1. DIGITAL ART AND ANIMATION IN PRIMARY AND
EARLY CHILDHOOD EDUCATION
Lyn Hawkins
Finn Cragg www.finncragg.com
PO Box 622
North Perth WA 6906
Ph: (61 8) 9228 2018 Fax: (61 8) 9228 2443 lyn@finncragg.com
Abstract
Animation engages young audiences with visions of fantasy that
offer marvellous avenues to explore. When Finn Cragg
Animation Studio worked with WA schools during 2005 and 2006
many progressive outcomes were achieved. As a result of these
trials new methods to inspire inquiry, interpretation and creative
thinking were generated using short dialogue-free animations
and tailored multimedia resources. Introducing digital art and
storytelling processes to young students enables them to
understand the role of new media in laying the foundations for
multi-modal literacy whilst achieving cross curriculum learning
outcomes. This paper explores some easy ways to introduce
digital art and develop visual literacy in the early years.
Background
Animations are highly engaging for young viewers and most
students, even in the early years show a high level of media
literacy and knowledge about animation. However, young
viewers often need to explore the notion of fantasy versus
reality with the assistance of their teacher, as many have
trouble discerning what is created by the digital artist and what
is factual and real. By being exposed to some digital art
techniques using computers, this understanding is greatly
increased as the young student gets hands-on experience
manipulating images and re-purposing visual texts.
The Animated Story – The Starting Block
The animated stories “Caravan” and “Emu and the Flying
Doctor” which were created by digital author/animator Martin
Davidson, were used as the focal point of lessons. Setting the
animations to a soundtrack (with no character speaking) created
interpretative possibilities for the students. This enabled them
to immediately understand how variations exist within audiences
where viewers respond different to the same production.
The early classes were able to experience viewing, speaking
and writing, digital painting and mark making, while the
progressive developmental stages engaged in deeper text
analysis, challenging stereotypes, repurposing the resources
with computers and constructing their own oral, written and

2. visual texts whilst exploring the physical and textual aspects of
introductory media production and analysis.
The resources developed after the trials were produced on DVD and
include a short animation, storyboards and stills as well as a DVD-
ROM with stills and video footage for repurposing. CARAVAN is the
first title of Finn Cragg’s multimedia resources packs.
Teachers used the animated stories for achieving a variety of
outcomes, generally focused on literacy, and in particular
viewing outcomes and to generate discussion on themes such
as space, seniors, life, death, trust, personalities and
relationships (Caravan animation) and the outback, the flying
doctor service, animation technique, fantasy, flight and
friendship (Emu animation). There were numerous
opportunities for developing listening skills and audio analysis
exercises listening to the soundtrack e.g. Emu has two different
soundtracks to compare and contrast, contemplating audience
and purpose. In add classroom talk generated about the
animations, the oral presentations and drama productions of
scripts also developed art-related outcomes and critical skills.
For reluctant learners the animations were an effective way to
engage students and hold their interest, generating new areas
of discussion. The storyboards were an engaging approach to
facilitate writing, with or without the use of computers.
Some teachers utilised the stills and video footage from the as
a motivation for creative and descriptive writing, editing and
media production and for an introduction to digital art.

3. Making Marks in Primary Digital Arts: Modifying and
Adapting Images.
Using basic level programmes such as Paint and Power Point
that are available in most computer systems, students as young
as pre-primary level can make their digital marks and create
digital pictures. Further to creating pictures on blank pages, the
use of existing images to be modified and re-purposed provides
the student with the opportunity to manipulate an image for
their storytelling purposed. Students with access to the Caravan
stills can modify the pictures in ways that are limited only by
their imagination. This is an excellent early introduction to tools
that will be of diverse value. The following pictures are
examples of the ways students from different class levels have
made their marks on Caravan stills.
Utilising Microsoft Paint, the picture on the left shows how a
student has painted themselves into the picture, the image on
the right is where the young artist has modified the still to
narrate the next chapter in the Caravan story “they came across
a space butterfly”.
Challenging Stereotypes and Developing Narrative
Structure.
With a class of eight-and-nine-year-olds, views about seniors
and grandparents were discussed within in the class to
introduce the term’s theme. Typical stereotypes were generally
put forward, indicating usual paradigms held about the elderly.
Using a scaffolding approach throughout the term, a range of
texts explored the theme of grandparents. The teacher
challenged stereotypes by exposing students to a range of
written and visual texts. They were asked to identify and
discuss their own experiences with seniors and use their
imagination in a number of creative writing exercises. The
Caravan animation was shown and discussed at various levels,
with the teacher guiding the process. One student enquired
about the use of classical piano music in the animation. The

4. response from another young critic showed an insight into use
of sound in communicating narrative. “The reason the piano was
used is to show soft and loud, according to the emotions of the
grandparents”.
The Caravan animation was also used to initiate work on
narrative structure and story sequencing, focusing on opening
and closing of stories. Students used storyboards to develop
their own creative conclusions, planning their sequenced
endings to create a new narrative or new chapter in the lives of
this elderly couple. These stories depicted new images of
seniors, engaging in adventure, conquering challenges and
defeating enemies. Clearly the stereotypes held at the
beginning of term had been eroded and new visions of the
elderly were emerging.
Storyboards were used by students to
interpret ”Caravan.” The storyboard
files could be imported into Power
Point and text boxes used to write in
the speech and text.
Developing new conclusions and prequels
using storyboards: Year 3/4 class
Later in the term, students created portraits of the seniors/
grandparent characters they had been developing. The resulting
artworks clearly demonstrated the change in views about
seniors.

5. Engaging Remote Students: An animated approach
A class of six-to-seven-year-olds from a remote government
school with a significant Aboriginal student population found the
‘Caravan’ animation challenging and thought provoking. The
teacher asked the children what they believed was happening in
the animation. Many of their responses indicated confusion
about the content (set in space) and the characters (are they
real?). The opportunity for these young students to explore fact
and fantasy enabled them to learn about the role of moving
images, particularly animations, in presenting stories and ideas
that are not necessarily real nor based in fact. This highlights
the importance of challenging student’s held beliefs about
reality and building their awareness and critical understanding
about the use of images in the media, particularly in the
advertising of products.
The “Emu” animation was used to determine the effectiveness
of an Australian/familiar setting – a context that students relate
more intimately with. This 3 minute animation tells a story
about an emu in the outback that falls and breaks a leg, is
healed by a flying doctor and is treated to experience flight.
This animation is also set to a soundtrack and has no dialogue.
It required interpretative work and generated rich classroom
talk, oral expression and new vocabulary. Exposing students to
these animations improved understanding of the nature of these
texts, and prepared them for exploring these avenues for their
own storytelling while developing their emerging critical skills.

6. The Emu and the Flying Doctor presented a familiar setting for
Aboriginal students to engage with.
Case Study 4: The Impact of Animation on Young Viewers
A class of eight year olds at a government primary school were
given the task of reviewing the prototype of the animation
“Caravan.” After viewing the 3 minute animation on a DVD
player attached to a television as a whole class exercise, they
were instructed to list up to three things they liked about the
movie, up to three things they disliked and what they would
improve. They were then asked to write up to three questions
they would like to ask the animator prior to a class incursion
where the animator visited the school. They shared and
discussed their responses, facilitated by the teacher, and were
interested to see how different they all felt about various
aspects of the animation and what thoughts they each had
about how to improve the text. The empowerment felt by this
class when the animator returned to show them the final version
of the animation was evident in their delight that many of their
suggestions and improvements had been incorporated. For a
full copy of these student reviews email lyn@finncragg.com.
ICT, digital resources and art in early childhood stories
A class of six year olds at a government primary school were
given the task of creating a digital story using Photo Story 3 for
Windows (a free download from the Microsoft Download Center
for XP users). The students were shown fifteen still images
taken from the Caravan DVD-ROM 70 random still files (without
first seeing the animation). They were then required to import 6
carefully selected images and to sequence them in the
programme to make a digital storybook. Working in pairs
enabled a stronger computer user to be paired with a weaker
user. Over a number of lessons, narrative sequences were
developed, text written against each visual, background music
and voiceovers added and short digital stories created. With
this introduction to Photo Story 3, students were happy to plan
and storyboard their next challenge - the creation of their own
illustrated photo story, where their painted illustrations will be

7. photographed (jpeg format) to import into Photo Story to create
a six page self-illustrated digital storybook. See
www.finncragg.com in the student movies section for some
samples. Below is an example of a front cover illustration
where the Caravan stills have been modified using the
programme Paint.
Conclusion
These case studies indicate some of the potential and diverstiy
of animation and multimedia in early childhood education.
Utilising Finn Cragg’s digital resources, teachers were able to
develop new approaches to inspire student inquiry,
interpretation, critical skills, creative thinking and new methods
of creative engagement. The case studies indicate the wide role
and value of the digital arts and multimedia in laying the
foundations for young story tellers whilst achieving multiple
learning outcomes. It is hoped that Finn Cragg’s experiences
will prompt more research in this area and inspire teachers to
incorporate similar approaches to engage their students and
equip them with the knowledge that will help them become
powerful visual storytellers.
About Finn Cragg
Finn Cragg is a small Perth animation studio partnered by
Martin Davidson and Lyn Hawkins. Finn Cragg produces
specifically tailored 3D animations and multimedia resources for
K-12 and adult learners. They continue to generate feedback
and direction from teachers, literacy consultants, curriculum
resource developers, teacher associations, school principals,
and the students themselves. Lyn and Martin are experienced

8. presenters and workshop facilitators who have a pragmatic and
fun approach to their sessions.
For more information about Finn Cragg multimedia resources, a
preview of Finn Cragg animations, student samples and further
details see www.finncragg.com.
References
Freebody, P., & Luke, A. (1990). Literacies programs: Debates and demands
in cultural context. Prospect: Australian Journal of TESOL, 5(7), 7-16.
Note: The images contained in this article are copyright protected and
cannot be used in any way nor separately copied without the
written permission of Martin Davidson, Finn Cragg, Perth, WA.