Here are the beginnings of expressive movement - a manifestation of the current state of mind and more permanent personality traits, and are reflected in the speed, rhythm, regularity/irregularity, form of body movements…

Early children's drawings often do not follow a realistic appearance, which can be surprising because the starting point of the visual experience is expected to be optical projections. The lack of motor control of the hand in the child results from the lack of attention to the model, because the child does not observe the specific object or the person it depicts, but focuses on the member of the species. Children often use geometric shapes that are not simplified projective objects, but substitutes for the projective assembly (they draw 2 concentric circles instead of the shape of the eye). Children's observation and interest are very concentrated. Children limit themselves to the general properties of objects (straight legs, round heads, symmetry…)

All of this is classified as conceptual art, which is based on the abstractions of the intellect (apart from children, there is also Mesolithic painting and the art of cultures that do not know the alphabet). The theory of the intellect assumes that the child relies on non-visual sources, i.e. on abstract sources, but it has been criticized for the aforementioned dichotomy: the child's figure is no more a scheme than Rubens', it is just less differentiated. Mental life of children is closely connected with sensory experience

The creation of the image is created successively, and is observed simultaneously - the character of the experience of the movement of the line on the paper as it closes the circle is different from the experience of a completed, closed circle. The order in which the artist creates the composition is very important.

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