华德福教育—形线画Form Drawing双语版

INTRODUCTION
Rudolf Steiner gave indications for the teaching of form drawing during his lecture courses at Stuttagart in 1919. Form drawing is one element that is unique to Waldorf education. Even upon introduction to form drawing, teachers see that form drawing is a powerful tool for development in a child’s education. The purpose of this book is to aid teachers in deepening their understanding of form drawing, why it is done and where it leads.
Rudolf Steiner于1919 在Stuttagart的公开课中给出了关于形线画教育法的说明。

形线画是华德福独有的教育元素。

教育工作者们仅仅在了解了形线画教育法的介绍之后就预见到了这种方法将对孩子的成长发育产生巨大的影响。

本书旨在帮助教育工作者们对该教育法产生更深层次的认识：为什么这种方法会产生如此巨大的作用，同时将给儿童带来怎么的帮助。

There are many sound reasons which support the feeling that form drawing is good for children. The simplest and perhaps most straight-forward reason is that it develops the fine motor skills as a preparation, and later a support, for writing. It strengthens eye-hand coordination, giving the eye practice at being coachman for the horses, the hands. Form drawing also works in the other direction: The movement of the hand also educates the brain. Furthermore, it is part of the evolution of art and, as such, develops the aesthetic sense and a feeling for form. It also teaches thinking but in a non-intellectual way; it trains the intelligence to be flexible, able to follow and understand a complicated line of thought. The more human beings are trained to think flexibly, the greater the world is strengthened in intelligence. Finally, form drawing really supports the development of the whole being of the child, guiding it in a healthy way with certain types of forms brought to the child which are appropriate for his age in the various grades. The sequence of forms given in this book especially meets this requirement.
在众多强有力的理由中，每一条都足以让我们坚信形线画的巨大益处，其中最简单也最有说服力的一条是：它能发展孩子的精细动作，为书写能力作铺垫并打下基础。

另外，也能够强化眼手协调，让眼睛成为指导双手动作的教练，而手部精细动作的锻炼也能增长智力。

与此同时，作为艺术演变的一部分，形线画发展了审美观和图形感。

形线画还能训练我们用一种非智力的方式思考，使头脑更加灵活，能够跟随并理解复杂的思路。

人类拥有越灵活的思维，我们就会拥有更加智能化的社会。

最终，形线画将从真正意义上帮助儿童全面发展，并指导不同年级的儿童通过一些特定的适龄的形线图式得到健康发展。

而本书呈现这些形线图式的顺序也很好地满足了这一要求。

The teacher should be aware not only of why he is teaching form drawing in the wider sense, but also he should himself be aware of what effect that particular form will have on the children before he presents it. He can only have this if he develops in himself an inward feeling for form, a feeling for the character of the curvature of the line. In the curvature of the line lies the will impulse; the stronger the curve, the stronger the will impulse.
在教授形线画之前，老师们不仅要清楚形线画的益处及意义所在，更要熟知每个形线图式的内涵及准确的理疗作用。

而对于老师来说，想要彻底掌握这项技能，一定要先建立形线图式的内在感觉，一种对形线曲率特性的感觉。

Developing a feeling for form, then, develops the will forces. To develop this feeling for form, the hands must be brought to feel the form; we need to see with our hands. We need to describe the feeling of the movement. We need to work through a form until it is incorporated in us; the drawing itself is really only a trace, an echo, of our process of movement. Although we wish to achieve a “”certain perfection” in the drawing of the form, it is the process which is of the greater importance. If the process has been properly worked through, the product will be good.
先建立感觉，再建立强大的意志力。

想要建立这种感觉，首先要亲手去感受每个图式并仔细观察我们手运笔的走向，与此同时描述自己的感受，直到这个图式已经与我们合二为一。

绘图的过程本身就是我们对我们运笔的描述和回应，虽然我们会本能地追求绘制的“完美化”，但是绘制的过程其实更为重要。

只要我们在绘制的过程中下了足够的工夫，作品自然会好。

The movement, then, is of great importance. The final product is as well. It should be remembered that the line is the subject and it is not a picture of something in the outer world, even if the shape of the form suggests a butterfly or some other object. It is not in keeping with the purposes of form drawing to permit children to draw little flowers, faces, Christmas trees, ets. Inside or around the form they have drawn, either. These detract from the line. The teacher may tell a story which describes the movement of the form to bring the movement into connection with the child’s soul. (Some examples of these will be given.) Of equal importance to the line and its movement is the space between the lines of the form; this space should not be filled with irrelevancies. It is important for the children to connect with the form in the feeling life. Color, used appropriately, can serve this purpose developing the children’s aesthetic senses as well. Colors should be chosen that are harmonious and that suit the form; they should be used in such a way that they enhance, not detract from, the beauty and movement of the form.
运笔很重要，当然作品也很重要。

要注意的是，线条才是重点，虽然有些图式看起来像一只蝴蝶或都其他什么具体的事物，但并不是外界事物的写照。

形线画的目的并不在于让孩子画些小花、面孔或圣诞树之类的东西，或是注重图式内部或周边，这些反而会转移孩子的注意力。

为了帮助孩子更好地关注线条本身，老师可以为线条的走向编一个故事，使孩子将运笔的走向与他们的灵魂合二为一。

（本书将对此举例说明。

）与线条和运笔同样重要的是线条与线条之间的空间关系，而这些空白的空间中不能够随意添加无意义的线条。

同时，色彩的运用也能很好地帮助孩子将图式与感性生活相联系，并提高审美鉴赏水平。

但是本色要和谐并与图式相匹配，也就是说，色彩应该对图式的美感和运笔起到锦上添花的作用，而不是画蛇添足。

In developing a feeling for form, a feeling for the curvature of the line, it is also important to develop a feeling for the width of the line. By fourth grade, this matters very much in the work with the knotted forms. The character of the whole form is affected by how the line is narrower here, how it widens there, how it comes to a point here, how it curves softly there. If one draws the line carefully, one has to care whether it is wide or narrow, and one connects oneself to the form through the feelings.
除了图式感、曲率之外，线条的宽度也是一个重要因素。

在四年级的课程中，线条的宽度对于有结点的图式来说影响就更大了。

在这种图式中，线条窄在哪里，宽在哪里，哪里有结点，哪里的曲率如何都影响着一个图式的特性。

当一个人认真地去画线的时候，必定关注到线条的宽度，让自己与图式合二为一。

Dear colleagues, please do not take this book as the final word on teaching form drawing in a Waldorf School. No dogmatism is intended here. This is only one way to approach the teaching of form drawing, a subject which intrinsically lends itself to endless creativity. At the end of this book, additional references are listed which may offer further insight and inspiration. Keep form drawing alive for your children and yourself by finding your own way, using this approach as a guide, a place to begin.
亲爱的同事们，请千万不要把这个手册教条地当作在华德福学校教授形线画的唯一标准。

这只是学习教授形线画的一种方式而已，从本质上说，也是一个通向无限创意的途径。

在这
本书的末尾，列出了其他参考资料可提供进一步的了解和灵感。

每位老师应该基于对本书的理解和本书给出的指导，探索出自己的一套方法，并让孩子们和你一起保持着对形线画的探索性和创造力。

FIRST GRADE
If we follow the indications Rudolf Steiner given in the 1919 *** training course, we begin in first grade with the straight line and the curved line. In the first year, the child learns uprightness and later, around one month she learns to walk. In this upright *** the child actually draws the *** straight line with her body. In first grade, she is able to draw *** outside her body and look at it. *** to be able to do this properly *** must have developed a feeling of *** in the body, a perception of her body. She must have developed a *** of the balance and *** senses, and enormous task of *** human Ego working unconsciously *** will forces. The straight line has a function with the Ego. The curved line is softer, more *** with the environment. When *** around me, I draw a curved line *** gaze. With the curve, there is a *** between what is inside and what is outside. The curve gives a feeling that it could be part of a ***.
如果我们遵照Rudolf Steiner 1919年的培训课，一年级将会学习直线和曲线。

在孩子人生的头一年，他们学会直立以后，不到一个月时间就能学会走路。

而在直立行走的过程中，他们实际是在用身体画直线。

在一年级，她已经可以画一些身体以外的线条并开始观察。

为了很好地发展这一点，他们必须对自己的身体有一定的洞察力。

In eurhythmy, the soul force of *** draws the straight line and the force of willing forms the curved in form drawing; then, exercises the straight line are more *** with the development of ***, while exercises with the curved line are more connected with the development of will. The polarity of the *** being lies in these two types of lines. These two streams are basically separated at the beginning of the grade one. On the first day of first grade both are introduced.
Day one: saying, “Watch me do this,” the teacher goes to the blackboard and very slowly and carefully, almost as slowly as possible draws a straight vertical line, not too small, from top to bottom (see Figure 1). The children will be engaged in their whole being; having already been told why they come to school, they will have a sense that this activity of the teacher is the first great revelation of many to come in their education. When the line has been drawn, the teacher turns to the children and says, “Now take your hand and do it, too!”Then the children should practice making this line slowly in as many ways as possible. They may stand up and see and feel that their bodies make a straight vertical line. They may draw the line in the air, very slowly, with their fingers, with their noses, with their chins, with their eyes. They may draw it with their feet on the floor. They may walk a line, heel to toe.
Figure 1: 图片1.1
第一天：说“看我做”，接下来老师在黑板上很慢很仔细地——几乎是慢到不能再慢地——画一条竖直地直线（如图1所示）。

如果孩子们清楚他们为什么来学校，而今天老师所做的对他们后续的教育又意味着什么时，他们就会很认真地完成老师要求的。

老师画完之后，就可以让孩子们动手画一条一样的线条。

接着，孩子们就可以用多种方式练习这条线了。

比如，他们可以站起来看并感受他们的身体就是一条竖直地直线；他们可以在空中缓慢地用手指、鼻子、下巴或者眼睛来画这条线；他们也可以用脚在地板上画；更可以用脚跟贴脚尖的方式来走一条直线等等。

It is of great importance that they should have much practice before actually drawing the line, that they should really feel the line within them. They may practice on the blackboard (the teacher
should start her line low enough that the children can begin theirs at the same height; they do not like to start lower! Or they can use a chair to stand on), then above the paper on their desks. Then the teacher says, “Now I am going to do this,” and draws a curved line (see figure 1), “and now you take your hands and do it, too.” When they have practiced as they did with the straight line, the teacher says, “This one is a straight line and this one is a curved line.” (It is important that the teacher name the lines. If the teacher gives the name, the teacher has the authority. If the children give the name, they have the authority. The teacher has an opportunity here to develop the children’s feeling for authority in the right way.) The teacher can then ask, “What is the feeling of the curved line? Is it different from the feeling of the straight line?”Discussion about these questions begins to develop in the children a feeling for form. At last, they may draw the line. If they have practiced enough, they will achieve a “certain perfection”in their drawing, which, Rudolf Steiner has indicated, is desirable. The drawing itself is only a trace, and outer manifestation of the process of movement, the inner activity of the child. The process is of the greatest importance; herein lies the power of transformation.
孩子们在真正开始画这条线之前，让孩子们用自己的身体体会这条线的过程是非常重要的。

他们也可以先在黑板上练习（老师在黑板上画这条线时可以画低一点，这样孩子们可以在同样的高度画；也许有的孩子不想低人一等，他们也可以踩在板凳上画在更高的位置），然后再开始纸上的练习。

接下来，“现在看我的”老师就可以教一条新的线了——曲线（如图1所示）“现在你们来试试”。

当孩子们已经练过直线了，老师就可以说：“这是一条直线，而这是一条曲线。

”（老师应该为每个线条命名。

因为如果老师是命名者，那么权威就在老师这边；如果是孩子命名的，那么权威就在孩子那边。

老师有责任帮助孩子树立权威意识。

）老师可以接着问：“曲线给人一种什么样的感觉呢？这种感觉和直线给你们的感觉一样吗？”在探讨的过程中孩子们开始发展图式感。

于是，他们开始亲身尝试绘制。

随着练习的深入，他们便会自然而然地、本能地开始在绘制过程中追求“完美化”，正如Rudolf Steiner描述地那样。

绘制本身只是一种描摩，一种运笔过程的外部表现，而运笔过程才能反映孩子的内心世界。

过程才是重中之重，才是力量转换之处。

Day Two: In the next lesson, the teacher draws the two lines again, asking individual children, “What is this?” The child answers, “A straight line!” Pointing to the curved line, the teacher asks a child, “Now what is this?” The child answers, “A curved line!” (The teacher does not say, “What did we do yesterday?” or the children will think, “The teacher should know what we did!” and the teacher’s authority will be undermined.) Some discussion and practice of these lines ensues and the children may draw them in their main lesson books.
Figure 2: 图片
第二天：在第二节课当中，老师再画一遍前两节课中学过的线条，并问每一个孩子，“这是什么？”孩子们回答：“直线！”。

老师指着曲线问：“那这是什么？”孩子们回答：“曲线！”（老师并不问：“我们昨天做了什么？”，否则孩子会想：“老师明知故问！”，那么老师的权威就会受到质疑。

）接着就是有针对性地讨论和练习，孩子们也可以在他们的学生用书里继续练习。

Then the teacher slowly draws, from left to right, a horizontal line (see Figure 2) and tells the children, “This is a straight line lying down.” Then the teacher asks, “What is the feeling of this line? How is it different from the first straight line we made?” If the teacher asks how they might make this line with their bodies, they may be brought to feel that this line is resting; the line may then be named “the resting line”This gives the children a picture: “horizontal”is too abstract. After practicing this line as they did the two previous lines, they may draw it in their books.
然后老师从左到右仔仔细细画一条水平线(如图2所示)，并告诉宝宝：“这是一条平躺的直线。

”老师再问：“你怎么看这条线？和之前我们学的直线有什么区别？”如果老师问我们怎样用身体画出这条线，孩子们很可能会举一反三，躺下来表示这条线，并将这条线命名为“平躺线”。

这会让孩子产生这样一种印象：“水平的”太抽象了。

在像练习前两种线条一样练习了这条线之后，他们就可以在学生用书里练习了。

Day Three: The next exercise with the straight line comes the following day with the combination of the upright, standing line and the horizontal line (see Figure 3). Figure 3a may be described as a human being standing on the Earth. Figure 3b may be the upright human being with arms stretched out to embrace the world. Figure 3c could be described as the human being standing between Earth and sky. The next form in the straight line stream is the slanted. Or leaning line (see Figure 4). Discuss the nature of the line with the children (Is it “tired”?); this develops within them the feeling for form, an understanding that form and direction are related. Then they may bring the leaning lines together in a cross of Saint Andrew (Figure 5). If we wish to develop a feeling for the quality of this form, we may think of the meditation we adults do in eurhythmy as we think, “Weight bears downwards,”for the lower limbs as we imagine the colure blue and “Light steams upwards”for the arms as we imagine the color yellow, and then “I maintain the middle.” There is a feeling, then, in this form, of an openness to what comes from the spiritual world as it is related to our connection with the Earth; we can feel an inner sense of balance. (Of course, we don’t discuss this with the children.)
Figure 3: a. b. c. 图片Figure 4: 图片Figure 5: 图片
第三天：孩子们可以开始练习由垂直线和水平线组成的组合线条了（如图3所示）。

图3a可以被描述为一个直立在地面上的人，图3b可以被描述为一个直立的人张开双臂将要拥抱世界，而图3c可以被描述为一个人立于天地之间。

接下来的图式就是斜线，如图4所示，并和孩子们讨论这个图式的感觉（这条线站累了吗？）。

这样可以让孩子由内而外发展对图式的感觉，一种对图式和空间关系的理解。

然后将2条线交叉，像圣安德鲁的十字架（如图5所示）。

如果让我们理解这个图式的特质带给我们的感觉，我们可能会联想到成年人在韵律运动中打坐的感觉——想像下部为蓝色“重向下”，上部为黄色“轻向上”，而“我保持中间”。

这个图式还感觉将人类与大自然连接起来的精神窗口；让我们产生一种内在平衡感。

（当然，我们并不需要和孩子们分享这些。

）
The nature of the Saint Andrew’s cross is different from the nature of the cross the children have made earlier (Figure 3b).The latter also has a feeling of balance, of course, but this is the balance between freedom (the vertical line representing the ***) and love (the horizontal line representing the surroundings).
圣安德鲁十字和孩子们之前画得十字（如图3b）是有本质区别的。

之前的十字也含有平衡的意思，但此平衡指的是自由（垂直的线代表自己）和爱（水平的线代表周遭）之间的平衡。

After doing these straight ling forms, it is time to begin some exercises with the curved line. The first exercise can be the circle(see Figure 6). This will not be easy for the children, so the teacher must see to it that they practice it many times before putting it on paper. It is not necessary that they never lift the pencil, but the line should be as continuous as possible. The next exercise with the curved line can be concentric circles, evenly spaced. The circles are drawn in the order of largest to smallest-outside in (see Figure 7). This can have the therapeutic effect of bringing the child into his body in a healthy way.
在了解了这么多直线的内容之后，我们开始着手于曲线的练习。

第一个练习是画一个圆
圈（如图6所示）。

这对孩子来说并不容易，所以老师需要先指导孩子反复练习，然后再在纸上画。

圆圈不需要一笔成形，但线条需尽量是连续的。

然后，孩子们就可以练习同心圆了，一种布局均匀的图形。

圆圈要从大到小画（如图7所示）。

这是一种让孩子体会和了解自己身体的健康方式，并具有疗育作用。

Figure 7: 图片Figure 7a: 图片
Spiral forms are next in the sequence of curved lined. Begin with very simple curves(see Figure8).
螺旋状的线条是下一个曲线，我们可以从一些非常简单的弯曲开始（如图8所示）。

These can be used in working within the temperaments: the melancholic or phlegmatic child should begin with Figure 8a and b, going outside in, and then she may do Figure 8c and d, going inside out. Next, the directions may be combined within the same form (see Figure 9). Different colors can be used for the different directions. A story, or picture, that the teacher might give the children for drawing Figure 9a is: A tiny little anxious boy saw a thunderstorm and was frightened, so he wanted to hide and ran indoors. He went right under his bed, which he felt must be the safest place (Come to the end of the spiral). After a while, though, he began to feel hungry. He listened for the crash of thunder but couldn’t hear it any longer(Start coming out again) so he crept out to go find his mother.
Figure 8 a, b, c, d: 图片Figure 9 a, b: 图片
这种形线对以下两种气质的孩子具有疗育作用：忧郁型和冷漠型。

孩子们应如图8a和8b，先练习从外到里，再如图8c和8d练习从里到外。

然后，可以如图9所示，将两个方向的线条运用在同一图式中。

不同的方向可以用不同的颜色。

在画图9a时，老师可以编一个故事或者描述一个情境：一个紧张的小男孩被暴风雨吓坏了，于是他想找个地方躲起来，就向屋内跑去。

他躲到了床底下，觉得那里是世界上最安全的地方（这时运笔到了螺旋线的尽头）。

不一会儿，小男孩又觉得饿了。

他再也忍受不了这吓人的雷声了（开始向外画），于是他爬出来找妈妈。

It is helpful to do both the spiral in the direction of the Archimedes spiral (Figure 10) and the spiral similar to the Bernoulli spiral (Figure 11) with the children. The former is drawn with the equidistant lines, giving it the quality of the addition process. The latter is also called “the spiral of logarithms”and the spaces between the lines enlarge geometrically as the spiral moves outward, giving the quality of the multiplication process. The children’s attention can now be brought to the importance of the space between the lines of a form.
另外两种螺旋线对孩子也很有帮助：如图10的阿基米德螺旋线和如图11的近似伯努利螺旋线。

前者的线条是等距的，而后者的线条距离是递进的。

后者也被称为“对数螺旋线”，随着线条的延长，线条间的距离以几何方式增长，是倍数关系。

这时，孩子们就会关注到形线画中线与线的空间关系的重要性。

Another spiral with a special quality is shown in Figure 12. This form can bring the children a feeling of balance between giving and taking, between self and other. One might call it the friendship spiral. The children should have the experience of doing this spiral with their two arms, bringing their hands almost together in the middle.
Figure 10: 图片Figure 11: 图片
图12展示的是另一种很有特点的螺旋线。

这种线条反映的是付出和回报、自己和他人之间的平衡感。

有人称它为“友谊螺旋线”。

孩子们还可以练习双手同时作画，两支笔在中间汇合时距离是非常近的。

The form given in Figure 13 is the first curved form in which one changes directions in the
middle. There are three types of singularity of line in form drawing, as shown in Figure 13. In Figure 13a, at the inflection point Z, the rotation of the line changes while the translation，Or direction, of the line remains the same. In Figure 13b, at the form point Z’, the rotation stays the same while the translation changes; the line comes back in the opposite direction. In Figure 13c, at the beak point z”, both the rotation and the translation of the line change. These three forms are really the alphabet of the curved line. As a teacher you need to be aware of how many of these points are in any form wish to bring to your class, as they are difficult for the children. Seven of them in one form, for instance, is simply too many for a first grader.
Figure 13 a b c:图片
图13所示的图式是我们接触到的第一个在中途变换方向的曲线。

如图13的图式在形线画中有三种形式。

在图13a中，线条的旋转方向在拐点Z处改变了，但是移动方向并没有改变；在图13b中，线条的旋转方向在拐点Z’处不变，但移动方向发生了改变；在图13c 中，线条的旋转方向和移动方向在拐点Z”处都发生了改变。

这三个图式就是曲线的基本形式。

作为一个教师，你必须清楚你将要教授的每一个图式中包含几种类型的拐点且分别有几个，因为这对于孩子来说是很难的。

比如一个图式中包含7个拐点，这对于一年级的孩子来说已经相当多了。

A story to give the children as they practice this form is, “Here is a little girl going out for a walk ( at point X); she walks a distance and you think she will come back, but (at point Z) she doesn’t; she goes to visit a neighbor (end at point Y). After working this subject through, the teacher can create a few exercise for the children between Figure 13a and 14a.
Figure 14 a b c d e :图片
在练习图13时，老师可以编一个这样的故事：“有个小女孩准备从X点出发去散步；原以为她走一会儿就会返回，谁知她不但没有回，还到Y点看了她的邻居。

”做完这个练习，老师就可以根据图13a和图14a为孩子们设计一些其他的练习。

As a next step in working with the curved line and the infection point the children may do exercise with the lemniscates (see Figure 14). They may also elaborate work with the straight line as shown in Figure 15. At this point, the teacher may ask children to see how a figure changes when its curves are changed to straight lines ( see Figure16).
Figure 15 a b c d e f:图片Figure 16d.:图片
为了进一步探索曲线和拐点，孩子们可以练习一些双纽线了（如图14所示）。

他们也可以深入探索一些直线（如图15所示）。

这时，老师还可以鼓励孩子观察一组曲线是如何演变成一组直线的（如图16所示）。

Simple closed forms with a single characteristic may come next in the first grade sequence of forms （see Figure 17）. The section on working with the temperaments shows some simple closed forms, but these are not part of the continuum of forms and should be done often.
Figure 17 a b c d e:图片
在一年级接下来的课程中，孩子们就可以探索带有单一特点的简单闭合图式了。

在具有疗化作用的课程部分中也会有一些简单闭合图式，但现在学到的这些并不是连续性图式，是可以随时并经常进行练习的。

After working with the simple closed forms, the children can work with a sequence of forms showing a metamorphosis. The teacher can use a rope on the floor to go through the metamorphosis of forms with the children. Figure 18 is an example form Niederhauser and Frohlich. Use color to show how the inside comes to the outside and vice versa. The will activity is not actually shown in the forms themselves but in between the different forms, so it is good
to ask the children what is going on between one form and the next, to get them to see how(b) is formed from (a) by doing something to (a), namely pushing it in at the top.
在练习了简单的闭合图式之后，孩子们就可以练习一系列变体了。

老师可以用一根绳子为孩子们表现这些变体。

如图18就是一个来自尼德豪泽和弗罗列希（注：这两个人名应该是指代什么的，但是我没有查到）的例子。

用不同的色彩表示由里到外的变化或者由外到里的变化。

意志活动并不由图式本身体现，而是体现在图式与图式的区别当中。

所以我们最好问问孩子，一个图式是如何变化成另一个图式的，比如让他们观察图式a是怎么变成图式b的，也就是从顶端向内推。

When the children have already worked though simple closed forms and metamorphosis, they may begin working with running forms. The Kutzli wave (Figure 19) is a series of running forms which grow one out of the other. Line a is the surface of the lake on a quiet, calm day. A gentle breeze comes and the lake looks like line b. The breeze turns into a strong wind and the waves now are larger as in line C. Finally, the storm comes in full strength—line d—and it is much too dangerous to go swimming. (These types of stories give an imagination of the movement of the line and , as such, they serve to focus the attention on the form.) one could go further with the wave and create line e as a separate running form. One might then bring back the practice of changing curved lined to straight (see Figure 19 f, g, h).
Figure 19a,b,c,d,e,f,g,h:图片
当孩子们练完了简单闭合图式和它们的变体后，他们就可以着手练习连续性图式了。

如图19的Kutzli波形图就是一系列环环相扣的连续性图式。

线条a尤如安静的天气里平静的湖面。

而线条b则像是平静的湖面上微风吹起的一阵涟漪。

接着风更大了，吹起了更大的波浪，如线条c。

最后，狂风吹起了轩然大波——线条d——太危险了，不能在湖里游泳了。

(诸如此类的故事能帮助孩子就线条产生想象和联想，这样孩子们就会更多地关注图式本身。

)我们可以对波浪线进行进一步加工，就变成了线条e，一个独立的连续性图式。

我们也可以把曲线演变成直线，如图19f,g,h所示。

More running forms are given in Figure 20. Running forms may also be put together if they create a good balance with one another (see Figure 21). Use different colors for each form. The forms a, b, c, of Figure 20 can also be used therapeutically. For a dreamy, phlegmatic child. used the sequence a, b, c. For an intellectually awake child, go the other way: c, b, a. Many other running forms are offered in Figure 20 for the teacher to select form.
Figure 20 a, b, c, d, e, f, g, h, I, j, k, l:图片Figure 21 a. b. c. d. e:图片
图20为我们展示了更多类型的连续性图式。

连续性图式也可以被和谐地组合在一起（如图21所示），并可以用不同色彩表现。

图20a,b,c也是用于疗育的图式，从a学起，然后b, 然后c的顺序主要是用来帮助总是心不在焉或者比较冷漠的孩子。

对于心智被良好开发的孩子，则用相反的顺序：c,b,a. 图20中还列了很多连续性图式供老师选取。

GRADE TWO
Mirrored, or symmetrical, forms on a vertical axis may begin near the end of the first grade or the beginning of the second grade. We take the straight vertical line from first grade and add two sides to it, making a more complicated balance. The goal is to create a harmonic balance of space. This is really the task of the second grader, who experiences a duality within of the higher and lower aspects of the self. Stories of the saints and animal fables during this year speak to the child’s task. The drawing of mirrored forms also supports this.。