Bryant & Schwan, 1971 ART AND THE MENTALLY RETARDED CHILD

National Art Education Association
Art and the Mentally Retarded Child Author(s): Antusa P. Bryant and Leroy B. Schwan Source: Studies in Art Education, Vol. 12, No. 3 (Spring, 1971), pp. 50-63 Published by: National Art Education Association Stable URL: http://www.jstor.org/stable/1319961 . Accessed: 06/04/2013 14:47
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ART AND THE MENTALLY RETARDED CHILD

ANTUSA P. BRYANT and LEROY B. SCHWAN
Introduction Children who are classified as mentally retarded often are denied art experiences because the art teacher feels that the retarded cannot profit from art instruction. At the other extreme, retarded children are given an overabundance of art and other "physical"type activities to compensate for their lack of mental acumen. Tests of aptitude in the graphic arts have been developed and are useful in determining art ability. The most widely used tests are: 1. The Graves Design Judgment Test,1 which is intended to measure the degree to which an individual perceives and responds to the basic principles of aesthetic order - unity, dominance, variety, balance, continuity, symmetry, proportion, and rhythm. 2. The Meier Art Judgment Test,2 which is intended to measure aesthetic judgment in a "global"manner. 3. The Knauber Art Ability Test,3 which is used to measure art ability in 15 different areas and may be used in grades 7 through 16. 4. The Horn Art Aptitude Inventory,4 which was designed as a screening device for applicants requesting admission to schools of art. 5. The McAdory Art Test,5 which is an older, less used test, published in 1929. None of these tests was designed to be used with mentally retarded children, nor have they been correlated with intelligence tests. The entire field of aesthetics has been largely neglected by psychologists.6Little or no basic research has been done in the area of aesthetics for children who are mentally retarded. Research on artistic abilities is still in a most primitive stage. Most of the tests have been left as they were when first designed as much as 30 years ago without follow-up research or revision. The nature of artistic aptitude remains an unsolved and neglected problem.7 Despite this dearth of basic research, teachers and administrators, who have understood neither the nature of impaired intellectual functioning in children nor the nature and the function of art education for this type child, have articulated practices that have resulted in a few good art education programs and a lot of bad ones for children who are mentally retarded. Artistic ability probably does not correlate highly with intellectual ability. Retarded children usually have problems in addition to specific low intellectual functioning, but this aspect (low intellectual functioning) is the primary debilitating condition. Thus, mental retardation has been defined as an intellectual condition resulting in intellectual functioning greater than one standard deviation below the population mean of the child's age group and accompanied by impaired maturation, learning, and social adjustment. On a test instrument such as the Wechsler Intelligence Scale for Children (WISC), a score of 71-89 is considered borderline intelligence, and a score of 70 or below is considered mentally deficient. In practice, most elementary
ART AND THIE MENTALLY RETARDED CHILD
51
and secondary schools use I.Q. scores of between 50 and 75 to indicate educable mental retardation; and children with such scores are placed in special classes. Textbooks on art education for children often include chapters on art education for atypical children (See Gaitskell and Gaitskell;8 Hastie and Schmidt;9 Lindermann and Herberholtz;l1 Lowenfeld and Brittain;1 Wackowiak and Ramsey;12 and Wankelman, Wigg, and Wiggl3). Conant14 among others, has written that art plays an important role in the education of children who are mentally retarded and often is the means to their habilitation. Because of a lack of basic research, he and other textbook writers as well as classroomteachers cannot substantiate these claims. The thesis of the authors of this paper is that children with impaired mental ability are capable of both expressing themselves artistically and of understanding art forms. They believe that a good art program can be a profitable experience for such children. To test the above thesis, the writers developed a two-phase, two-year art education project, during the 1967-1968 and 1968-1969 school years. The first phase was concerned with planning and continued for nine months. The second phase was an implementation phase and continued for about six months. Phase One: Planning Purpose. The purpose of this phase was two-fold: 1. To develop a test instrument to (a) assess initially a pupil's knowledge of the elements of art, and (b) determine the results of art instruction provided by the researchers. 2. To develop, demonstrate, and refine several art lessons which could be used in a standard manner with groups of children. Procedures, Phase I Sample. The subjects were enrolled as pupils in three different school systems: 1. Faribault State Hospital and School, a hospital and school for mentally retarded adults and children administered by the Minnesota Department of Public Welfare. 2. Owatonna State School, a school for emotionally disturbed, educable mentally retarded children and youths administered by the Minnesota Department of Public Welfare. 3. Three schools (Lincoln Junior High School, Lime Valley Elementary School, and Union Elementary School) from the Mankato (Minnesota) Public School system. Table 1 provides information about the subjects' chronological age, intelligence quotient, and school. Test Development. The investigators first constructed an instrument known as the Bryant-Schwan Design Test. Essentially, the instrument is a perceptual and vocabulary test that measures a pupil's perception of the five basic elements of art, namely: line, color, shape, value, and texture. The entire test is composed of a total of 120 items, equally
52
STUDIES IN ART EDUCATION
TABLE1 C.A., I.Q., AND SCHOOLOF SUBJECTS N - 65

No. of Children
School
C.A. Range
I.Q. Range
Faribault
17
14-18
23-57
Owatonna Lincoln LimeValley Union
10 18 7 13
8-15 14-18 7-10 6-9
50-75 50-80 25-50 50-80
divided into five sub-tests (Line, Color, Shape, Value, and Texture) and further sub-divided into two parts: Part I, a matching test for art perception, and Part II, an identification test for art vocabulary. The highest raw score obtainable for any part of the test is 12. Training Sessions. Two lessons were taught to each of the classes included in the study. In each of the art lessons taught, the pupil was motivated to create an imaginary insect, a monster, a flower, or an abstract design. The materials used were styrene, cake tempera, muslin, toothpicks, block printing ink, pipe cleaners, construction paper, string, and glue. Many of these materials were explored by each of the children using their senses. They smelled, touched, tasted, looked at, and listened to the materials. The methods and techniques of rolling, poking, dipping, twisting, brushing, or gluing the art materials were demonstrated early in each lesson, which included an element or principle of design; i.e., positive or negative line, repetition, varying types of lines, shapes, and form. The children were asked to look for lines and shapes in flowers, twigs, and leaves which were brought to class. Discussion. Some observationsmade during this phase follow: 1. The mentally retarded child is capable of reacting to specific art media. Furthermore, he is capable of expressing himself artistically with the use of these specific materials. 2. It seems that a mentally retarded child, with an I.Q. score in the range of 2380, can handle any art material that is given to him, provided directions are made simple and that enough repetition is allowed. The trainable child was not as quick motorically nor was he as well coordinated as the educable child. However, both groups: a. Mostly accepted the activities provided for them. b. Concentrated on their activities with very minimal direction and guidance from the art teacher. c. Completed each project within 30 minutes. d. Produced original designs. e. Expressed pleasure over the researchers'coming to work with them and desire that they come back to do more work with them.
53
Phase Two: Implementation Purpose. The purpose of this phase was to find answers to the following questions: 1. To what extent can children who are mentally retarded perceive and acquire knowledge of the basic design elements of art? 2. Can these children produce original art work with their knowledge of design (limited as it may be) ? 3. What is the relationship between one's art knowledge and his obtained intelligence score? Procedures, Phase II Sample. Thirteen pupils, who composed the entire special education class at the Wilson Campus School, the laboratory school of Mankato State College, were included in the study. They ranged in chronological age from 8-0 to 12-9. Table 2 shows their C.A., as well as M.A. and I.Q. scores obtained on the Peabody Picture Vocabulary Test, Form A. Testing. The subjects were administered Form A of the Peabody Picture Vocabulary Test for the purpose of obtaining a measure of intelligence which could later be correlated with scores on the Bryant-Schwan Design Test. Upon completion of this test, the subjects were administered the Bryant-Schwan Design Test, developed during Phase One of the study. This latter test was administered in part or in full twice more during the course of the study. The appropriate sub-test (i.e., Line, Color, etc.) was administered to the pupils soon after three art lessons were taught them on a given area (Line, Color, etc.). The entire test was re-administeredat the end of 15 art lessons.
TABLE 2 PEABODY PICTURE VOCABULARY TEST, FORM A, SCORES OF 13 PUPILS AT WILSON CAMPUS SCHOOL Pupil 1 2 3 4 5 6 7 8 9 10 11 12 13 C.A. 12-3 10-0 8-0 10-9 9-6 11-0 11-6 12-9 8-5 10-10 9-5 8-6 11-6 M.A. 6-3 7-6 6-8 7-3 6-1 6-10 12-11 10-7 7-1 7-3 7-10 6-3 8-7 I.Q. 59 90 80 69 70 66 108 85 92 69 90 76 77
54
Immediately after the first administration of the Bryant-Schwan Design Test, the standard lessons were commenced. Fifteen lessons, each of one-half hour duration, were given over a period of seven and one-half weeks, or two lessons per week. In each lesson, new words dealing with the element of design under study were written on the blackboard and repeated in unison by the class members. These words were mentioned many times during each lesson. A gain in knowledge of these art terms was the primary objective of the lessons. Finished or completed art products were of secondary concern. Results. In terms of the five art elements, the pupils scored highest on the Color sub-test followed by the sub-tests on Value, Shape, Line, and Texture, in that order. As seen in Table 3, the scores obtained on the pre-test showed evidence of pupil strength in perceiving color, shape, line, value, and texture, but of some weakness in identifying the same art elements through the use of art vocabulary. The obtained differences between the test administrations yielded 12 scores that are significant at the .05 level. The probability is good that the gains shown here are due to systematic teaching, if the test instrument is both reliable and valid (See Table 4). These significant scores were obtained on the sub-sections Line, Color, Value, and Texture. The children made some gain on the sub-section Shape, but the differences obtained were not significant.
TABLE 3 MEAN SCORES OF PARTS I AND II ON LINES, SHAPES, COLORS, VALUES, AND TEXTURES ON THREE TEST ADMINISTRATIONS Pre-Test I Line
Means SD 11.76 .44 6.46 2.76 11.53 .88 7.53 1.39 12.00 7.53 1.66
Interim Test II I II I
Post-Test II
Shape Means SD Color

Means SD
12.00
7.23 1.88
9.76 1.59
11.92 .28
11.92 .28
7.61 3.10
10.69 1.11
12.00
7.92 2.22
10.46 1.56
12.00
12.00
Value Means SD Texture

Means
11.53 .97
11.30
7.76 2.05
4.92
11.92 .28
11.38
8.84 2.44
7.53
12.00
8.00 2.88
7.92
12.00
SD Grand Total
Means SD
1.32
58.61 1.76
2.87
36.15 5.37
.87
58.69 1.70
3.50
41.38 7.28 60.00
3.28
42.00 7.37
ART AND THE MENTALLY
RETARDED
CHILD
55
TABLE 4 TESTS OF SIGNIFICANCE

T
Line:
Part I Part II
PT PT PT PT PT PT PT PT PT PT PT PT PT PT PT PT PT PT PT PT PT PT PT PT
IT IT IT IT IT IT IT IT IT IT IT IT IT IT IT IT IT IT IT IT IT IT IT IT
AT AT AT AT AT AT AT AT AT AT AT AT AT AT AT AT AT AT AT AT AT AT AT AT
Shape:
Part I Part II
Color:
Part I Part II
Value:
Part I Part II
Texture:
Part I Part II
Total: Total:
Part I Part II
.848 1.897* 1.897* 1.257 .000 1.205 .999 .999 .000 .382 .291 .859 .999 .999 .000 1.717* .434 1.120 1.377 .999 1.720* 1.217 .660 .392 .175 2.550* 1.897* 2.082* .289 2.482* .113 2.769* 2.840* 2.096* .215 2.311*
PT-Pretest IT-Interim test AT-After test or post test *p<.05
All the 13 children in the study created original designs and appeared to enjoy the
lessons presented to them. Correlations between specific scores on the Bryant-Schwan Design Test and the Peabody Picture Vocabulary Test by the 13 children show both negative and
positive, but extremely low, relationshipsranging from -.06
to .28 (See Table 5).
56
STUDIES
IN ART EDUCATION
TABLE 5 CORRELATIONS BETWEEN SPECIFIC SCORES OBTAINED ON THE ART DESIGN TEST AND THE PEABODY PICTURE VOCABULARY TEST BY 13 PUPILS
Pretest Part I and PPVT I.Q. -.17
Pretest Interim test Interim test Post test Post test
Part II and PPVT I.Q. Part I and PPVT I.Q. Part II and PPVT I.Q. Part I and PPVT I.Q. Part II and PPVT I.Q.
.12 -.22 -.06 .28
Discussion
In summary, this study suggests that special children can learn limited art concepts
through systematic teaching. They also can learn art terminology by direct exposure to concrete objects, which they are able to observe, examine, manipulate, verbalize about, react to, and put together in some artistic way. They can get involved in producing art, which they understand and enjoy. The materials needed in the art lessons
do not have to be expensive or elaborate; rather, they can be readily procured from the home, the school supply room, and the local community store. Additional research is needed and is being done in terms of standardizing the Bryant-SchwanDesign Test and in trying out other art lessons using other art media.
BRYANT-SCHWAN DESIGN TEST*

Test Description: This is an individually administered test in assessing levels of knowledge about design. The five elements of design to be measured are lines, shapes, values, colors, and textures. Twelve items make up each of the two parts for each of the five elements. The first part of each of the elements consists of matching items; the second part consists of identification items. The entire test is composed of a total of 120 items. It takes from ten to fifteen minutes to administer. The kit includes the following: a test manual, a test booklet showing items to be identified, a box of cards showing items to be matched, and score sheets. Directions for Administering the Test: The test could be administered individually by teachers, teacher aides, and by any other person with at least a high school education. The usual factors affecting test performance such as good rapport, optimum testing room conditions, standard test directions, good physical and emotional conditions of the examinee, etc., should be considered. The examinee sits across the table from the examiner. The matching cards are numbered. Expose the card to the examinee with the number towards the examiner like this:
*Copyright by Antusa S. Bryant and LeRoy B. Schwan, 1970.
57
Examinee
A-I-1
Examiner
The five areas to be tested should be given in the order presented in the booklet. Variation in order of testing is allowed. However, when an examinee does not seem to be interested in the task required, a change in the area (i.e., from lines to colors) might improve the situation. Such a change in testing order should be noted. Specific directions for each of the areas are as follows: DESIGN SCREENING TEST A. lines Part I - Matching (Use page 1 of the test booklet for all items on this part. Also use the individual matching cards.) 1. Show me a line that looks like this (crooked line). 2. Show me a line that looks like this (straight line). 3. Show me a line that looks like this (broken line). 4. Show me a line that looks like this (curved line). 5. Show me a line that looks like this (thin line). 6. Show me a line that looks like this (thick line). 7. Show me a line that looks like this (short line). 8. Show me a line that looks like this (long line). 9. Show me a line that looks like this (diagonal line). 10. Show me a line that looks like this (bent line). 11. Show me a line that looks like this (vertical line). 12. Show me a line that looks like this (changing line). Part II- Identification (Do not use matching cards.) 1. Show me a crooked line. 2. Show me a straight line. 3. Show me a broken line. 4. Show me a curved line. 5. Show me the thinnest line. 6. Show me the thickest line. 7. Show me the shortest line. 8. Show me the longest line. 9. Show me a diagonal line. 10. Show me a bent line. 11. Show me a vertical line. 12. Show me a line that changes. B. Shapes Part I - Matching (Use matching cards for this part. Start on page 2. Turn to page 3 after giving item 6.) 1. Show me one that looks like this (circle). 2. Show me one that looks like this (square).
58
3. 4. 5. 6. 7. 8. 9. 10. 11. 12.
Show me one that looks like this (triangle). Show me one that looks like this (rectangle). Show me one that looks like this (oval). Show me one that looks like this (octagon). Show me one that looks like this (hexagon). Show me one that looks like this (one-half circle). Show me one that looks like this (parallelogram). Show me one that looks like this (cross). Show me one that looks like this (trapezoid). Show me one that looks like this (star).
6.)
Part II - Identification (Do not use matching cards. Start on page 2. Turn to page 3 after giving item 1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12. Show me a circle. Show me a square. Show me a triangle. Show me a rectangle. Show me an oval. Show me an octagon. Show me a hexagon. Show me a half-circle. Show me a parallelogram. Show me a cross. Show me a trapezoid. Show me a star.
C. Colors Part I - Matching (Use matching cards for this part. Start on page 4. Turn to page 5 after giving item 3, and then turn to page 6 after giving item 6.) 1. Show me a color like this (red). 2. Show me a color like this (blue). 3. Show me a color like this (yellow). 4. Show me a color like this (orange). 5. Show me a color like this (green). 6. Show me a color like this (purple). 7. Show me a color like this (blue-green). 8. Show me a color like this (red-violet). 9. Show me a color like this (yellow-green). 10. Show me a color like this (blue-violet). 11. Show me a color like this (red-orange). 12. Show me a color like this (yellow-orange). Part II - Identification (Do not use matching cards. Start on page 4 of test booklet. Turn to page 5 after giving item 3, and then turn to page 6 after giving item 6.) 1. Show me the color red. 2. Show me the color blue. 3. Show me the color yellow. 4. Show me the color orange. 5. Show me the color green.
59
6. Show me the color purple. 7. 8. 9. 10. 11. 12. Show me the color blue-green. Show me the color red-violet. Show me the color yellow-green. Show me the color blue-violet. Show me the color red-orange. Show me the color yellow-orange.
D. Value Part I - Matching (Use matching cards for this part. Start on page 7 and turn to page 8 after giving item 5.) 1. Show me a square that looks like this (light gray). 2. Show me a square that looks like this (black). 3. Show me a square that looks like this (medium gray). 4. Show me a square that looks like this (white). 5. Show me a square that looks like this (dark gray). 6. Show me a square that looks like this (yellowish gray). 7. Show me a square that looks like this (bluish gray). 8. Show me a square that looks like this (violet gray). 9. Show me a square that looks like this (greenish gray). 10. Show me a square that looks like this (orange gray). 11. Show me a square that looks like this (reddish gray). 12. Show me a square that looks like this (brown gray). Part II - Identification (Do not use matching cards for this part. Start on page 7 and turn to page 8 after giving item 5.) 1. Which one is light gray? 2. Which one is black? 3. Which one is medium gray? 4. Which one is white? 5. Which one is dark gray? 6. Which gray has yellow in it? 7. Which gray has blue in it? 8. Which gray has violet in it? 9. Which gray has green in it? 10. Which gray has orange in it? 11. Which gray has reddish (purple) in it? 12. Which gray has brown in it? E. Texture Part I - Matching (Use matching cards for this part. Start on page 9 and turn to page 10 after giving item 6.) 1. Show me one that feels like this (felt). 2. Show me one that feels like this (plastic). 3. Show me one that feels like this (toothpicks). 4. Show me one that feels like this (pipe cleaners). 5. Show me one that feels like this (sandpaper). 6. Show me one that feels like this (sponge). 7. Show me one that feels like this (pebbled plastic). 8. Show me one that feels like this (smooth metal).
60
9. 10. 11. 12.
Show me one that feels like this Show me one that feels like this Show me one that feels like this Show me one that feels like this
(perforated metal). (corrugated cardboard). (twine). (burlap).
Part II - Identification (Do not use matching cards for this part. Start on page 9 and turn to page 10 after giving item 6.) 1. Show me the one that feels soft and fluffy. 2. Show me the one that feels slick and smooth. 3. Show me the one that feels hard and bumpy. 4. Show me the one that feels furry and fuzzy. 5. Show me the one that feels scratchy and gritty. 6. Show me the one that feels squishy and bouncy. 7. Show me the one that feels bumpy and scaly. 8. Show me the one that feels smooth, hard, and slippery. 9. Show me the one that feels sharp and pricky. 10. Show me the one that feels ridgy and bumpy. 11. Show me the one that feels scratchy and hairy. 12. Show me the one that feels coarse and fuzzy. Directions for Scoring: 1. Basal and Ceiling - Start with the first item on each part and work forward until the examinee makes five consecutive errors and then stop. The numbers of the remaining items for that part should be encircled. Proceed to the next part and do the same. Be sure to stop when five consecutive errors are made in any part. Then proceed to the next part. All the areas should be given in this manner. 2. Recording Responses - An answer sheet is provided in the test kit. To establish ceiling, indicate incorrect responsesby drawing a line through the item number. For example, A. Lines Part I 1. 2. 3. 4. 5. 6. 7. 8. 9. 10. _-.t-_ 12. Part II 1. 2. ---3_-4. 5. 6. ----8 ----_4--
--4_-(
The above example shows that the examinee made errors on Item 11 on Part I and Items 3, 7, 8, 9, 10, and 11 on Part II and was not asked to respond to Item 12 on Part II. 3. Some items have more than one correct response. If any or all of the correct responsesare given by the examinee, the item should be regarded as correct. If an additional incorrect response is given, disregard the incorrect response and consider the item correct.
61
4. Scoring - The total raw score is the number of correct responses. Unmarked item numbers are correct. Simply add all the unmarked items on each part to obtain the raw score. To compute the chronological age, days are dropped unless they are more than 15 in which case an extra month is added to the age. 5. Finding Derived Scores - This test is being administered for its trial run at the present time. When enough tests have been administered, raw scores will be converted into derived scores such as mental age, a standard score equivalent, intelligence quotient, or a percentile equivalent. LESSON PLANS Three lessons on each of the art elements (starting with color down to texture) were presented to the pupils between the pretest and the appropriate sub-section interim test. An abbreviated description of Lessons One to Fifteen follows: Lesson One Objective: Method: Materials: Motivation: Lesson Two Objective: Method: Materials: Motivation: Lesson Three Objective: Method: Materials: Motivation: Lesson Four Objective: Method: Materials: Motivation: Lesson Five Objective: Method: Materials: Motivation: Lesson Six Objective: Method: Materials: Motivation: Discovering and using the octagon and cross Sticking octagons and crossestogether to make sculpture Styrene and pipe cleaners Viewing colored slides of insects Discovering and using the hexagon and triangle Monoprinting using hexagon and triangle shapes Styrene, fingerpaint, and paper Discussing pets and animals at home or in a zoo Learning to see, recognize, find, and verbalize about parallelograms and trapezoids Finding and perceiving, then drawing Crayon and paper Looking at and finding the shapes in the classroom and discussing the sizes and shapes Discovering and using two of the tertiary colors red-violet and yellow-green Fingerpaint printing Fingerpaint, paper, and ceramic tile Sniffing, tasting, feeling, listening to, and looking at spring flowers Mixing, verbalizing, using, and manipulating the tertiary colors blue-violet and red-orange Found-object printing Watercolor paint and color Finding and discussing repetitive patterns and designs Using, mixing, verbalizing, and manipulating two of tertiary colors blue-green and yellow-orange Fingerpainting and the use of stencils by cutting or tearing Fingerpaint and paper Creating colorful imaginary creatures
62
Lesson Seven Objective: Method: Materials: Motivation: Lesson Eight Objective: Method: Materials: Motivation: Lesson Nine Objective: Method: Materials: Motivation: Learning to recognize, mix, and use the tones orange-gray and bluegray Stencil printing with a brush Tempera paint, stiff brushes, stencil paper, and paper Perceiving patterns and repetition of art elements in children's clothing Learning to recognize and use the tones red-gray and green-gray Sponge painting Tempera paint, sponges, paper Observing and discussingthe different grays in the clouds Learning to recognize, mix, and use the tones of yellow-gray and violet-gray Mixing paint on a palette with a brush Tempera paint, stiff brushes, and tagboard Playing paint salesman and demonstrating how to mix paint
Lesson Ten Objective: Method: Materials: Motivation: Lesson Eleven Objective: Method: Materials: Motivation: Learning to recognize and use straight, bent, vertical, and horizontal lines Poking yarn into styrene, like stitchery Styrene, yarn, and a pencil to poke Capitalizing on the uniqueness of the material and demonstrating how to effectively use it Discovering, using, and verbalizing about crooked and broken lines Simple weaving Burlap, yarn, and needles Discussing and demonstratinghow to make hot pads and mats
Lesson Twelve Objective: Method: Materials: Motivation: Lesson Thirteen Objective: Method: Materials: Motivation: Discovering rough, smooth, hard, soft, and fluffy textures Crayon rubbings Paper and crayons Walking around the school, finding textures, and discussing them, then rubbing over them Learning to recognize and use curved, short, long, diagonal, and changing lines String drawing and printing String, glue, wood, brayer, water soluble block printing ink Showing slides of wild animals and discussingzoo animals
63
Lesson Fourteen Objective: Method: Materials: Motivation: Lesson Fifteen Objective: Method: Materials: Motivation: Learning about sharp, gritty, and pricky textures Crayon etching sometimes known as graffito Crayons, tagboard, and nails Talking about sharp, gritty and pricky things in the classroom and at home and how we know they are that way Discovering, recognizing, and using bumpy, sticky, and fuzzy textures Making a collage Burlap, twine, yarn, corrugated cardboard, and glue Showing slides of stitcheries by a professional, followed by a discussion
Antusa S. Bryant is professor, Department of Special Education, Mankato State College, Mankato, Minnesota. Leroy B. Schwan is assistant professor, Department of Art, Mankato State College, Mankato, Minnesota. REFERENCES
1 Graves, M., Graves Design Judgment Test, New York: The Psychological Corporation, 1948. 2 Meier, N. C., The Meier Art Judgment Test, Iowa City: Bureau of Educational Research and Service, University of Iowa, 1940-1942. 3 Knauber, A. J., Knauber Art Ability Test, Chicago: C. H. Stoelting Company, 1932-1935. 4 Horn, C. C., Horn Art Aptitude Inventory, Chicago: C. H. Stoelting Company, 1953. 5 McAdory, M., The McAdory Art Test, New York: Teachers College, Columbia University, Bureau of Publications, 1929-1933. 6 Freeman, Frank, Theory and Practice of Psychological Testing, New York: Holt, Rinehart, and Winston, 1962, p. 461. 7 Cronbach, Lee J., Essentials of Psychological Testing, New York: Harper and Row Publishers, 1970, p. 403. 8 Gaitskell, C. D., and Gaitskell, M. R., Art Education for Slow Learners, Peoria, Illinois: Charles A. Bennett Company, Inc., 1953. 9 Hastie, R., and Schmidt, C., Encounter with Art, New York: McGraw-Hill, 1969. 10 Linderman, E., and Herberholtz, D., Developing Artistic and Perceptual Awareness, Dubuque, Iowa: William C. Brown Publishers, 1969. 11 Lowenfeld, V., and Brittain, L., Creative and Mental Growth, New York: Macmillan Company, 1964. 12 Wackowiak, F., and Ramsay, F., Emphasis Art, Scranton, Pennsylvania: International Textbook Company, 1965. 13 Wankelman, W., Wigg, P., and Wigg, M., A Handbook of Arts and Crafts for Elementary and Junior High School Teachers, Dubuque, Iowa: William C. Brown Publishers, 1968. 14 Conant, Arthur, Art Education, New York: Center for Applied Research in Education, 1967, p. 78.

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Bryant &amp; Schwan, 1971 ART AND THE MENTALLY RETARDED CHILD

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National Art Education Association

ART AND THE MENTALLY RETARDED CHILD

ART AND THIE MENTALLY RETARDED CHILD

STUDIES IN ART EDUCATION

TABLE1 C.A., I.Q., AND SCHOOLOF SUBJECTS N - 65

Owatonna Lincoln LimeValley Union

8-15 14-18 7-10 6-9

50-75 50-80 25-50 50-80

ART AND THE MENTALLY RETARDED CHILD

STUDIES IN ART EDUCATION

Shape Means SD Color

Value Means SD Texture

ART AND THE MENTALLY

TABLE 4 TESTS OF SIGNIFICANCE

PT-Pretest IT-Interim test AT-After test or post test *p<.05

positive, but extremely low, relationshipsranging from -.06

to .28 (See Table 5).

Pretest Interim test Interim test Post test Post test

.12 -.22 -.06 .28

BRYANT-SCHWAN DESIGN TEST*

ART AND THE MENTALLY RETARDED CHILD

STUDIES IN ART EDUCATION

3. 4. 5. 6. 7. 8. 9. 10. 11. 12.

ART AND THE MENTALLY RETARDED CHILD

STUDIES IN ART EDUCATION

9. 10. 11. 12.

(perforated metal). (corrugated cardboard). (twine). (burlap).

ART AND THE MENTALLY RETARDED CHILD

STUDIES IN ART EDUCATION

ART AND THE MENTALLY RETARDED CHILD

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Bryant & Schwan, 1971 ART AND THE MENTALLY RETARDED CHILD

Bryant & Schwan, 1971 ART AND THE MENTALLY RETARDED CHILD