ARTS OBSERVATION CHECKIlST

Dr. Judith A. Rubin. A.T.R. >I<

Circle the most app'Opriate responses:

I. THE CtflLD'S APPROACH TO THE MATERIAL

L Does he come at his own request. at teacher's suggestion, or because others are
already engaged with the materials?
2. Is he eager, reluctant, or neutral about using the materials?
3. Is he sl<J\.V in gening started or <:bes he plunge right in?
4. Does he seem apprehensive about the messiness or dirtine~ involved?
5. Is he selective, haphazard., or impulsive in use of the material?
6. Does he seem intent on making something or more interested in manipulation'?
II. DEGREE OF CHrrD'S ABSORPTION WITH THE MATERlAL

1. Does he seem intent on what he is doing, or more interested in what the children
near him are doing?
2. Does he seem to be daydreaming without relating to material or peers?
3. Is his concentration span long or short?
4. Is he easily distracted from what he is doing?

5. Is the activity more a means to social contact or an end in itself?

III. ENERGY EXPENDED

l.Does he work on a fairly even keel, or does he use a great deal of energy in
manipulating the material, in body movements, and verbalizations?
2. Does he seem to persist in the activity to the point of tiring himself?
3. Does he start slowly and gain momentum or vice-versa?
4. Does he seem lethargic, listle~, lacking in vitality?

N. DEVElDPMENT OR MOVEMENT APPARENT IN EACH SESSION

1.Does he become progressively freer and more venturesome?

2. Does he start 'wildly" and later show more integration?

V. MANIPUIATIVE ACTION

1. Is the child free or tense in his handling of materials?

2. Is he careless or careful?
3. Are his movements large and jerking or small and precise?
4. Are his movements smooth or jerky?
5. Does he use the material in the conventional way or not?

*adapted from Hartley, R Frank, L and Goldeson, R., Understanding Children's Play.New
YorkQ)lumbia University Press, 1952.
ARTS OBSERVATION CHECKLIST. page 2

VI. A TIITl:"'DE TOWARD MATERIAL

1. Is the child willing to share the material with others?
2. Is he intent upon collecting and hoarding the material?
3. Does he ask for more than he uses?
4. If there is a shortage of materia~ does the child make the best of the situation and
use his share constructively?
5. Does he use a great deal or very little of the material?

VIT. TEMPO OF WORK

1. Does the child work rapidly or dehberately?

2. Does he seem to hurry to fmish up or is he leisurely in pace?
3. Does his pace vary with different situations or is it about the same?

VITI BODY MOVEMENTS

1. Does the child's body seem tense and constricted or relaxed and free?
2. Are his movements uncertain, jerky, or poorly coordinated?
3. Is there a sureness about his movements giving evidence of coordination?
4. Does he move his hands and arms freely and incorporate his whole body
rhythmically, or does he seem rigid, using only parts of his body?
5. What is the tempo of his body movement? (rapid. sluggish. slow, uneven)
6. Does he use rightJeft. or both hands?

IX. VERBAliZATION

1. Does he talk, sing, hum while he works?

2. To whom does he speak?
3. Does he ever giggle or shout?
4. Are his voice tones loud, shril.4 soft, aggressive, tense, wavering, whining, etc.?

X ADDITIONAL SUGGESTIONS FOR OBSERVING SPECIFIC ACfIVITIES

1. Is the color choice free, suggested by other children, restricted by adult or

situation?
2. Is he careful about the amount of paint used or does he use a lot?
3. Does he mix colors (in jars or on the paper)?
4. Are the colors separated on the paper?
5. Does he paint one color over another?
6. Is he able to control drip;?
7. Does he try to control the drips?
S. Does he deliberately drip?
. , ..

ARTS OBSERVATION CHECKLIST, page 3

9. Does he try to confine himself to one small spot or bit of space. or does he spread
out?
10. Does he paint off the paper?
11. Does he ignore boundaries or empha<;ize them (i.e. with borders)
12. Does he experiment Vlith the paint or does he make patterns or representational
pictures?
13. What forms, if any? (vertical, curves, ci:rcles,fill-insJetters, dots, numbers, blotches
of color, representations, etc.)
14. Does he paint over the forms?
15. Does he paint quickly?
16. Does he work for a long time on a painting?
17. Does he name the painting?
in detail?

in general?

FINGER-PAINT

1. Does the child start spontaneously or touch the material hesitantly?

2. Does he want to wash his hand immediately or later?
3. Does he want many colors or the same ones?
4. Does he mix them or keep them separated?
5. Does he go outside the limits of the paper?
6. Does he bang, slap, or squeeze?
7. What seems to be most satisfying?--the feel, color. design, chance to mess? Other?

CL4Y

L How does he handle the day physically? (pounding. rolling. pulling apart. squeezing,
poking, making mush, making balls. snakes. slapping it. stamping on it, patting. stroking,
scraping, throwing, etc.)?
2. Does he use large "gIoos", or small bits?
3. How does he use material in the space available? Does he work in his own area or does
he spread out? (off the board, over the table, etc.)
4. Does he use water and if so. does he spatter and splash or Vlipe up the excess?
5. Does he use supplementary tools. such as tongue depressors? (sticks. tooth-picks. scissors,
beads, etc.)?
6. How does he achieve fonn by pounding, rolling, etc.?
7. Is there representation?
8. Is he eager to save it or does he destroy it?
9. Does he comment on the dirtiness?
10. Does he change his facial expression often?