The Pseudo-realism stage occurs between the ages of 11 and 13.
In this stage, Lowenfeld begins to break up his characteristics between two groups of children: the visual type and the haptic type. In both groups, there is a tendancy to try to make realistic drawings. Figures possess joints and there is an emphasis on correct "posing." There is a shift in interest from narrative drawing to drawing from observation, as well as an interest in making drawings appear three-dimensional. While the visual type prefers to use color naturalistically, the haptic type uses color subjectively to express emotion. However, color is often left out completely to allow the artist to concentrate on other visual elements. This is a period of experimentation.Dave, age 12
Dave's drawing of his house shows that he has had some training in perspective. He is interested in showing his house as three-dimensionally as possible. Like many children in the Pseudo-realism stage, Dave's drawing is black and white, allowing him to focus heavily on line quality.Bella, age 13
Bella's painting of a parakeet shows her interest in realism. Her colors are naturalistic and she pays close attention to the fine details in the feather patterns. The gradient in her background serves as both a complimentary backdrop for the blue body of the bird, and as an express visual element that suggest softness and lightness.Jackie, age 13
Jackie, like Dave, has been taught perspective. She uses colors naturalistically and also makes use of their qualities to indicate near and far. The grass in the foreground is a warm yellow-green, which recedes in the background as a cooler, less saturated grey-green. Her use of the curving road to describe the form of the hill shows an advanced understanding of depicting space.Kayla, age 13
Kayla's figure drawing shows her desire to get proportions and position right. She uses a pen for the more detailed figure in the foreground and charcoal to achieve a hazy background, showing a greater awareness of how materials can be used to suggest space, as does her alternating of mark-making direction to differentiate between the floor and the wall.