

I color coded data to highlight frequent responses. Feldman (1985) explains that

criticism is the ability of art to communicate ideas and feelings … vividly and the quality

in criticism involves the acceptance of subjective concerns as legitimate values in the

work. Thus, creating more meaningful artworks.

The third stage of qualitative research is comparison. I compared the campers’

responses to their artworks and their comments to each other. I looked at the visual and

the verbal similarities and differences. Externally, similar studies, in the Literature

Review, have illustrated similar ideas but with older age groups or specific gendered. I

compared their findings with my own conclusions.

“Qualitative and quantitative data can be fruitfully combined to elucidate

complementary aspects of the same phenomenon” (Patton, 2002, p 558). I triangulated

qualitative (observations) and quantitative results of pre and post questionnaire data from

the three different stages. This included the pre post questionnaire, the art that the

campers posted in their virtual galleries, the class communications via

discussions/postings and interviews. I collected all of the data during regular camp time,

a total of 15 hours.
 27

Description of Program

Campers participated in a computer art camp in a decentralized classroom. The

pre questionnaire evaluated what the campers currently know about digital art. There

were four general lessons within the unit: 1) using Facebook, 2) using Microsoft Paint, 3)

using Adobe Photoshop and 4) using Pet Society (see Appendix A for detailed lesson

plans). The post- questionnaire evaluated what campers have learned, what was difficult,

and what was enjoyable. Campers explored Microsoft Paint by creating a self-portrait

using various colors, patterns, shapes, and textures. The campers used Adobe Photoshop

to edit (modify with filters and copy/paste) digital photographs of them taken during

camp. Within Facebook, the social network, there is a virtual world called Pet Society

that gave campers the opportunity to experience a virtual world. Campers created a

virtual-self and continued creating the world around it. Utilizing a social network,

Facebook, campers posted their creations to a virtual gallery, expressed themselves

verbally about their creations and commented on other campers’ creations. They also

completed one art criticism with the artwork that they chose from their virtual gallery.

A general and flexible outline is as follows:

Monday – general introduction, with the pre-questionnaire, lab etiquette, take

photographs of the campers and follow Lesson Plans: for Paint, for Opening a

Facebook Account, and for Pet Society.

Tuesday – begin Lesson Plan for: Adobe Photoshop – Special Effects of Filters,

continue with Pet Society, take additional class photographs, and continue social

networking.
 28

Wednesday – begin Lesson Plan for: Adobe Photoshop – Copy and Paste,

continue in Pet Society, take additional class photographs, and continue social

networking.

Thursday – continue Lesson Plans in: Adobe Photoshop Special Effects and

Copy and Paste, Pet Society, continue social networking.

Friday – complete social networking comments, complete art criticism, complete

all lesson plan requirements, post-questionnaire, and allow campers to share their

virtual gallery with parents.

Campers daily posted their digital art, comments on other students’ art, and responses to

my questions posted via Facebook. Daily I took digital photos and videos of the campers

and uploaded them to Facebook to build the original digital image library for the campers

to use for editing during camp. During the last 15 minutes of camp I posted the link to

the post-questionnaire via Facebook. Students followed the link, responded to the

survey, had the opportunity to show their parents their virtual gallery, and were dismissed

to parents.

I created a secure Internet environment in order to ensure the safety of minors on

the Internet and within a social network. All campers received (without knowing) an

anonymous email account and Facebook account with the social network and privacy

settings set prior to camp. I set up the entire social network, including an account for

myself, prior to camp. All parents signed a written consent allowing their children to

participate in the study as well as be on the Internet and Facebook. I monitored the
 29

Facebook accounts for misuse. I monitored the email accounts not the students. The

students interface with one another via postings on Facebook. During camp, campers

were allowed to login only at the camp computer lab. At the end of the week it was the

parents’ option to leave the account open and monitor the account while finishing the

data analysis. I deactivated the remainder of the accounts at the end of the study.

What is MS Paint?

MS Paint is a free program that comes with any Windows operating system. MS

Paint is a drawing tool that can be used by anyone to create simple or very detailed

drawings. These drawings can be either black-and-white or color, and can be saved as

standard graphic files. It is possible to print the drawing, use it for the desktop

background, or paste it into another document. Users can even use MS Paint to view and

edit scanned images or digital photos (Microsoft Corp., 2010). The tools and skills

learned and used in MS Paint are the foundation for other graphics programs and

learning. “Combining the technique of illustrating… promote[s] children's understanding

and the use of computer technology, which can facilitate mastery of a subject, may offer

primary school teachers a unique and effective way of presenting material” (Lazaros and

Spotts, 2009, p 13).

What is Photoshop?

Photoshop is more advanced than MS Paint. Adobe Photoshop, or simply

Photoshop, is a graphics-editing program developed and published by Adobe Systems. It

is the current market leader for commercial bitmap and image manipulation software, and
 30

is the flagship product of Adobe Systems. It has been described as "an industry standard

for graphics professionals" (CNN.com, 2007). Photoshop is currently in its 11th major

release. It is similar to MS Paint, but much more advanced. It is used by millions of

graphic artists, print designers, visual communicators, and regular people.

There is a reason why Photoshop is the world’s industry standard in image-editing

software. The depth and breadth of the program is infinite. Photoshop immediately

invites the user in with its easy-to-use interface and powerful tools and commands. The

toolbars are simple, almost identical to MS Paint. Yet, it is feature rich allowing users to

modify digital photographs, move, duplicate, and resize images, use painting tools to

manipulate images, correct red-eye and perform adjustments to contrast and color

balance. Photo editing has become so common with this program that a new verb has

been created, “to Photoshop”; we say that an image has been “Photoshopped” when we

notice that it has been altered.

Why do students need to learn Photoshop? Not only is this a program that can be

used independently for graphics editing in the professional environment, but also it is also

used as a stepping-stone to computer animation. David Gill (2009) of Youngstown State

University completed his dissertation on topic of the experiences of secondary students in

creating 3D animation in “Usefulness of Video Games Experience or Students Learning

and Creating Digital 3-D.” His study highlighted the ability of students to learn

independently from their teacher in a group setting. Yet the precursor for all of the

students in his study was the program Photoshop. Gill concluded that had the students
 31

not had the basic digital graphic knowledge in 2D they would not have been successful in

3D animation.

What is Facebook?

Facebook is a social utility, founded in 2004, that helps people communicate

more efficiently with their friends, family, and co-workers (Facebook, 2009). The

company, Facebook, develops technologies that facilitate the sharing of information

through the social graph, the digital mapping of people's real-world social connections.

Anyone can sign up for Facebook and interact with the people they know in a trusted

environment. Facebook gives users easy access to functions and applications. The users’

page changes with their experience on Facebook – the most commonly used appear at the

top of the page. While other Facebook applications – Photos, Notes, Groups, Events and

Posted items – are displayed on the left side bar.

There are more than 350 million active users of Facebook in which 50% log on

daily. There are more than 55 million status updates posted each day and more than 2.5

billion photos and 3.5 billion pieces of content (web links, news stories, etc.) shared each

week. The average user has 130 friends, spends more than 55 minutes per day on

Facebook, and is a member of 12 groups. Facebook is available in 70 different

languages, with about 70% of Facebook users outside the United States. More than one

million developers and entrepreneurs from more than 180 countries engage with

Facebook Platform applications (Facebook, 2010).

 32

Facebook is used in this study not only as a Digital Virtual Gallery, but also as a

way to connect the campers together. According to Christakis and Fowler in Connected:

The Surprising Power of Our Social Networks and How They Shape Our Lives “The

purpose of social networks is to transmit positive and desirable outcomes, whether joy,

warnings about predators, or introductions to romantic partners” (2009, p 295). Though

this study avoids predators and is not designed to find romantic partners, creating a new

camaraderie and kinship between the campers.

The great project of the twenty-first century—understand how the whole of

humanity comes to be greater than the sum of its parts is just beginning. Like an

awakening child, the human super-organism is becoming self-aware, and this will

surely help us to achieve our goals. But the greatest gift of this awareness will be

the sheer joy of self-discovery and the realization that to truly know ourselves, we

must first understand how and why we are all connected (Christakis and Fowler,

2009).

What is Pet Society?

Pet Society is an online virtual reality social video game. “Video games are a new

Art Form”(Gee, 2007, p 83). This game utilizes a different kind of playing strategy as

traditional games; there is no winner or loser. Instead of trying to play the game

repeatedly to improve the scores players are required to play daily to do many simple

things: clean, dress, feed or visit a friend’s pet, etc. These activities require a minimum

amount of time and children can accomplish them with minimal intellectual effort. In Pet
 33

Society, players gain virtual coins and paw points for just about every task or action they

complete, including visiting and caring for the pets of friends within their social network.

The social network, Facebook, is used to connect the players of the game. Your

friends in Facebook are the same people that you play the game with, not strangers.

Friends are not opponents but they are necessary to be used to move further within the

game. To play the game you have to be connected to friends on the same use network

and, if it is possible, even enlarge it (Rossi, 2009). This is an ideal way to positively

introduce the value of a social network.

 34

Results

Description of Observations During Class

On Monday, the campers were introduced to MS

Paint and the social network, Facebook following the MS

Paint lesson plan (see Appendix B) and the Lesson Plan

for Facebook. They completed self-portraits; some Figure 2: MS Paint Freehand

Student Example
campers even did multiple portraits or created abstract

art. Some used the shape templates to create the

roundness of the face while others drew it freehand with

the mouse. The campers were quickly bored with

Figure 3: MS Paint
limitations of this program. They complained that they Template Student Example

had done this type of art previously; this was not new to them. A few of the campers

voiced that they previously use KidPix, another digital paint program geared toward

primary age students, and found MS Paint boring because there were not as many options

as in KidPix. Unfortunately, KidPix was not available in this TRC Computer Lab. The

campers were required to create at least three pictures, one being a self-portrait. Many

did more than were required.

All of their artworks were posted to their virtual gallery within Facebook. Using

the social network did not appear difficult. The campers quickly grasped the concept of

“tagging” digital photos of themselves. By “tagging” the campers were identifying

themselves in the digital photos or artworks, clicking on the picture and automatically
 35

attaching a label with their name. Campers made minimal comments were made on

Facebook, the social network.

The introduction of the virtual world, Pet Society was a welcomed break from

step-by-step learning of the MS Paint and how to upload a picture to Facebook lesson.

The campers asked few questions, exploring

the virtual space on their own. I challenged

them to “dress” their virtual-selves. They often

giggled when I would mention, “someone is

still naked.” The second challenge of the day Figure 4: Pet Society Example
in Pet Society was to take a photo within the

virtual world and post it to their virtual galleries. All met the challenge. Many of the

campers did not want to leave when the class was over at noon. Parents were still

nagging them at 12:15 pm, to leave when TRC automatically logged the campers off of

the computers.

On Tuesday, I introduced Adobe

Photoshop following the Special Effects

Lesson Plan (see Appendix B). The campers

noticed the similarities to MS Paint, the tool

bars, the tools, the layout, and the menu bar.

They were amazed at the simplicity of

Figure 5: Photoshop Special Effects Example
using the filters. Shouting out “oooo, with a pink outline filter

aaahhh, you did that with just one click!” After one five-minute demonstration, they
 36

were eager to try themselves. Students were required to edit at least three digital photos

taken during camp, post them to their virtual galleries, and make comments on their own

as well as others. All campers exceeded the minimum of at least three pictures; however,

one camper made 13 variations. They quickly grasped the concept of “save as” and re-

opening the original image to start the process again. They were eager to see what each

other was working on and creating.

After reviewing the task of uploading and getting the new images posted, the

students “tagged” their

artwork and made

comments or titles for

their work. They were

also required to view and

Figure 6: Facebook Comments Example
comment on their

classmates’ artwork. The comments were easily made. Grammar was not proper;

complete sentences were a rarity; but the meaning was easy to interpret. An occasional

“how do you spell…” rang out through the room, and quickly answered by the closest or

loudest camper.

We also returned to the virtual world, Pet Society. The campers were eager to

check on their virtual selves, the seeds they planted, and the gifts they gave each other.

They were required to take at least three pictures of their virtual selves in their home, a

friend’s home, and out shopping or around town. The virtual world required that they

work together rather than in competition, which is different than traditional games
 37

requiring competition, a winner and a loser. They were asking each other questions, such

as where they got an item or so

many coins, etc. I was only called

for them to show me their progress,

how they had redecorated, the fish

they caught, or how the seed they

planted turned into a tree. I was no

longer the educator, but the

spectator.

At the end of camp, parents

once again had difficulty getting

their children to leave. This gave

Figure 7: Pet Society and Comments Examples
the campers an opportunity to share

their virtual gallery with their parents. Parents were surprised not only by the virtual

gallery on Facebook, but also that several of the campers were able to quickly open up

Photoshop and demonstrate how they created their art. One

parent asked if we had any cyber-bullying. I replied with a simple

“nope, the campers decided to have a rule.” The parent was

taken back and asked, “what rule?” Almost in unison the class

responded “if you don’t have anything nice to say don’t say

anything AT ALL!”
Figure 8: Mr.
Picassohead
Wednesday, the campers enthusiastically returned eager to
Example
 38

see what was on the list of things to do during class written on the whiteboard. During

the first fifteen minutes of transition time (drop off, sign in, etc), the campers explored an

online program called Mr. Picassohead (www.mrpicassohead.com). This gave them the

opportunity to create another self-portrait using tools based on the abstract designs of

Pablo Picasso.

The campers were given a short

ten-minute demonstration the Adobe

Photoshop, copy and paste Lesson Plan.

They recalled finding an original digital

photograph in the virtual gallery, saving it

to the desktop, and opening the file in Figure 9: Photoshop Copy and Paste
Example
Photoshop. The campers edited one

picture, Figure 9, to learn the concept and

then they attempted several more including

group pictures. Switching the heads of the

boys to the girls was a very comical and

popular artwork, Figure 10. The boys were

devastated when their heads were placed on

Figure 10: Photoshop Head Switching
a girl’s body wearing a dress, while the Example

girls just laughed.

Class continued with the campers posting their new artworks and comments on

the virtual gallery. It was difficult to get them to comment in more than one word
 39

phrases of: cool, awesome, nice, sweet, wwwoooowww, etc. They were then challenged

to comment with at least seven words.

Pet Society exploration filled the final 50 minutes. The kids focused on checking

on pets, petlings, planted seeds, friends, and the newest things in the shops. There were

several image changes to their virtual selves. Today the theme was green, mostly due to

St. Patrick’s Day. Some changed their bodies’ color; others just changed their clothes.

There was continued collaboration between campers on how to best achieve status or

coins. The challenge in Pet Society today was to capture a picture of a special place in

the virtual world, post it in the virtual gallery, and explain why it was special.

Unfortunately, camp ended before all could complete this task.

Thursday, the campers spent some time tagging digital photos that were taken the

previous day. Campers were asked to select one image of their choice to work with in

Photoshop. The challenge today was to use the copy and paste technique and apply a

filter. Most of the campers saved the work by doing a “save as” after each copy and

paste or filter process. When they posted their images to the virtual gallery, it

documented the progression of their creation, Figure 11. All of the campers completed

the challenge of the day.

Figure 11: Photoshop Progression Example, neon filter, copy/paste, both, freehand draw
 40

Friday was the final day of camp. The campers were eager to start with

Photoshop. But first we had to complete the final questionnaire, and complete an art

criticism on their choice of pictures. They were asked to select from their virtual gallery

“the best picture EVER.” This label would help in locating the picture later for data

analysis. They were asked to do each part of the art criticism on a different comment

line. The campers had made random comments (describing, analyzing, interpreting, and

judging) all week on other campers’ artwork, but doing critiquing (doing all the steps) on

their own artwork proved to be very difficult. There was a lot of prodding on my part to

get them to respond with more than four words. I had to make a rule that the comments

had to be at least five words in length, in order to prevent them from saying: “it’s me, it’s

cool, or I like it.” They appeared to want to work with Photoshop more than write

comments.

Seconds upon completion of the art criticism, they quickly selected a picture to

work with in Photoshop. I noticed that

they used copy and paste and filters. They

took risks (more extreme variations of the

filters). In Figure 12, this example, the

camper copied herself six times, and used a

different filter for each one, plus a filter for

the back ground, for example: canvas, blur, Figure 12: Photoshop Extreme Example,
multiple filters, copy/paste
 41

neon, outline, and sketch. Other campers even used the text-typing tool, and the drawing

tools to add in their own graphics.

The campers spent the final hour in Pet Society altering their virtual selves,

collecting fish, and visiting each other. They were eager to share with each other “tricks”

to getting around or finding the most coins or points. A few took additional pictures and

posted them to their virtual galleries for comments. When their parents arrived at noon,

many campers shared their virtual galleries with their parents, taking the time to explain

how pictures were made, where the picture was taken, or why they chose that specific

picture to alter and change. Parents also asked questions of their children, as to what they

had learned, created, or explored that day.

The parents were also asked to complete an impromptu exit survey. They made

comments throughout the week at drop off and pick-up; the survey was an opportunity to

document their opinions and comments. They were asked ‘do you think your child(ren):

enjoyed camp, learned about digital art, and how to use a social network?’ They were

also asked whether their child(ren) had a Facebook account prior to camp and if they

would keep their camp account. Parents were also given the opportunity to voice any

concerns, comments, or suggestions.

Using the method of action research posed its own challenges. There were times

when I was pulled in either the direction of the teacher or the desire to collect data as the

researcher. There were times when I was about to video record or take a picture when a

camper called out my name, requesting assistance or wanting to share a new discover. In

this case documentation was lost in order to continue teaching. It would have been easier
 42

to have a third party in the room to document or a video camera set up in the back corner

of the room.

Data Analysis

General responses from the pre questionnaire identified the existing digital

knowledge of the campers, see Appendix C for all results. All of the campers used

computers; however, 91% use computers at home, 58% at school, 41% at the library,

25% local community center, or 16% at a friend’s house. The option of “I don’t use a

computer” was not selected at all. Overall, 75% said that they created digital art, yet,

when asked what digital art was 16% incorrectly identified it as drawing and painting.

The majority of campers 91% said it was art made on a computer, including 16%

cartoons and eight percent pictures from a digital camera.

Campers responded to what a virtual world was with 58% as a computer game,

not the real world (66%), while eight percent said it was pretend play in the back yard.

The pre questionnaire listed several virtual worlds to assist in identifying which the

campers had previously explored. Second Life had zero responses while 66% visited

Webkinz, 33% Club Penguin, 33% Neo Pets, 25% Barbie Girls, 16% ToonTown, and

58% said they visited one that was not listed.

In the pre-questionnaire, there were four types of artworks; digital art, pencil

sketched art, painted picture, and a digital photograph. For each question, the campers

were asked “Can you guess how this was made,” and given multiple-choice answers of

the four different types of art. Each picture appeared separately, rather than matching the
 43

four pictures to the four words.

These questions would

specifically answer: what kinds

of digital art processes can

campers ages 6-11 utilize and

identify.
Figure 13: Computer Aided Drawing by Tim Wells

When the campers saw

Figure 13, 66% correctly

identified that it was created on

the computer. While the

remainder 33% that thought it

was painted picture.

The next image was one

drawn in pencil, Figure 14

Figure 14:
Drawing of Howard. Eighty- Pencil
Drawing,
three percent correctly identified Howard by
Tim Wells
it as drawn with pencil. While 8

% that thought it was a traditional

Figure 15:
painted picture and, eight percent Painting,
Fueled Fire
that thought it was created by Jeff
Evans
digitally on a computer.
 44

Campers were also asked to identify a painting Figure 15, Fueled Fire. I thought

the campers might be confused as technically it

is a digital photograph of a painted picture. In

the pre questionnaire 83% correctly identified

the painting as a painting, while eight percent

called it a digital photograph and eight percent

as a digital art.
Figure 16: Digital Photograph by
Finally the campers were presented Jenny Evans

with a digital image, Figure 16. One hundred percent identified the digital photograph

correctly.

In the post questionnaire, I surveyed

campers again. There were the same four

types of artworks; digital art, pencil sketched

art, painted picture, and a digital photograph.

For each question, the campers were asked,

Figure 18: Computer Aided Drawing
“Can you guess how this was made,” and given by Tim Wells

multiple-choice answers of the four different

types of art. Each picture appeared separately,

rather than matching the four pictures to the

four words. These questions were designed to

specifically answer: could they correctly Figure 17: Pencil Drawing, Glove by
Tim Wells
 45

identify digital art after spending a week in computer art camp.

When the campers were shown Figure 17, 90% campers

correctly identified it as Digital Art. One camper said it was

done with paint. Though he/she could have meant MS Paint, I

do not know for sure. The next image campers saw was Figure 18, a pencil drawing of

The Glove. All of the campers correctly

identified it as a pencil drawing.

Once again the campers were shown

the same painting and digital picture as in the

pre questionnaire. The painting was the same

to avoid confusion on a painting or a digital picture of a painting. The digital remained

the same due to the 100% correct identification on the pre questionnaire. On both images

the campers correctly identified the painting as a painting, and 100% correctly identified

the digital photograph.

Table 1: Pre and Post Questionnaire Results

% Correct pre % Correct in post Difference or
questionnaire questionnaire improvement
Digital Art 66 90 36%
Pencil Drawing 83 100 20%
Painting 83 100 20%
Digital Photograph 100 100 0
When comparing the pre and post results the table easily interprets the data. The

calculation for finding the difference or improvement is the % correct in the post

questionnaire minus the percent correct in the pre questionnaire, divided by the percent

correct in the pre questionnaire and then multiplied by 100. There is evidence of
 46

improvement in identification of digital art, pencil drawing, and painting. Participating in

camp assisted the campers in identifying different types of art.

In addition to art identification the post questionnaire also included defining

digital art and a virtual world as an open-ended questions instead of multiple choice, see

Appendix A for a list of the questions. When defining digital art, ten of the eleven

campers defined it as art done/made on the computer, see Appendix D. When describing

a virtual world, nine campers specifically responded with fake, not real, or on a computer.

Two campers provided additional examples of virtual worlds, like Club Penguin, or Pet

Society.

There were a few questions about their virtual selves; name, color, why that color,

why that clothing, if they went to the style shop, and what did they change? When

describing themselves seven mentioned the color while four listed emotional descriptors

(happy, sweet, and cool). Clothing and outfit styles were chosen because of personal

preference, regardless of how many coins the outfit cost them. None of the virtual selves

were naked. They responded that their virtual self was that specific color due to their

favoritism of that color; none of the campers selected a color that matched their natural

skin tone. Seven of the campers chose to alter or change themselves in the Style Shop

during the week. Four either changed a body part (eyes, ears, nose, mouth, head shape,

or decorative symbol), while two completely changed their names. All of the campers

changed outfits/clothing throughout the week.

The post questionnaire also asked the campers’ opinions in respect to software,

challenges, and enjoyment. The favorite software of all of the campers was Pet Society,
 47

the virtual world, with 63%, closely followed with Photoshop (48%), Facebook (27%),

and MS Paint (18%). Five of the campers listed no challenges, while four listed

Facebook issues as the hardest. One camper mentioned getting out of bed in the

morning. All of the campers (100%) responded that they enjoyed camp.

The campers also spent some time documenting their virtual selves and

commenting on each other’s self-presentations in the virtual world, Pet Society. It was

interesting to observe that they did not want to talk/write about themselves. They chose

the image of themselves and the location. I documented this image of their virtual pet,

their remarks (verbatim) about that particular image, the comments of their peers

(verbatim), and my observations comparing the actual camper to the virtual image of the

camper in the following chart:

Table 2: Identity in Pet Society Comment Description

Picture Comments Comments My

from the from campers observations
creator
The New me - that is so cute This camper
this is my fav does have
pic because i red hair and
had the golden is a bit of a
apple that rebel, but
makes u still is kind
sparkle and i and helpful.
got a new
outfit
its my pink a walk to Every
bunny getting where? cool, I artwork this
ready for a like the pink, camper has
walk pink is nice, done is
sooo cool love dominate in
the outfit pink
 48

me sitting on a Neato, nice, This camper

couch cool, like the has a big
stripes, wow personality,
sitting by a follows
golden instruction,
balloon, nice, and helps
like the fellow
background, campers. He
nice color of remained
skin the color
green.
This is my I like how it is This camper
special place, simple, but in is
because this is reality you representing
my favorite dress better. his lazy self,
room because the alter
when I clicked ego, he is
the door, it very helpful
brings me to in class, but
the map. Also would
because it says prefer to
im eco sleep in
friendly. during
break.
I’m wearing It is so cute, This is a
that outfit cuz she looks nice happy
I’m Happy ! I like you. camper, she
do have a pet is happy go
at home, but lucky and
it’s a hermit eager to
crab! I learn, she
thought the later said
spiral was the pink
cute, plus I spiral was
have a litte like a
mark on my freckle she
forhead. had.
 49

This is me in Love the This camper

my cool room, outfit, I see is on a
with my egg your pet sitting mission to
collection, I on the shelf, he collect all of
like to collect is cute like the eggs,
things you. which is
what is
important
right now.
This is me as a You look cool, This camper
secret agent. I nice shades! is the
can’t be one You are cool. youngest
now, I’m too and wants to
little. hang with
the older
kids in the
class, I see
that in this
image.
this is me in You do laugh This camper
my room, a lot is my giggle
giggling, it is box in the
silly, i like the class, other
bow its my than
favorite color giggling she
is shy, quiet,
and simple,
green.
At my house You smile like This camper
that. Nice, is the
awesome, second
cute, I just youngest
love it, I love (6.8) she is
it it is cute, very proud
you have such of what she
a wonderful is doing and
house. creating.
 50

this is me in You do love This camper

my house. your pets loves
with my pet animals, and
and egg sharing that
colection. i love, she
love pets. can makes sure
you tell i am everyone
happy takes care of
their pets.
Awesome, that's a lot of This camper
because of my cool stuff, only has the
cat, tv, and where did you necessities,
aquarium its get the swing these items
awsome must be
very
important.
There is an element of materialism visible in all of the images where the camper

included a room of their home. Pet Society provides a television, microwave, ball, jump

rope and bar of soap. All of the other items visible the campers have purchased with their

coins. The trophies are earned by completing tasks, most left them in their room visible

for all to see. Four of the campers included pictures of their “egg collection,” due to the

spring season. They attempted to collect all 12 differently decorated eggs. There was not

a dominant color or creature type, all were different from each other, yet by the

comments you can tell their fellow campers agreed this was a representation of them.

Analyzing the campers’ artworks and their meanings was key to this study to

determine what the artworks mean to them and their symbolism. Campers were asked to

select their favorite ‘the very best EVER,’ the one they feel they did the best, or the one

that best describes/illustrates themselves. It could be created with any of the software

used during camp. I then asked verbally the following questions: “On the first comment

line please describe your picture (what do you see), on the next comment line tell me
 51

what kinds of art do you see (colors, patterns, etc.), on the next comment line write what

does it mean (the symbols, colors, shapes, etc.), and finally on the last comment write

how well was the picture made and why.” This satisfied the requirements for Feldman’s

art criticism: describe, analyze, interpret and judge. I asked the questions individually,

not moving on to the next question until all of the campers had responded to the question

at hand. The campers were unaware that they were doing an art criticism, they just

responded to the questions asked. If given the opportunity I would have read each

response before moving on to the next question to insure the question was answered.

Their responses (verbatim) are in the following art criticism chart.

“The best picture EVER” Describe Analyze Interpret Judge

This is the I see No It is good
best colors, meaning, because it
picture. I lines, I’m is what I
see a girl and thinking imagined
that looks squares. it would
like a be.
cartoon
I see a I see I have a It is good.
finde my frined I did a
(friend) colors good job.

I see my I see This The artist

pet on Pet dark pictures did a good
Society colors shows job
glowing, and a what I like because is
with bows pattern and it shows the
around her of bows shows my way I like
personality things and
my
personality
 52

I see a I see a This is It is good

secret agent lot of who I because I
colors want to be tried best.

It is me It means I The artist

with a long have a did a good
nose and long nose, job since
ryan it is a joke he didn’t
deformed explode
the face
like the
nose
I see lots of I see It means it It is good,
shapes, its circles, all is it started
weird lines, round with me
green and mad
color this, it
changed to
sumthing
new.
I am Dark It means It is good
sleeping, I colors nothing cause its
really nead important
to sleap to me. I
did it.

I see me Color Nothing Its good,

lines cause I did
it by
myself.
 53

I see me in I see It means I I did a

pinkness patterns like pink good,
of little because it
dots makes me
fell good.

I see the It needs It means It is good

food eat art it is double becase I
place, and broing friends made a
friends and double twin. I did
me it.

I see me Its I think it I did a

sitting on a white looks cool good job
chair and and because I
jenna some did it, duh!
sitting next color
to me stripes
on my
jacket
Table 3: The Best Picture Ever, Art Criticism

In reviewing the art criticism, meaning seems minimal, yet it is there with

statements like: “double friends and double me” or “who I want to be.” The campers

shared what is important to them, what they thought was cool, who they wanted to be.

They made decisions regarding how much they want to share and what they wanted to

share. Do they want to share their silly, humorous side, or their favorite color? By

sharing they risked the rest of the campers not thinking they were cool, or good enough,

or that their peers would accept them.

 54

It was not easy

getting campers to

discuss meaning. They

had intentions, and if

challenged (requirement

of the day) they could

include comments on

meaning. For example, Figure 19: Pet Society Example of Self-Presentation

this student in Figure 19,

not only describes the location of this picture, but also why he is “proud” of this picture.

Not only is he collecting, but also he is 66% done with his egg collection, which in this

game, in two days is a feat of luck that none of the other campers achieved. Yet, in his

post he is not taunting or teasing the other campers.

This spring break camp took place during the week of March 15th. This included

St. Patrick’s Day, the first day of spring, and the middle of Lent (pre-Easter). These

holidays were visible in the virtual world, Pet Society, but not reflected in any of the

other art. Within Pet Society the cultural objects (green items, Easter eggs, flowery

baskets, etc.) were available to chose from, and did not need to be created from scratch.

They were also listed as “special” (seasonal) items in the store. Perhaps the virtual

marketing strategies by the game maker worked after all. The items they advertised or

marked as ‘special’ were purchased.

 55

Only one camper posted a

digital image with text, in which he

erased the text that was written on the

white board in the classroom with

typed text. Though his typed text

was non-sensical, it was interesting

to note that in all the images he posted Figure 20: Photoshop Guess Who? Example

to his virtual gallery, the only one with

text originally had text and no images of people.

Other variations included totally transforming the original image to be completely

unidentifiable, Figure 20. The camper would not “tag” anyone in the photo and left a

caption of “guess who?” Many of the comments would lead to guesses of not only whom

the mystery person was but

also which special effect filter

was used to create the

artwork.

One camper posted

Figure 21, in her virtual

gallery. It was obvious by the

end of the week that she loved

pets. She not only posted it in

her virtual gallery, but also

Figure 21: Pet Society Petling Cause Example
 56

took it upon herself to make sure that if another camper had petlings (virtual pets for their

virtual selves) that they took care of them, fed them, and did not lose them. She would

post status reminders as well as walk around the computer lab voicing quiet reminders as

well as demonstrating some tricks of

the trade, for the sake of the petlings.

She carried her love of pets into the

virtual world, making her love the

communal cause.

In Figure 22, the camper

defends her pink spiral on her forehead

as something cute and to match an

existing mark on her forehead in reality.

Figure 22: Pet Society Self-Presentation
It is a representation of her, but not her Example

exactly. She has a pet at home (in the real world), the same exact pet is not available in

the virtual world, so she took another pet, a fluffy, white cat. Having a pet is important to

her. She took liberties to explore and try new things to improve her self-image. It is

interesting to note that throughout the week she tried several hairstyles, in various colors,

a few different pairs of glasses, from reading glasses to sunshades. Even her outfits

changed, but the spiral on her forehead remained there the entire week of camp,

unchanged.

Throughout the week I recorded a few video clips of the campers, purely for the

purpose of demonstrating how to upload a video, tag it, view it, and comment online.
 57

Unexpectedly, during this process I noticed a few commonalities in their conversation

(see Appendix E for transcripts). Out of the eight video clips, four of the video recorded

conversations were of the campers assisting each other on the computer. Sometimes the

conversation was only five seconds in length, others lasted up to 30 seconds. In two of

the conversations between the campers and myself, the campers admitted that their

virtual self shared and displayed the same emotion as he or she did.

The impromptu parent survey had positive results. All of the parents (7/7)

responded that their children did not have Facebook accounts prior to camp and that their

children learned the value of a social network in camp. All of the parents thought their

children enjoyed camp. But did they think they actually learned about digital art? Yes,

six out of seven surveys indicated that parents felt their children learned about digital art,

while only one responded “maybe.”

What was most interesting on the parent survey was the comments/suggestions.

Other than the simple “it was great,” or “the kids loved it;” there were requests (four) for

more classes or longer classes. A few parents commented on the information that the

children learned. One parent voiced concern stating that “now my seven year old knows

more than me.” Finally, one parent voiced a need for the future stating “I think social

networking and digital art should be taught at a young age, that way kids will be able to

expand their knowledge about computers and their capabilities for the future.”

The TRC also conducted an independent survey; unfortunately not all parents

responded (only four completed surveys were turned in). Some of the questions had to do

with marketing, the registration process, and the facility. Other questions regarding the
 58

specific camp had to do with meeting expectations and professional behavior. In this

case, all of the responses were marked excellent (the highest ranking option). There was

also an opportunity for parents to make comments. The comments consisted of: “my

child really learned something, my girls have learned so much in computer art that they

are able to maneuver around the computer, instructor was very nice and helpful, great

interactive class, the children learned a lot and had fun doing it, my kids were very

excited to come everyday.” The TRC invited me to return and teach additional camps.

Comparative Analysis

From the first minute of camp, the campers were on the computers using

technology. We went through general instructions of opening a program, logging in to

the social network, and uploading pictures. The repeat of those instructions was not

necessary the remainder of the week as the campers completed the task without

additional instruction. Couse and Chen (2008) found similar results when they studied

young children’s (3-6 yr.) investment and motivation in learning using Tablet computers.

They noted that the children quickly were at ease with the writing stylus and tablet. In

general, children persisted without becoming frustrated, they were motivated to

participate, and had low frustration in using the technology (Couse and Chen, 2008).

Ongoing throughout the camp, I also noticed that the campers were teaching each

other. When students discovered something they thought was exciting, they not only

posted a picture on their virtual galleries for comments, they also announced an invitation

to all campers to come over to their computers so they can demonstrate how to do it

themselves. This led to many more artworks being posted on the virtual gallery. Ryan
 59

Shin (2010) discovered the same thing with his experience in “Taking Digital Creativity

to the Art Classroom,” stating “the digital world does not emerge from a vacuum state

without having relationships… in a digital world people are connected, supporting and

critiquing each other in the social context of their technologies”(Shin, 2010, p. 39).

The constant flow of different kinds of communication in the computer lab and

the comments that were posted on Facebook, the social network, caused me to review all

of the posts on status statements, digital photo albums, and digital photos. I compared the

types of comments made. It was interesting to see the different kinds of communication

the campers used among themselves within the social network (inquiry, opinion,

feedback, peer instruction). By re-reading all of the comments on artworks, albums,

digital photos, and status reports, over 130 comments, a mere 21 were status updates or

simple conversation. Eight were questions regarding how an artwork was created, though

only two of those questions contained responses with an answer to the question posed.

One hundred and two of the comments made were positive remarks from the campers to

their fellow campers supporting them in successfully creating artworks and posting their

artworks. “The social networks that humans create are themselves public goods.

Everyone chooses their own friends, but in the process an endlessly complex social

network is created, and the network can become a resource that no one person controls

but that all benefit from” (Christakis and Fowler, 2009, p 184).

Campers’ verbal communications during the week were similar to their posted

comments. Students often shouted out “Ms. Jenny, come see, hey check this out, or you

have got to see this,” in elation when they were happy with their artworks or when they
 60

found something they thought was “totally cool.” They wanted to share their discoveries

with each other rather than quietly and selfishly keep it to themselves. There were other

instances where a camper would ask “how did you do that?” Thus providing the

opportunity for one camper to demonstrate to another camper on the desired effect was

achieved. Catchings and MacGregor (1998) found a similar effect in their study, stating,

“Letting each student tell the group about her or his favorite effect and how to achieve it

provides a great way for them to learn more about the program and it encourages the

collaborative tendencies that are paramount to the successful use of this medium” (p. 23).

Gender Differences

It is interesting to note the difference

between genders. When looking at the examples

in Figure 23 and Figure 24, anyone could almost

guess as to which was created by a boy or a girl.

Figure 24: Example of female
But this gender specific style is only visible when camper's artwork using Photoshop

the campers used the MS Paint software or the

paint tools within Photoshop. When just using the

filters or copy/paste in Photoshop, the gender

differences are harder if not impossible to notice.

Within Pet Society, the gender differences are

Figure 23: Example of male
obvious as the girls chose to wear dresses and the camper's art using Photoshop

boys wore pants or shorts (one wore a tire).

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Age Differences

When comparing the differences with

age, it is necessary to consider that the

youngest camper was just barely six and a half

and my oldest was eleven. Developmentally

there is a large gap. One is just learning to

read while the other is beginning puberty. In
the first example, Figure 25, the
youngest camper uses multiple
Figure 26: Example of artwork by
youngest camper, six years old, in
Photoshop

techniques of a special effects filter and a

painting tool. His title was “two mes,”

meaning that in the original that he used

the liquefy filter and the digitally painted

version of him as well. Neither portrait is

flattering or truly identifiable by the

viewer. Figure 25: Example of artwork by oldest

camper, 11 years old.
In another example, Figure 26

was completed with multiple filters (the pixelating and the pencil effect). The digital

outcome highlights the young lady, is flattering, and identifiable. She clearly wanted a

nice digital artwork of herself that viewers could identify.

Most of the campers used the Liquefy filter, making the digital image appear to

melt, or stretch body parts. This was the filter that I used in the demonstration, the first
 62

filter listed in Photoshop, and the one with the least amount of modifications. This filter

required students to simply ‘click and drag,’ allowing the image to be stretched or appear

to melt in whichever direction pulled. Many of the campers tried all of the filters and

their multiple variations, and shared their findings, as well as the copy/paste and painting

techniques.
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Conclusions and Implications

Primary students in this study, when given the opportunity to learn digital editing

technology, are capable of creating meaningful digital and virtual pictures and using a

social network responsibly (they chose the “be kind” rule). The children in this study

excelled at learning in a decentralized classroom. They quickly met the requirements

(challenges of the day) and went on to investigate the software and meet their own

personal goals of exploration. There was no incentive for them to learn, because there

was no grade, or even a certification of completion at the end of camp, yet they continued

day after day to be excited to learn, explore, and create.

The first research question asked ‘what kinds of digital art can young campers

ages 6-12 distinguish and identify?’ The pre and post questionnaire demonstrated

improvement by evaluating what they could identify (pencil drawings, paintings, digital

art and a digital photograph) by attending computer art camp. There was improvement in

the scores from pre to post questionnaires. The campers were more familiar with the

digital art medium after spending a week working with it and creating their own

artworks.

Research question two focused on meaning in the campers’ artworks: ‘what

digital artworks can campers create and what do they mean to the campers?’ The

campers utilized not only the software within the lesson plan of MS Paint and Adobe

Photoshop, but also the applications on the Internet for Pet Society and Mr. Picassohead.

Using different software programs in a progression allowed each lesson to build on the

previous lesson. This created inquiry and invited the campers to be curious to learn
 64

more. For instance, Friday’s lesson plan was to evaluate art, move the pictures into one

album, but they wanted to spend more time in Photoshop. Since Photoshop is not

available as an online free program, like Facebook, I chose to alter the lesson plan to

accommodate the inquiring campers. Facebook can be worked on anywhere, since it is

an online program. Photoshop, unless specifically purchased, was available to the

campers only in the TRC computer lab. They spent an additional hour working with

Photoshop creating additional artworks. Throughout camp, they were not only

manipulating the medium but also viewing it, evaluating their classmates’ artwork, trying

to understand how it was made, or trying to remember if they had tried it or could

replicate it. Digital pictures surrounded them.

The art criticism questions were part of the data interpretation to obtain meaning.

According to Gude (Gude, 2008) a core concept of art education is students’ need to

increase their ability to make meaning. Meaning-making is the aptitude to employ and

think about ideas and images; the ability to make use of images and ideas to re-imagine

one's own life experiences; the ability to examine and symbolize one’s own experiences,

to enhance students' abilities to engage, to analyze, to apprehend, to make, and to enjoy.

These campers spent a week exploring their identities. They worked in three different

software programs with images of themselves. Most of the students presented

themselves in the moment. For example, if they were feeling sad, they altered their

virtual self to be sad.

It is no surprise that when reviewing their interpretations and meanings it is all

about the campers; “I’m thinking, I have a friend, my personality, who I want to be, me
 65

joking, I like pink, two of me, it’s cool.” These are the things on the minds of children

aged six to eleven when talking about themselves. I purposefully requested

(commissioned) portraits, specifically self-portraits. Not surprisingly they created

portraits of themselves. I did not ask them to create landscapes, a still life, or the happiest

moment of their life. I purposefully asked them to create something that they would be

experts on the subject. Who knows them better than themselves? Many other students

represented an alternative ego, as we had a “secret agent, and a hobo” demonstrating the

future occupation, and the wanting to be lazy over spring break. The artwork that was

created was of them, about them, relating to, and meaningful to them. They took the

opportunity to share, and their interests.

The third research question pondered self-presentation in their artworks, what

items, objects or themes did they use to represent themselves: “what choices of self-

presentation (objects, color, and patterns) do campers demonstrate when exploring digital

identity?” Girls were typically in dresses, with a bow or flower, while boys selected hats

and pants. All of the items in their homes (with the exception of the items provided; the

television, microwave, ball, jump rope, and bar of soap) were purchased and displayed by

them, for example, their egg and pet collections or the trophies that they had earned. For

example, the Hobo decorated his room with a beat up, patched up chair, a brick wall, and

a tire around his waist for clothing. They chose which room to put their items in, usually

putting their favorite or most important items in Room 1, which is the entry point to their

house and the first room a visitor would see.

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Figure 27 illustrates the expression of emotion

with the smile on her face. She is happy, giggling, she

is in her favorite color, and her fellow campers concur

that she is cute and laughs a lot. She was happy to be in

a virtual world that she could easily manipulate. Later

in the week, after using the software for a few days, she

posted another picture, Figure 28. She is clearly not Figure 27: Self-
Presentation Emotion
happy, perhaps pouting even. She even takes the time to Example, Happiness

caption her photo and explain, “I am

sad. I have no coins to shop.” Most

campers followed the adage, ‘what

you see is what you get.’ They were

not looking to be something that they

were not. They were concerned with

just being themselves, making Figure 28: Self-Presentation Example, Sadness

friends, and being cool.

Previous studies by Unsworkth et. al, (2005) and Slovie and Kloek (2007)

document that children, under the age of 12 are capable of using computers, just as this

study demonstrates. However, there were some differences. The Unsworkth et. al,

(2005) study positively discussed the children they researched using computers to

advance their literacy skills, not including art at all. Conversely, the 2007 study by

Slovie and Kloek examined pre-service teachers, exploring how to empower teachers to
 67

use the technology by allowing the children to utilize the technology in the classroom.

They stated that if the teachers were more comfortable using the technology, they would

be more apt to teach it and utilitize it with the classroom, thus allowing the students

access to the technology (Solvie and Kloek, 2007). This concept might explain why the

questionnaire revealed that while 100% of the campers have access to computers (at

home, school, the library or community center), only 58% responded that they use them

at school.

Angela Thomas (2005) also studied children online in “Children Online: Learning

in a Community Online.” In her study, children, aged 13 learned how to use the online

environment without an expert or educator. Thomas argues that children in a particular

virtual community are learning through their participation the value of social practices of

the community and the use of the software itself.

My study produced the same results of Thomas’ study, but with younger children.

The campers not only learned how to play the virtual reality game, Pet Society, they took

the time to share themselves and their discoveries, to educate each other, and to take care

of each other.

Marsh’s (2009) study with children aged 5-11, a similar virtual world study in

Club Penguin, stated that 52% of the 175 children used virtual worlds on a regular basis.

According to the pre questionnaire, this camp had different results. One hundred percent

of the campers stated that they previously used a virtual world. Marsh concentrated on

literacy for expression, specifically how the participants expressed themselves verbally,

not exploring artistic expression. In comparison, my study focused on artistic expression

 68

and meaning. Campers were able and preferred to express themselves using images with

shapes and colors instead of words. Most avoided iconography but used gender-specific

colors (pink and purple for girls and green and blue for boys). The campers had no issues

in finding meaning, but were reluctant to share the meaning with fellow campers evident

by the number of comments showing support (comments like “cool, awesome, I like

that,” etc,) 102, over the few that were “about me.”

These campers had individual meanings when exploring their identities. What is

key here is to note that they were capable of expressing themselves and what was

meaningful to them about their personality, lifestyle, pets, virtual collections, and culture.

Karen Murphy (et. al, 2003) also concluded “images can lead children to discuss the

events with adults and peers and then perhaps use them as a basis for writing, drawing, or

other form of processing and expression” (p. 3). Drawing about their identity is another

possible stepping stone in discussing it with parents, teachers, or counselors.

Leigh and Heid (2008) stated that children find comfort and greater ease in

expressing themselves when drawing. Drawing is an opportunity to allow children to

open up and share themselves with others. By exploring their art, we can learn what part

of their culture is important to them and what they are willing to share. Educators can

teach how the culture is shaped and how to shape the culture by providing the students

with the tools of contemporary aesthetic investigation. Through such signifying practices

individuals make meaning of their lives and they make purposeful meaningful lives

(Gude, 2008).
 69

Gee (2007) found in Good Video Games + Good Learning that young people

enter more virtual spaces than ever before, which produced a more powerful vision of

learning, affiliation, and identity. Learning itself became personal and unique for each

individual, based on the complex opportunities and the social journey that each traveled.

Yet, the social journey intertwines with others, giving them the opportunity to share their

identity with others. Gee researched pre-teens and their utilization of the technology.

This study expanded on Gee’s research with younger children opening the door for more

educators and parents to explore virtual worlds with children with the same results.

Campers had no problems creating pictures of their

identity or a virtual self. Even without their verbal

comments within the social network, their statement of

identity was obvious from the multiple self-portraits they

posted in their virtual galleries. For example, this camper

posted these five portraits, Figure 29.

Figure 29: Collection of Self Portraits, MS Paint, pink line filter in Photoshop, virtual
self, freehand drawing in Photoshop, and Mr. Picassohead
 70

For example, all of the pictures, though created with different software, illustrate the

same general statement about the same camper. She is feminine, and loves the color

pink. Even at nine years old this camper knew what part of her personality she wanted to

illustrate and share with others.

The virtual gallery within Facebook allowed students to see each other’s pictures

in real time. As soon as they were created, they were posted for viewing and evaluation.

A virtual gallery extends the exhibition experience beyond the physical space. Exhibiting

student artwork completes the artistic experience. A virtual gallery provides

opportunities for other people—teachers, classmates, students, school staff, and the

public not only to view, but also appreciate, and praise student artists. Using the web for

exhibiting student art is an inexpensive and modern approach to the traditional format. In

addition, Burton (2010) stated that, this contemporary gallery format “also creates venues

for critique and discussion that would not be possible otherwise” (p. 48). Digital student

art galleries help primary students to express their digital selves and demonstrate the

importance of art within a school community. It is also important to note that once there

was the introduction of Photoshop in camp none of the campers were remotely interested

in reverting back to MS Paint. They did not appear to be mesmerized or overwhelmed by

the functionality of the Photoshop program. Many users are intimidated by its potential;

yet, these campers were eager to meet the challenge and explore what they could create.

I was also surprised at the number of campers that quickly memorized their login

and password for Facebook and logged in at home later that day, and later in the week

when camp was over. The connection is still there even though camp has concluded.
 71

Implications for the Future

During this study campers did not receive a grade or were not forced (no

consequence if not completed) to complete the requirements of the camp, yet every

camper exceeded the requirements. What were their motivations if there was no

incentive? Traditional motivation includes incentive, some kind of bonus or a prize. Yet,

these campers communicated, learned, played, posted, and taught each other without a

dangling carrot. This kind of motivation is intrinsic motivation, coined ‘Motivation 3.0’

by Daniel Pink a 21st century philosopher, defines intrinsic motivation as “for artists,

scientists, inventors, school children, and the rest of us, … it is the drive to do something

because it is interesting, challenging, and absorbing – is essential for high levels of

creativity” (Pink, 2008, p 46). Pink continues to explain by listing several studies that

demonstrate that Motivation 3.0 motivates people including students and campers more

than incentive-based motivation.

In the field of art and creativity, Harvard professor Teresa Amabile and her

colleagues (1994) tested the effects of rewards/incentive-based motivation against

intrinsic motivation by studying professional artists in the United States. Commissioned

and non-commissioned work was compared. A panel of artists, curators, and art

educators blindly judged artworks for creativity and technical skill. The researchers

found that the commissioned artworks were less creative. They also interviewed the

artists, finding that when creating art was “work” represented by the commissioned

pieces the artists felt less creative and thus the artwork appeared less creative.
 72

As art educators, we are “commissioning” art from our students. Yet, if we as

educators are less stringent on the specifics of the assignment and leave it more open-

ended, allowing students to create what is more meaningful to them, they will be more

creative and willing to take more risks in the name of creativity. Pink also states that

there is a mismatch between what science knows and what educational systems do. He is

confident that Motivation 3.0 is the way of the future and encouraged parents and

teachers to implement it as often as possible. Consequently, Pink included nine ideas in

his book Drive for parents and educators to utilitize at home and in schools to prepare

young people for the future. Educators should consider these ideas when creating their

future curriculum.

Other art educators are starting to take on the 21st century art room by including

technology. Bryant (2010) explored urban high school students. The primary goal of his

unit was to teach the students how to create a stop-motion film that uses various

technologies. He noticed creative problem-solving strategies, defined a techniques that

offer multiple ways and angles of considering problem from which an optimal solution

may be selected. These strategies included open-ended instructional problems,

brainstorming and storyboarding, peer checks, utilizing symbolism and metaphor, and

critique. In my study, I also noticed problem solving skills and campers assisting each

other as well as teaching one another. Art educators in the primary schools need not be

afraid to do the same.

Additionally, action research also needs to continue in the field of art education.

Action researcher McKay (2006) challenges art educators to continue to inquire into the
 73

unknown, to continue to explore the new and unknown, to make new connections and

reveal new knowledge about teaching and learning in art. The more educators know the

more they can teach and share. “The goal is to work towards a better understanding of

their situation in order to affect a positive personal and social change” (Riel, 2007, p. 1).

Action research is a challenge. It is a give and take process of teaching and documenting,

but the challenge is to do both to improve education.

Educators need to include technology in future education and specifically in art

education. Generally, there are two arguments that technologists use to explain why

schools require new technologies. One is that there is constant change and educators will

need to prepare students for the future. The other is that technology gives advances

educating learners, and that schools should incorporate these capabilities to reshape

education (Collins and Halverson, 2009). New technology should not be used just

because it is there, but because it can build a richer classroom environment where both

the teacher and students can seek common and necessary curriculum goals (Roland,

2010).

I was interested to hear the comments from parents and their surprise that their

children were using Photoshop and Facebook without difficulties. One parent explained

that she was afraid to put her son on Facebook, but now, she thinks it is a good idea when

used in a positive, supervised way. She explained that her husband is overseas on

assignment with the Air Force and she does online chats and emails with him, and thinks

that Facebook would be a great way for her son to keep in touch and share his life with
 74

his dad. It was best put by Christakis and Fowler, “But on a more human level, social

networks affect every aspect of our lives”(2009, p. 304).

Art, technology, and children are the seeds of our future and when carefully

grafted together each cause the other to grow in unexpected and random ways furthering

their potential and the impacts on future seedlings. As Aristotle once was quoted, "the

whole is greater than the sum of the parts.” We, as a human race, need all of them, if we

neglect any part, it's to our detriment. Everyday we are preparing children for jobs of the

future. The careers of the twenty-first century work are more challenging, more creative.

“Solving challenging problems requires an inquiring mind and the willingness to

experiment one’s way to a fresh solution… it seeks engagement.” (Pink, 2008, p. 174)

Art links technology, problem solving and the human element.

I challenge other art educators to continue exploring digital art with children. It

would be interesting to see a social network expanded to include to culturally diverse

classrooms on opposite sides of the world, allowing young children to create their

artwork and share it with others. Expanding the social network would also increase art

and cultural awareness. It would be interesting to evaluate the differences in their

depiction of identity, and discover what difference does the cultural background have on

the children. A common idea shared by many art educators is the acknowledgement that

social aspects are a fundamental part of how people, (adults and children) come to know

the arts and the impact of media and technological developments on art and society

(Parks, 2008). My study supports the notion that children are capable of creating
 75

meaning, creating digital art, and presenting themselves if given the opportunity,

materials, technology, and challenge.

 76

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APPENDIX A

PRE/POST QUESTIONNAIRE

Pre
1. Name
2. Girl/boy
3. Age
4. Where do you use a computer?
5. What is digital art?
6. Have you ever created digital art?
7. What is a virtual world?
8. What virtual worlds have you
visited?
9. Looking at examples A, B, C, D
Which is a digital photo?
Which was made in digital paint?
Which is a pencil drawing?
Which is a painting?
83
Post
Name
What is digital art?
What is a virtual world
Which program was your favorite?
What kids of comments did you make about
your classmates art?
You liked it, didn’t like, it, you described it,
you wanted to know more.
What was the hardest part of this class?
Did you enjoy this class?
Your virtual self in Pet Society:
Describe it
What does the color mean
What does the symbol mean
Did you change it?
What’s its name?
Looking at examples A, B, C, D **
Which is a digital photo?
Which was made in digital paint?
Which is a pencil drawing?
Which is a painting?
**different images from the pre-test
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APPENDIX B

UNIT LESSON PLAN OVERVIEW

 85

Theme: Creating the self with Digital and Virtual Art

Level: Elementary, ages 6-12

Rationale: Relation to their Stage of Development:

Children need opportunities to interact with the people and objects in their environment
and to learn from their surroundings. Experiences and interactions with peers and adults
all children to construct knowledge of patterns, understand relationships between objects
or events, and learn ways to solve problems (Van Scoter, Ellis and Railsback, 2001).

When used appropriately, technology can enhance children’s cognitive and social
abilities (NAEYC, 1996).

Unit Performance Objectives or Learning Outcomes:

Key: STANDARDS: Creating Art, Responding [Art Inquiry, Aesthetics, Art in

Context; Art Criticism, NAEP]; Evaluation.

Students will:
1. Examine Digital images closely through group exploratory art criticism questions
to develop perceptual skills. [Describe, analyze, interpret, and judge] Art
Criticism, Evaluate
2. Describe the origins of their images and ideas and explain why they are of value
in their artwork and in the work of others. Art Criticism, Evaluate
3. Complete the questions about context of digital art (art history). Responding—
Art in Context, Relate.
4. Create works of verbal dialog that demonstrate an understanding of digital design
and the communication of their ideas, techniques, and processes they use.
Creating Art
5. Students differentiate among a variety of historical and cultural contexts in terms
of characteristics and purposes of works of art Responding—Aesthetics, Relate

Key Definitions:
Digital Pertaining to art created by digital means
Digital Art: most commonly refers to art created on a computer in digital form, art using
computer graphics software, digital photography technology and computer assisted
painting to create art (Paul, 2006).
Dimensional Art: differentiating between two-dimensional and three-dimensional art.
Portrait: noun a likeness of a person, esp. of the face, as a painting, drawing, or
photograph: a gallery of family portraits.
 86

Lesson for Facebook

Objectives: Student will:

• interface and communicate within an online blog and create a virtual art gallery
• maintain the social network daily by evaluating artworks they and their
classmates posted.

Assessment

Exceeds Meets Approaches Fails/No

effort
Supported Encourage Communicates Commented on Did not
the social communication on with other own art participate
network the social network campers
Creates Posted pictures of Posted pictures Posted pictures
Virtual artworks with art of artworks of artwork
Gallery criticism with
explanation
Evaluate Explain the meaning Explain their Show their
their art on in their artwork choices in their artwork but not
the social artwork explain
network

Preparation:

1. Set up anonymous email accounts for each student using a free service online.

(Yahoo only allowed 5 per day, so it took multiple days.) All email addresses and

passwords noted. Using the same password for all emails was convenient. The

students will not have access to the email accounts or see any emails.

2. Set up Facebook accounts by following the instructions on www.Facebook.com.

Using the emails set up the students with their first name and a false last name,

i.e.; John Artstudent, to protect their anonymity, and a fictitious birth date. Note
 87

the password. An email confirmation from Facebook will be sent to each email

address that requires a second login to confirm the account.

3. Set up the social network in Facebook. In Facebook, login as each student, and

under the friends option follow the instructions provided by typing in the emails

of each student to send a friend request, and accepting friend requests.

4. Take digital photos of the campers, upload and tag (identify the camper by linking

the name to the photo) in Facebook.

Teacher will discuss:

Introduction: we will communicate with each other, create an art gallery of our artwork
and evaluate our art.

What is a Status? What you are doing or thinking right now, written out and posted on
the wall of the social network for all to see and make comments. My status will reflect
me.

What is a Digital Art gallery? A

collection of the artwork created in
this class, grouped and titled by the
artist.

Who made this? You and your

classmates create this dialog,
Figure 26.

Why was this made, what is its

function? To communicate and
display your artwork.

How was this made? A computer

application, Facebook, on the
Internet makes this possible.

Figure 30: Facebook Lesson Plan, Facebook

How does this digital dialog Comments Example
compare to other digital dialog in
 88

different cultures? Facebook is available in 67 different languages. Facebook is used

in many different cultures in the same way.

What is the story? This page is all about me it shows the artwork that I have made, the
pictures that I am in. I can write what I am thinking or feeling and everyone can share
what they think about my postings verbal and non-verbal.

Motivation by Demonstration: Teacher will:

• Display and review ART CONCEPTS (shape, collage, line, colors) from
the online example.
• Show how to personalize the web page by adding a profile picture.
• Demonstrate how to use the new technology.
• Show how to responsibly use this new technology, no cyber bullying
allowed.
• Explain how to chat, post comments, update status, upload pictures and
add privacy settings.
• Appraise individual students’ process individually while working.
• Give directions on Internet use. This program only, searching the Internet
is not acceptable.
• Direct students to view online gallery of portraits of classmates.
• Direct students to evaluate their portrait online as well as the portraits of
their classmates, and make online positive comments and ask questions.

Guided Practice – Step by Step Production: Students will:

1. Create a profile picture from the digital library of student pictures, select, crop,
and save.

2. Identify the tools of the program, understand and explore the menu options,
recognize their photo and label it their profile picture (changeable in the future).

3. Participate: update their status, comment, evaluate art, and chat with classmates
in an appropriate, responsible manner. Through participating in a dialectal
interplay between visual and verbal thinking, art students engage in one of the
most powerful forums for developing critical consideration and constructing a
personal knowledge of art (Stout, 1993).

4. Create: an online Art Gallery; upload and tag (link the images to the people in the
picture within the social network) and art work to their Facebook account
 89

Materials: Computers, Internet Explorer (or other web browser), Internet access,
Facebook Application, Facebook account, Projector connected to computer.

Safety precautions: No food or beverages in the computer lab.

Lesson for MS Paint

Objectives: Student will:

• create computer-generated art, a digital self, using color, story and expression
• post at least three pieces of their artwork to the social network for evaluation.
• evaluate their three artworks and the artwork of other campers on the social
network.

Assessment

Exceeds Meets Approaches Fails/No

effort
Self Excellent use of Multiple shapes One shape w/o
portrait shapes and/or and/or colors w/ story or
completed colors w/story or story or expression
expression expression
Use of Can demonstrate Use the software, Used only one
software, how to use the multiple tools tool or one
posting software color
Evaluate Explain the Explain their Show their
their art on meaning in their choices in their artwork but not
the social artwork artwork explain
network

Activities: Teacher will discuss:

Introduction: Microsoft Paint is a computer

software program designed to create art on the
computer. Many of the tools the student uses in
the program are similar to other art software
programs. The tools are the icons on the left
they are to create different kinds of art. There
are options to draw straight or curved lines
(select a color first and the line will be that
color, select a thickness before drawing and the
line will be that thickness). Color can be applied
by using the paintbrush, the paint bucket, or the
Figure 31: MS Paint Lesson Plan,
Self Portrait Example
 90

spray can, select the tool, then the color, then apply. Try everything, you can always
erase and start over with the eraser tool (it even looks like a pink eraser). A pencil is
even available if the artist would like to sign their name, instead of typing it using the
text-typing tool.

Who made this digital art? The instructor, Jenny Evans, Figure 27.

What story is it telling? The visual details of a person. This is me after a very long day.
I am tired and forcing my eyes to open. My hair is very messy because I just finished
having a giant tickle fight with my kids. I don’t know who won, but it was fun. I really
need to take a break and relax.

Where was this made? In the computer lab

When was this made? today

Why was this made, what is its function? To express myself digitally, to demonstrate
how easy it is to create, to share what I was feeling after a long day.

How was this made? Using Microsoft Paint, on the computer

Motivation by Demonstration: Teacher will:

• Display and review ART CONCEPTS (shape, balance, line, colors) from the
online example.
• Show how to personalize the portrait (use of personal clothing, accessories). For
example: mine included glasses, my earrings, necklace, and birthmark.
• Demonstrate how to use the new technology. Take the role of Instructor,
encouraging exploration (Davis and Shade, 1994).
• Show how to use complementary colors, and their feelings or meanings for better
color choices.
• Explain how to place body parts to achieve balance.
• Appraise individual students’ process individually while working. Take the role
of Coach by providing guidance and support as needed but requiring appropriate
behaviors, yet control of the technology remains in the hands of the student
(Davis and Shade, 1994).
• Give directions on how to save and upload the picture to their Facebook account.
Take the role of the model by using the same technology to demonstrate
practicality (Davis and Shade, 1994).
• Direct students to view online gallery of portraits of classmates.
• Direct students to evaluate their portrait online as well as the portraits of their
classmates, and make online comments. Take on the role of Critic by providing an
appropriate positive learning environment (Davis and Shade, 1994).
 91

Guided Practice, Step by Step Studio Production: Students will:

1. Create a self portrait using

MSPaint

2. Learn technology: utilize the

tools of the program to draw
and create digital art. The key
idea here is to demonstrate the
tools and let them explore the
ranges of each, discover the
variety of options. Let the
students play with the software
with the ultimate goal of a self-
portrait (Lemerise, 1993).

3. Color: will be applied utilizing

the tools of the program, Figure,
28, by painting with a digital
Figure 32: MS Paint Lesson Plan, Toolbar
paintbrush or filling in a space
Example
with a digital paint bucket or
spray can. Mixing colors with various tools will create a new color. Color can be
realistic or more artistic (green hair, blue teeth), the choice is the artists, based on
what they are trying to say.

4. Save the image to their computer and upload it to their Facebook account, and
comment.

Materials: Computers, Microsoft Paint program, Projector connected to computer.

Safety precautions: No food or beverages in the computer lab.

Culmination

When the students are finished with their works and the artwork is posted to the

social network the teacher will gather the students for a discussion. According to

Villeneuve and Rowson Love (2008) “Inquiry, or generating and answering pertinent

questions in a dialogic manner, can foster learning through social interaction using
 92

method of mentoring, peer collaboration, and teacher facilitation” (p. 194). Discussion

topics should include, in order to review the objectives:

• Identify different colors, and shapes that they used in their artwork.
• Identify symbols in their artwork.
• Compare and distinguish between different shapes.
• Identify symbols that were used express feelings instead of words in their
artwork.
• How did they feel while creating their artwork?
• How did they use the materials and tools?

Students will answer the questions in the comments section in the virtual gallery.

The teacher will prompt if necessary to add to the discussion on the lessons of color,

shape, the skill learned, etc. to meet the objectives. This is a second opportunity to go

over unit definitions, or give the students the time to meet the objectives.

The evaluation is a time of sharing not negative judgment as far as “I don’t like it

or it’s ugly,” from classmates. Each student can comment and do a simple art criticism

(describe, analyze, interpret, judge) on their own artwork, while answering questions

posted by their fellow campers about their artwork.

 93

Lesson for Photoshop – Special Effects

Objectives: Student will:

• create computer generated art, a digital portrait using colors, story and
expression
• modify digital images by using various filters and digital manipulations
using Photoshop.
• post at least three artworks to the social network and comment.

Assessment

Exceeds Meets Approaches Fails/No

effort
Artwork Excellent use of Multiple filters w/ One filter w/o
completed: filters w/story or story or expression story or
expression expression
Use of Can demonstrate Use the software, Used only one
technology how to use the multiple tools tool or one
software color
Comment Explain the Explain their Show their
about their meaning in their choices in their artwork but not
art on the artwork artwork explain
social
network

Activities: Teacher will discuss:

Selector

Introduction: Photoshop is a software Eraser tool

program used on the computer to create
digital art or to modify existing digital Paint bucket
artwork (i.e., a digital photograph).
This program is used not only by Paintbrush
students but also by professional artists
and professionals in the marketing Text tool
field. This is not a learning program
but the real thing with many options.
Take a moment to notice the
similarities in the tools, Figure 29. A Figure 33: Photoshop Special Effects Lesson
lot of them are similar to the first art Plan: Toolbar Comparison
program, Microsoft Paint.
 94

Who made this digital art? The instructor

What story is it telling? The visual details of a person. This is a part of my family
picture, Figure 30. My son, Ethan, is also in the picture. I modified this picture with the
neon filter. It highlights all the curves, the best parts, I think. You can see the smiles so
much better. I think I am smiling and feeling “thank
goodness this family picture is finally done!”
Where was this made? In the computer lab

When was this made? today

Why was this made, what is its function? To express

myself digitally, to demonstrate how easy it is to create

How was this made? Using Adobe Photoshop on the

Figure 34: Photoshop Special computer, cropping the family photo, and selecting the Neon
Effects Lesson Plan, Neon Filter filter.
Example

Motivation by Demonstration: Teacher will:

• Display and review ART CONCEPTS (shape, balance, line, colors) from
the online example.
• Show how to open file.
• Demonstrate how to use the new technology-use filters and the ranges of
each
• Demonstrate how to use the cut/paste tools, selection tools, layer options
• Explain how to place body parts to achieve balance.
• Appraise individual students’ process individually while working.
• Give directions on saving and uploading files to Facebook.
• Direct students to view online gallery of portraits of classmates.
• Direct students to evaluate their portrait online as well as the portraits of
their classmates, and make online comments.

Guided Practice: Step by Step Studio Production: Students will:

1. Create a self portrait using Adobe Photoshop

2. Experiment with the tools of the program to modify digital art. The key idea
here is to demonstrate the tools and let them explore the ranges of each, discover
 95

the variety of options. Let the students play with the software with the ultimate
goal of a self-portrait (Lemerise, 1993).

3. Identify the various filters and understand what changes they make.

4. Modify color utilizing the various filters of the program,

5. Assemble Virtual Gallery: save the image to their computer desktop and upload
it to their Facebook account, title and write evaluation in the comments.

Materials: Computers, Adobe Photoshop program, Projector connected to computer,

Internet access, Facebook account, Facebook application.

Safety precautions: No food or beverages in the computer lab.

Culmination

When the students are finished with their works and the artwork is posted to the

social network the teacher will gather the students for a discussion. According to

Villeneuve and Rowson Love (2008) “Inquiry, or generating and answering pertinent

questions in a dialogic manner, can foster learning through social interaction using

method of mentoring, peer collaboration, and teacher facilitation” (p. 194). Discussion

topics should include, in order to review the objectives:

• Identify different colors, and shapes that they used in their artwork.
• Identify symbols in their artwork.
• Compare and distinguish between different shapes.
• Identify symbols that were used express feelings instead of words in their
artwork.
• How did they feel while creating their artwork?
• How did they use the tools in the software?

Students will answer the questions in the comments section in the virtual gallery.

The teacher will prompt if necessary to add to the discussion on the lessons of color,
 96

shape, the skill learned, etc. to meet the objectives. This is a second opportunity to go

over unit definitions, or give the students the time to meet the objectives.

The evaluation is a time of sharing not negative judgment as far as “I don’t like it

or it’s ugly,” from classmates. Each student can comment and do a simple art criticism

(describe, analyze, interpret, judge) on their own artwork, while answering questions

posted by their fellow campers about their artwork.

 97

Lesson for Photoshop – Copy and Paste

Objectives: Student will:

• create computer generated art, a digital portrait using color, story and
expression
• modify digital images by using copy and paste manipulations in
Photoshop.
• post at least three pieces of artwork on the social network and make
comments.

Assessment

Exceeds Meets Approaches Fails/No

effort
Artwork Excellent use of used of copy used of copy and
completed copy and paste w/ and paste w/ paste w/ no story
multiple layers, multiple layers, and/or expression
excellent story story and/or
and/or expression expression
Use of Can demonstrate Used the Used only one
software how to use the software, and tool or one color
and software tools
posting
Comment Explain the meaning Explain their Show their
about their in their artwork choices in their artwork but not
art on the artwork explain
social
network

Activities: Teacher will:

Introduction: Photoshop is a software

program used on the computer to create digital
art or to modify existing digital artwork (i.e., a
digital photograph). This program is used not
only by students but also by professional
artists and professionals in the marketing field.
This is not a learning program but the real Figure 35: Photoshop Copy and Paste
thing with many options. Take a moment to Lesson Plan: Original Digital
Photograph Example
 98

notice the similarities in the tools. A lot of them are similar to the first art program,
Microsoft Paint. It is a fun game to play “spot the differences.”

Who made this digital art? The

instructor

What story is it telling? This is another

family picture, Figure 31. It is so hard to get
little kids to smile. The kids just wanted to
climb all over the presents. I added more
presents to the c/p version Figure 32, because
I think my kids always want more presents.
These were empty boxes and really would
not have been fun. However, I like presents
too, especially the ones that come in tiny
blue boxes. They always seem to have
shinny sparkly things inside. Figure 36: Photoshop Copy and Paste
Lesson Plan, The Gifted Family,
Example
Where was this made? In the computer lab

When was this made? today

Why was this made, what is its function? To express myself digitally, to demonstrate
how easy it is to create

How was this made? Using Adobe Photoshop on the computer

Motivation by Demonstration: Teacher will:

• Display and review ART CONCEPTS (shape, value, line, color) from the online
example.
• Show how to open file.
• Demonstrate how to use the new technology-use filters and the ranges of each
• Demonstrate how to use the cut/paste tools, selection tools, layer options
• Explain how to place body parts to achieve balance.
• Appraise individual students’ process individually while working.
• Give directions on saving and uploading files to Facebook.
• Direct students to view online gallery of portraits of classmates.
• Direct students to evaluate their portrait online as well as the portraits of their
classmates, and make online comments.

Guided Practice: Step by Step Studio Production: Students will:

1. Create a self portrait using Adobe Photoshop

 99

2. Identify the tools of the program to modify digital art. The key idea here is to
demonstrate the tolls and let them explore the ranges of each, discover the variety
of options. Let the students play with the software with the ultimate goal of a
self-portrait (Lemerise, 1993).

3. Apply color utilizing the tools of the program, by painting with a digital
paintbrush or filling in a space with a digital paint bucket and use tools to cut and
paste.

4. Save the image to their computer and upload it to their Facebook account

Materials: Computers, Adobe Photoshop program, Projector connected to computer,

Internet access, Facebook account, Facebook application.

Safety precautions: No food or beverages in the computer lab.

Culmination

When the students are finished with their works and the artwork is posted to the

social network the teacher will gather the students for a discussion. According to

Villeneuve and Rowson Love (2008) “Inquiry, or generating and answering pertinent

questions in a dialogic manner, can foster learning through social interaction using

method of mentoring, peer collaboration, and teacher facilitation” (p. 194). Discussion

topics should include, in order to review the objectives:

• Identify different colors, and shapes that they used in their artwork.
• Identify symbols in their artwork.
• Compare and distinguish between different shapes.
• Identify symbols that were used express feelings instead of words in their
artwork.
• How did they feel while creating their artwork?
• How did they use the materials and tools?

Students will answer the questions in the comments section in the virtual gallery.

The teacher will prompt if necessary to add to the discussion on the lessons of color,
 100

shape, the skill learned, etc. to meet the objectives. This is a second opportunity to go

over unit definitions, or give the students the time to meet the objectives.

The evaluation is a time of sharing not negative judgment as far as “I don’t like it

or it’s ugly,” from classmates. Each student can comment and do a simple art criticism

(describe, analyze, interpret, judge) on their own artwork, while answering questions

posted by their fellow campers about their artwork.

 101

Lesson for Pet Society

Objectives: Student will:

• create a virtual self using shapes, patterns, colors, story and expression
• maintain the social network by posting pictures and comments from Pet Society
expand the world to embrace global virtual world.
• Post three images from the virtual world to Facebook and comment.

Assessment

Exceeds Meets Fails No effort

Artwork Excellent use of Multiple One shape, color
completed: shapes, patterns shapes, patterns or pattern w/o
and/or colors and/or colors w/ story or
w/story or story or expression
expression expression
Use of Can demonstrate Use the Used only one
technology how to use the software, tool or technique
software multiple tools
Post and Explain the Explain their Show their
comment meaning in their choices in their artwork but not
about their artwork artwork explain
art

Activities: Teacher will discuss:

Introduction: Social games are games

designed to be played together with friends.
Traditional computer games focus on
standalone game play on consoles, or a
personal computer. Games that do allow you
to play together with others online normally
require you to buy the game, go online and try
and find like-minded new friends who are also
playing the game. (Playfish, 2009).

Who made this digital art? The teacher

What story is it telling? This is the art Figure 37: Pet Society Lesson Plan,
teacher, Figure 33. She is sitting in her living Self Portrait Example
 102

room. The walls and the floor show different patterns, one is dots the other is square.
She is wearing a paper bag for a dress and a tin can for a hat. There are warm colors with
the brown hues with red and yellows. The can and the bag were free items, in Pet
Society, making the statement that you don’t have to spend a fortune to have clothes in
this virtual world. Anything, even what would normally be recycled in the real world
could be used as clothing. The picture in the background is a semi-copy of the La Chat
Noir, but modified to Pet Society, connecting the real world to the virtual one. This
reminds her of her trips to France and her love of art. This poster helps identify her.

Where was this made? Using the Pet Society Application on Facebook

When was this made? 2009

Why was this made, what is its function? To simulate real life but in the computer. To
play, to create, to learn and to have fun. To socialize and help me be responsible for a
virtual being in a safe environment. This gives me the opportunity to participate in a
virtual world.

How was this made? By making choices on the computer application, it is all-digital.

How does this virtual art compare to other virtual art in different cultures? Pet
Society has over 11 million users worldwide, it is used in a variety of different cultures
(Playfish, 2009). Cultural elements are available in various virtual stores, usually during
a specific cultural holiday. For example, in January during Chinese New Year, Chinese
lanterns and dragon decorations were in the furniture store, while moon pies, fortune
cookies and tea were available in the Food Store. If I did not already know it was
Chinese New Year this would prompt me to research and understand what was being
celebrated and why.

Motivation by Demonstration: Teacher will:

•Display and review ART CONCEPTS (shape, texture, line, color) from the online
example.
•Show how to personalize the virtual self and home, by using symbols, and colors
that are meaningful to them.
•Demonstrate how to use the new technology, including shopping, farming,
gardening, fishing, self-maintenance, the reward system, and the monetary system.
•Show how to use complementary colors, when decorating their home.
•Explain how to change appearance to express oneself.
•Appraise individual students’ process individually while working.
•Give directions on how to create a snap shot to post on Facebook, which includes
approving the picture in Facebook after exiting the Pet Society Application.
•Direct students to view online gallery of portraits of classmates.
•Direct students to evaluate their portrait online as well as the portraits of their
classmates, and make online comments.
 103

Guided Practice Step by Step Studio Production: Students will:

1. Create (and maintain) virtual self within the Facebook Application, Pet Society.

2. Identify the options of the program to draw and create digital art. The key idea
here is to demonstrate the options and let them explore the ranges of each,
discover the variety of options. Let the students play with the software with the
ultimate goal of a virtual portrait (Lemerise, 1993).

3. Color, Patterns and Texture: will

be applied utilizing the tools options
of the program. Placing various
wallpapers, and carpets available in
the DIY store creates the home. The
virtual self is created by using the
menu selector, the self can be altered
throughout the game. The process is
a drop and drag sequence from the
chest icon to the house or in the event Figure 38: Pet Society Style Shop
of clothing, from the shirt icon to the
creature.

4. Modify their creature by visiting the

stylist shop Figure 34 and selection the
option from the available menus. The
creator can modify all body color, mouth
expression, eyebrows, etc.. This is a Figure 39: Pet Society Icon
wonderful opportunity for students to Example
express their current mood.

5. Identify: the symbols and icons of the

application Figure 35 and 36.

Figure 40: Pet Society

Trophies = awards for playing the game Icons Example 2
Globe= shortcuts to the stores and places
Smile = status, where you can publish to Facebook your pet’s status
Camera = option to take pictures (three styles) and publish to Facebook
Door= to exit whichever building you are in.
The shirt = your closet of clothing and accessories
Treasure chest = all your purchases, your storage
 104

Figure 41: Pet Society Information Bar, Coins, Level, and Points Example

Coins (yellow circle with star, totaling 3,079) are collected to make
purchases of food, clothing, household items, garden items, etc. Coins
are acquired by completing tasks, taking care of your virtual self,
selling produce, winning races, Figure 37.

The paw points (brown circle with the paw print, totaling 78,884) are
your status. These are acquired by completing tasks, visiting your
friends, giving gifts, and making purchases. This number will only
increase, as the number increase so does your status (the number in the
green circle, 30). This will rank you and the participants in your social
network.

These icons Figure 37, represent your well-being as a virtual being.

The heart is the virtual health, this decreases as the game is played.
Eating is the only way to replenish health. Figure 42: Pet
The smiley face represents the virtual happiness. This Society Well-
decreases as the game is played. Happiness is replenished by being Icons
visiting friends, being brushed or by being pet.
The showerhead is the virtual hygiene. This also decreases as the game is played.
This can be replenished by washing with the soap, or by jumping in a tub (after
purchased from the furniture store).

Every pet has these symbols you can take care of yourself and your friends.

6. Assemble Virtual Gallery: Using the camera icon, select a picture type (room,
group, or portrait), within Facebook approve the pictures to post by clicking the
check box. Write comments and select save and publish.

Materials: Computers, Internet Explorer (or other web browser), Facebook account, Pet
Society Application, Projector connected to computer.

Safety precautions: No food or beverages in the computer lab.

Culmination
 105

When the students are finished with their works and the artwork is posted to the

social network the teacher will gather the students for a discussion. According to

Villeneuve and Rowson Love (2008) “Inquiry, or generating and answering pertinent

questions in a dialogic manner, can foster learning through social interaction using

method of mentoring, peer collaboration, and teacher facilitation” (p. 194). Discussion

topics should include, in order to review the objectives:

• Identify different colors, and shapes that they used in their artwork.
• Identify symbols in their artwork.
• Compare and distinguish between different shapes.
• Identify symbols that were used express feelings instead of words in their
artwork.
• How did they feel while creating their artwork?
• How did they use the tools in the software/program?

Students will answer the questions in the comments section in the virtual gallery.

The teacher will prompt if necessary to add to the discussion on the lessons of color,

shape, the skill learned, etc. to meet the objectives. This is a second opportunity to go

over unit definitions, or give the students the time to meet the objectives.

The evaluation is a time of sharing not negative judgment as far as “I don’t like it

or it’s ugly,” from classmates. Each student can comment and do a simple art criticism

(describe, analyze, interpret, judge) on their own artwork, while answering questions

posted by their fellow campers about their artwork.

Creating Art References:

Davis, B.C. and Shade, D.D. (1994). Integrate, don’t isolate! Computers in the early
childhood curriculum [ERIC digest]. Urbana, IL: ERIC Clearinghouse on
Elementary and Early Childhood Education. (ERIC Document Reproduction
Service No. ED 376 991). Retrieved from
http://www.ericfacility.net/ericdigests/ed376991/html
 106

Lemerise, T. (1993). Piaget, Vygotsky and Logo. The Computer Teacher, 24-28.

National Association for the Education of Young Children, (1996). Technology and
young children – ages 3-8 [Position statement]. Washington, DC: Author.
Retrieved from www.naeyc.org/resources/position_statements/pstech98.htm

Overby, A. (2009). The new conversation: Using weblogs for reflective practice in the
studio art classroom. Art Education. July 2009, 18-24.

Playfish, (2009). About Playfish. Retrieved from www.playfish.com/?page=company

Various definitions. (n.d.). Dictionary.com Unabridged (v 1.1). Retrieved from

Dictionary.com website: http://dictionary.reference.com/browse/portrait

Stout, C. J. (1993). The dialogue journal: A forum for critical consideration. Studies in
Art Education, 35(1), 34-44.

Van Scoter, J., Ellis, D., and Railsback, J. (2001). Technology in early childhood
education: Finding the balance. Northwest Regional Educational Laboratory.
June 2001.
 107

APPENDIX C

RESULTS FROM PRE-QUESTIONNAIRE

108
109
110
111
 112

APPENDIX D

POST QUESTIONNAIRE RESULTS

 113

Which Art program was your favorite?

Response Response
Answer Options
Percent Count
MS Paint 18.2% 2
Photoshop 45.5% 5
Pet Society 63.6% 7
Facebook 27.3% 3
answered question 11
skipped question 0

How was this picture made?

Response Response
Answer Options
Percent Count
with a camera 0.0% 0
with paint 9.0% 1
with a computer 90.9% 10
with a pencil 0.0% 0
answered question 11
skipped question 0
How was this picture made?

Response Response
Answer Options
Percent Count
with a camera 0.0% 0
with paint and a paint brush 0.0% 0
with a computer 0.0% 0
with a pencil 100.0% 11
answered question 11
skipped question 0
How was this picture made?

Response Response
Answer Options
Percent Count
with a computer 0.0% 0
with a pencil 0.0% 0
with a camera 0.0% 0
with paint and a paintbrush 100.0% 10
answered question 11
skipped question 0
 114

How was this picture made?

Response Response
Answer Options
Percent Count
with a pencil 0.0% 0
with a camera 100.0% 11
with paint and a paintbrush 0.0% 0
with a computer 0.0% 0
answered question 11
skipped question 0

What is digital What is a virtual Hardest thing enjoy

age gender
Art? world? about camp camp?

it is a world on a
It is art done on the computer and can switching
1 11 male computer. do stuff on it. people's heads. Yes

a world with fake

2 9 female art on the computer stuff tagging photos yes

I dont think
anything was
a world that is not hard I had too
3 10 female art on the computer real much fun! Yes

something made on
4 9 male the computer. something made-up. nothing yes
getting up in
5 10 male art on the computer a fake world morning early yes

6 8 female computer art a made up world none yes

7 7 male art on the computer a fake world nothing yes

A virtul world is a
Digital art is art that world were you are
you can make on a animated person
the computer. who can walk, talk,
Digital art is from play games, and
painting on the have fun. A type of
computer to a virtual world is
changing the waay something like
a picc looks on the clubpenguin, or Pet finding thing on
8 11 female computer. Society. face book yes
 115

It'sa art on
9 7 female compouter Petsoceite not any yes

10 6 male I do not know. fake world. face book yes

art that you make
11 6 female on the computer it a brtend world upload yes

Did
you
Why why visit
What is did you did you the
Describe what did you
age gender it's choose choose style
it? change?
name? that that shop
color? outfit? and
alter
it?
he has all because
lepricon green is
stuff on my
and he is favorite because No, I
1 11 male Joe green. color I like it have't. nothing.
because
it because
matches it looks
sweet her good on
2 9 female rose fun cute name her yes color ears
blue skin, I chose
brown that
hair, red outfit
outfit, because because
and its it looks it looked
always good on maryand
3 10 female Sossylala77 happy! my pet! cute! no the outfit
he has a because
tire for because it looks
clothes it looks like a
and he is like hes hobo name,color,and
4 9 male Hobo brown dirty outfit yes apperance
he
looked
good in same
5 10 male shadow cool it thing yes everthing

i
thought her name from
it is a girl light it was georgia o'keefe
6 8 female Meadow cat brown beatiful yes to meadow
 116

cuse i'm
that
7 7 male Bill tan color no
i chose
red
because
the yes i
color I chose did
went that visit
well outfit the
with the because style
its a red outfit i shop
bear with and red thought aand i hanged the
punk rock is my it was change hair, clothes,
clothes favorite stylish my nose, and
8 11 female Roxy and hair color and cute person color.
I love
9 7 female Lucky green green Its cool no I did not
cople
10 6 male flam fake its nice cool times shoes
she is
cute and
11 6 female lulaby blue I love it its cute yes I like it
117
 118

APPENDIX F: VIDEO TRANSCRIPTS

 119

Video Emma and Nicholas, March 17th, 2010 11:34 am :05

Emma: this is your pet, play with it, whatever
Nicholas: what do you do then?
Emma: stay in the house

Video Rusty and myself, March 17th, 2010, 11:32 am

Me: did you figure out fishing?
Rusty: yea
Me: what did you get?
Rusty: I got an empty bottle
Me: you’re naked
Rusty: no, I have shoes on,
Me: oh, ok, do you need to get more food or are you going to put some cloths on?
Me: There you go, is your pet smiling
Rusty: I can’t tell
Me: Is your pet happy
Rusty: Yeah I think so
Me: Are you happy
Rusty: Yeah
Me: So when you are happy is your pet happy?
Rusty: Yeah.

Video Hiba and me, March 17th, 2010, 11:30 am, :30
Me: It’s hard to feel on the computer isn’t it, click on your guy and hold it down,
don’t keep pushing, click on your guy and hold down, don’t keep clicking, you
are doing this…. Do this…
Hiba: Ohoooo I get it.

Video Jenna and myself, March 17th, 11:27 am, :58

Jenna: I’m trying to send something.
Me: Are you gifting something?
Jenna: Yeah
Me: Which item are you sending?
Jenna: I am trying to send him some food.
Me: Oh, I think you are in your clothing closet so why don’t you exit out of it and
go to your treasure chest, there you go, and then you can drag that to… there you
go,
Jenna: I got it.
Me: Excellent

Video Hiba and Mason, March 17th, 2010, 11:24, :25

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Mason: now pull,

Hiba; oh
Mason: wait, now pull, don’t pull when there is a panic splash
Hiba: oh
Mason: now click on your pet, let go, don’t pull, now pull!

Video Emma and Niko, March 17th, 2010, 11:19 am, :27
Emma: ya know you could switch all you have to do is hit…
Niko: I need one more visit, one more visit and I get a trophy
Emma: go visit Madelyn
Niko: Ok
Emma: I can’t see your money
Niko: it is possible
Emma: how did you get that in there?
Niko: just like this

Video Fallyn and myself, March 17th, 2010 11:11am, 1:04

Me: Alright miss Fallyn, what is it that your pet is doing
Fallyn: Ah, well, I am making a bet, to win, mince came in second
Me: I see second,
Fallyn: Yeah
Me: So you didn’t win, bummer
Fallyn: Yeah, but my pet is doing ok
Me: Can I see your pet?
Fallyn: Well, I need to feed it some food
Me: Ok, How do you feed it some food
Fallyn: You put it by him and then it will…
Me: How do you put it by him? Oh, you don’t have any food. Where do you get
food?
Fallyn: At the food store, see?

Video “talk” with Emma 1:10

Me: Can you tell me about your pet
Emma: My pet is named after the person I dressed up as at the wax museum,
cause I really liked it. And dressed up as it. I put the heart potion on it because I
like hearts floating around me,
Me: That’s why the hearts are there. What are the flies around you
Emma: I don’t have any flies!
Me: Why does your pet look so sad?
Emma: Because I need to feed it
Me: Oh, ok, and what is with the disco ball?
Emma: It’s here so my petlings, snowflake and brownie can dance, and I have
blueberry and coffee bean, oh sorry I have to feed them.
Me: So, I noticed that your pet is smiling. Does that mean that you are happy?
 121

Emma: Yep, I changed my face to match me

 122

APPENDIX F

PARENTAL PERMISSION SLIP

 123

DIGITAL SELF: PRIMARY STUDENTS AND COMPUTER ART

PARENTAL LETTER OF PERMISSION

Dear Parent:

I am a graduate student under the direction of Professor Mary Stokrocki in the College
of Art Education at Arizona State University. I am conducting a research study to
evaluate primary students’ ability to create computer-generated art, a virtual self and life.
The student will maintain the social network while developing their virtual self using MS
Paint , Photoshop, PowerPoint and Pet Society (Facebook).

Pseudonyms have been used to create random email addresses, pseudonyms and false
birthdates are used within the social network. The social network is limited to only those
in the study, and parents of those in the study. The highest privacy settings are set prior
to camp beginning. I will not teach them how to adjust the settings. We will also discuss
only "friending" classmates during camp, after camp they could friend whomever they
wanted with their parents' permission and supervision. Unless you are “friended” by
someone in the study access to their information, photographs, comments, and digital
artwork access is impossible.

I am inviting your child's participation, to explore their digital and virtual self. Your
child's participation in this study is voluntary. If you choose not to have your child
participate or to withdraw your child from the study at any time, there will be no penalty.
They can still attend camp without their information being used. Likewise, if your child
chooses not to participate or to withdraw from the study at any time, there will be no
penalty. The results of the research study may be published, but your child's name will
not be used.

Although there may be no direct benefit to your child, the possible benefit of your
child's participation is have the opportunity to create digital and virtual art. There are no
foreseeable risks or discomforts to your child’s participation.

Participation in this pilot study is confidential and all information will be written in
such a manner that the student will not be identified. A pseudonym will be used in all
notes and the final report. All research material will be kept under the control of the
researcher. Information derived from this study will be used for research purposes within
the context of my graduate research courses.

If you have any questions concerning the research study or your child's participation in
this study, please call me or Dr. Mary Stokrocki at MARY.STOKROCKI@asu.edu or
myself at 480-363-7038.
 124

Sincerely,
Jenny Evans

By signing below, you are giving consent for your child _______________ (Child’s
name) to participate in the above study.

_____________________ _____________________ _____

Signature Printed Name Date

If you have any questions about you or your child's rights as a subject/participant in this
research, or if you feel you or your child
have been placed at risk, you can contact the
Chair of the Human Subjects Institutional
Review Board, through the Office of
Research Integrity and Assurance, at (480) 965-6788.
 125

APPENDIX G

CHILD PERMISSION SLIP

 126

Participant Consent Form

Digital Self: Primary Students and Computer Art

I have been told that my parents (mom or dad) have given permission (said it's okay) for
me to take part in a project about Computer Art.

I will be asked to use MS Paint, Photoshop, Facebook and Pet Society during camp. I
will also be asked to fill out a pre survey and a post survey on the computer.

I am taking part because I want to. I know that I can stop at any time if I want to and it
will be okay if I want to stop.

__________________________________ __________________________
Sign Your Name Here Print Your Name Here

____________
Date