THE DEVELOPMENT

OF ARTISTIC CREATIVITY
IN EARLY CHILDHOOD AND PRESCHOOL AGE

performance action painting soft sculpture graphic

Course RESEARCH OF EARLY CHILDHOOD CREATIVITY

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 TEXT AUTHORS:
Katica Ardalić, Antonija Balić Šimrak, Helena Burić,
Krešo Tomljenović, Dinka Žuvela

CO-OPERATORS ON THE PROJECT:

Ljupka Avramović Stojkov, Sanja Bijele, Marina Dundić, Helena Gašpar,
Marina Maršanić, Suzana Medvedec, Marija Oršić, Jasminka Ozimec,
Željka Štabek, Dragica Vinožganić

Course
RESEARCH OF
EARLY CHILDHOOD
CREATIVITY

THE DEVELOPMENT FACULTY OF TEACHER

EDUCATION

OF ARTISTIC CREATIVITY
UNIVERSITY OF ZAGREB

IN EARLY CHILDHOOD AND PRESCHOOL AGE

PUBLISHER
Ivan Prskalo
Faculty of Teacher Education, University of Zagreb
Zagreb, Savska cesta 77
www.ufzg.unizg.hr performance
EDITOR-IN-CHIEF
Dubravka Težak
action painting
EDITOR OF THE BOOK
Antonija Balić Šimrak

TRANSLATION soft sculpture

Tomislava Balić

DESIGN AND LAYOUT

Antonija Balić Šimrak graphic
ISBN 978-953-8115-36-3

PRINT RUN
E- book

APRIL 2018, ZAGREB

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 FOREWORD
Associate profesor Antonija Balić Šimrak, PhD is dedicated to her work on the
project The Development of Artistic Creativity in Early and Preschool Age and the
course Research of Early Childhood Creativity. Through them she systematically
encourages the awakening of the visual cognitive world of students and art
pedagogues. Their ultimate goal is to awaken and enrich the youngest, and
therefore the most open-minded generations, to new artistic experiences
that are actually the beginnings of their creative participation in the visual arts
expression. Creation is everything. Every thought that has moved the boundaries
of the cognitive world is based on creativity, irrespective of the branch, be it
social, scientific or cultural that the child will later develop. Well-designed
and well-prepared projects in kindergartens are innovations in which children
learn about the world around them and within themselves. This project enables
students to upgrade and build their own art experience because knowledge
is the only authority that can convincingly awaken the curiosity of others. To
know how to prepare a project, motivate children through conversation and
play, provide equipment and materials, anticipate all the situations that could
happen ... - all this is important and necessary in order to ensure the quality
of activities for the youngest. They are the most sincere participants in the
construction of the project, because they are curious, open and sincere in all
the steps of their activities. These activities stimulate the creativity of students
and children. They open up many senses and prepare them for quality work
with those who think with their hearts. The exploration of children’s artwork is a
course that develops all senses of touch, taste, smell, and vision ... It opens up
many possibilities, whether it is therapeutic artwork, fine motor development,
perception development, experimenting or exploring a concept from the idea to
realization. The project on early childhood creativity has opened up many issues
and opportunities for early childhood creativity, and precisely through research
and exploration it has the opportunity to grow into a serious international story.
Creation has no boundaries, and its each movement is the creation of the art of
life.
Anita Parlov, Assistant Professor of Art

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 TABLE OF CONTENT
PERFORMANCE AND CHILDREN’S ARTISTIC CREATIONS 19

SOFT SCULPTURES IN SCULPTURAL DESIGN 31

ACTION PAINTING IN BIG FORMAT 51

GRAPHIC PAINTING AS A PLAY IN THE KINDERGARTEN 65

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 Antonija Balić Šimrak
THE DEVELOPMENT OF VISUAL ARTS IN EARLY AND
PRESCHOOL AGE
The project The development of visual arts in early and pre-school age is an integral part of
the course Research of children’s artistic creativity at the graduate studies of Early Childhood
and Preschool Education at the Faculty of Teacher Education at the University of Zagreb in
the academic year 2015/2016. This year the course took place for the first time in a regular
program of the studies, and for this reason it had the opportunity to become a full-time
course, as opposed to a short course that has been held under the same name for three
years now at part-time studies. This project was preceded by a complex study of Croatian
traditional culture and children’s art creativity conducted by about a hundred students of part-
time studies, mainly employed and experienced educators, who under the mentorship of
kindergarten teachers from kindergarten Iskrica presented this topic with outstanding results.
However, it is a rather different circumstance to carry out such activities with students who
have just completed undergraduate studies and have no experience in the profession. For
this reason, such work should be approached differently. The basic starting point in designing
the project was to keep the decision that it should, as far as possible, hold to the principle of
free creativity in the field of art. This meant that goals and tasks (those relating to children)
had to remain open and that the process had to be spontaneous in order to get a better
insight into the ways children access creative art. For this purpose, we designed twenty-four
activities that were carried out in the kindergarten Izvor and kindergarten Špansko. In the
process of preparation we approached visual arts as we did in the course of Methodology
of Art Education, but this is now a secondary issue. The aim of this course is for the students
to adopt ways with which they can shape research in the artistic field. Their pre-knowledge
here plays a major role. However, they lacked experience in direct working with children and
experience with specific methods of artistic research. The importance of the visual recording
process, taking photos and recording is placed in the foreground. The focus of our interest
was the process of development and the direction in which the activities would develop and
we “intentionally” did not know where this would lead us.
Carrying out activities and collecting materials were the first part of the research. In the
second part, the collected materials were examined, processed and distributed into one
of four groups: performance, soft materials in sculpture, action painting, large format and
graphic painting as a play. These were the results of the research. Only when the sources of
information were placed into groups a common reflection of the achievement could be made
and details approached, the firm composition was set. Just like the artist first contemplates
the concept, composes the composition and then moves to the creation and completion
of the work, so we first set the basic principles of research, subordinated the research plan
and with special attention and respect for the main actors - children finished with common
reflection and cognition. This book should serve as an example of a model as how visual
arts can be explored at early and preschool age, with the awareness that there are still many
models - those already familiar and those that are yet to be discovered.

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 KINDERGARTEN ŠPANSKO
Katica Ardalić, principal

Špansko Kindergarten was built in 1982 as a subsidiary of the former

Children’s Center 8th of March, based in Kustošija. With an intensive
expansion of the settlement, kindergarten capacities became insufficient
and new kindergartens were built and old ones reorganised, resulting
in a number of changes in organizational and spatial conditions of
working in kindergarten. Thus Špansko Kindergarten became an
independent public institution on December 13, 1996. Several years
later, after building a new subsidiary facility in Hrnetička Street and by
renting space on VI Oranički odvojak, no. 4 Street, kindergarten Špansko
stopped transporting older educational groups into the free premises
of other kindergartens in the western part of the city.
Today the kindergarten operates in 5 locations and has 23 educational
groups ( subsidiary Slavuj - 13 educational groups, Lastavica - 3
educational groups, Sjenica - 1 educational group, Djetlić - 1 educational
group, Vrapčić - 6 educational groups). Despite many changes that
accompany kindergarten work, our constant orientation to the child
and its wellbeing has remained unchanged. Our kindergarten is a
community that grows and develops with the idea of mutual learning,
reflection and creation of one’s own curriculum with emphasis on the
stimulating material and social environment, the constant development
of professional competences of all participants, quality relationships
and excellence in the implementation of the tasks of the educational
process. Based on the achieved level of professional competencies ten
professional employees have been promoted to mentors, and one to a
consultant.
Starting from the needs and interests of children and parents and the
specifics of the community in which the kindergarten operates, along
with the regular program, early language learning programs (English,
German, Italian, French) were also organized. The program with gifted
children Klikerići, an activity program with children with disabilities in the
conditions of inclusion, Gabriel’s seeds digital development program, a
support program for successful parenting, and a program for children’s
musical creative workshops enriched with folklore elements. The
kindergarten was appointed as a workshop of the Faculty of Teacher
Education, for the courses entitled Research of Children’s Musical
Creativity and the Research of Children’s Artistic Creativity.

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 KINDERGARTEN IZVOR
Krešo Tomljenović, principal

Kindergarten Izvor based in Zagreb, Prilaz Gjure Deželića 30, is a public

preschool institution founded by the City of Zagreb. Its beginnings date
back to 1949 when nursery Zelengaj was founded for children aged 3
months to 3 years. In 1956, the first educational group of preschool
children enrolled, giving the institution the status of kindergarten. In 1991
the kindergarten gets its name full of symbolism – IZVOR/SPRING. Today
it operates in three interconnected buildings (Sunašce, Izvor and Potočić)
that are physically completely different, both in terms of architecture and
appearance and size of some rooms for children. The Kindergarten has
21 educational groups, of which 19 are in regular 10-hour educational
programs, and two educational groups at the Zagreb Children’s Hospital,
where the Kindergarten program has been implemented in the hospital
since 2007.
Kindergarten Izvor has been in the process of systematic change for
many years, trying to become a place of innovation in the area of early
education, with an emphasis on raising the quality of educational practice,
creating a development stimulating environment and changing the roles
of children and educators in these processes. Particularly important is
the fact that in our kindergarten children are actively involved in planning
activities and thus in the design of the curriculum. We have the following
programs: a regular 10-hour program, a regular 10-hour program
enriched with early English language learning, drama and visual arts
program, a Catholic educational program, Kindergarten in hospital, a
program called Children in Nature organised in the City of Youth, a Child
Abuse Prevention Program, a preschool program, a shorter program of
rhythmics and dance, sport and English and German courses.
Kindergarten Izvor was an active participant in the international project
Commenius 1 (2005-2008) and was appointed as a professional
development center called Creating a Developmental Encouragement
Environment and The Changing Role of Educators (2007-2010). At the
initiative of the City Office for Education, Culture and Sports, we were
awarded the City of Zagreb Award (2008) “For the best results achieved
in work and the reputation of the early-stage educational institution.”
Today, the kindergarten operates as a workshop for students of the
Faculty of Teacher Education, University of Applied Health Sciences and
Catholic Faculty of Theology in Zagreb. A large number of professional
staff members of Kindergarten Izvor have reached the level of expertise
for which they have been appointed as mentors and consultants.
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 KINDERGARTEN ŠPANSKO
Helena Burić, pedagogue

The language of art and research in the field of art has been one of
the basic determinants of the curriculum of kindergarten Špansko in
the last ten years. Belam’s approach to children’s art was a particular
influence for this work. This approach enabled educators to broaden
their horizons about the originality of children’s expression and gain
insight into the possibilities of choosing expression techniques. It also
encouraged educators to have a different approach to introducing
art exhibits to children. The natural continuation of work in this area
occurred in a joint discussion and invitation to participate in the course,
which would be distanced from the strictly methodological orientation,
and would become closer to the research approach and documenting
the development of children’s artistic creativity.
The course Research of children’s artistic creativity was created in
the context of contemporary thinking about the development of the
curriculum and the principles of learning and creative expression of
early and preschool children. As a pedagogue, it was particularly
interesting to me to explore ways of encouraging creative expression
of children. Namely, young children have their own specific sense of
expression based on sensory learning, which is most often gestured
and dependent on the psycho-social environment in which the child
is brought up and is therefore a very sensitive and surprising area of
discovery. Another focus of interest was the approximation of certain
types of expression in the field of contemporary art (performance, soft
materials, graphic arts, action painting ...) to a child and the ways that
the child combines technique as a means of expression and combines
elements of playful, expressive and artistic action. In that sense, working
with students and mentors was indeed a process of research.
In the implementation of this innovative course, we have highlighted
several important postulates for promoting the development of visual
arts and children’s abilities of discovery and creativity. These are: respect independently choose the methods, motifs, materials and techniques, and cultivating
for the child as an autonomous and authentic being, understanding the conviction that there is a special understanding of the artistic expression of each
of the child as an equal partner in the creative process, allowing the child and that the authentic expression of the child is accepted and appreciated.
child to independently investigate and freely discover in an artistically Particular attention in the work with students was devoted to the elements of
encouraging environment and given materials, enabling the child to monitoring and recording the process with videos and photographs. This is a necessary
prerequisite for subsequent decoding of the process, but also for clearer information
on the transformations of certain techniques and activities initiated by the child.

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 KINDERGARTEN IZVOR
use different ways of expression such as visual, musical, kinesthetic, graphic, verbal,
Dinka Žuvela, pedagogue
and other expressive ways that enhance different symbolic expressions of the child.
Therefore, it is important for us that the environment supports child’s innate creativity
Kindergarten Izvor emphasizes the team work approach and willingness by offering various appropriate media for expression. From professional staff, this
of employees to face challenge and innovation. We continually requires lifelong learning. Collaboration with the Faculty of Teacher Education of the
explore our own practice by conducting action research, sharing ideas, University of Zagreb contributes to a joint research and a better understanding of the
knowledge and information at all levels. We are open and flexible in child’s worldview. Each generation of students brings their own creativity, something
introducing changes in work, focusing on the well-being of the child and new and different, allowing the same phenomena to be explored in different ways.
its overall development. We pay a lot of attention to the arrangement of Each student, kindergarten teacher, parent and child brings something personal and
space, offer the appropriate pedagogical materials of high educational thus contributess to the creation of a common vision of kindergarten, ie the creation
potential and create an atmosphere in which each child will feel good, of a place of shared quality learning and the lives of children and adults.
useful and satisfied. Accordingly, we have organized spaces as workshops
and ateliers where children from different groups and different ages are
together and in this way interaction and communication among children
are promoted and have a positive impact on the development of social
competences. Thus, children can independently organize activities which
they are interested in throughout the day, choose partners in the learning
process, and strengthen their autonomy and responsible behavior. Such
work requires a common team approach in which it is important for all
educators to get acquainted with the work of other colleagues in order
to adequately support child learning. The whole context that should
contribute to the development of children’s competences and creativity
is of great importance to us. We believe that every child has the right to
express itself in its own way and to feel honored, respected, appreciated,
valued and affirmed. Spontaneous expression of children requires the
following prerequisites: the environment should be encouraging and
safe; time must not be limited so that children can express themselves
in their own rhythm; all the materials should be available to children
so that they can follow their own wishes and needs and are able to
approach various activities and be led by intrinsic motivation. Such
motivation will make playing, learning, and activities richer and more
meaningful and will provoke a sense of pleasure and satisfaction.
In early and preschool age children creatively express their understanding
of the environment. Creativity is manifested in various activities, especially
in art where children can express themselves without fear of failure, try
out different techniques and discover themselves and their emotions in
an authentic and natural way. The child’s artistic expression in everyday
life is of special significance for our work as it enables us to understand
the child in a better way. Throughout the day, children are allowed to

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 Antonija Balić Šimrak

PERFORMANCE AND CHILDREN’S

ARTISTIC CREATIONS
Process orientation and interdisciplinarity make performance
an exceptionally appropriate modern approach to preschool
curricula and a wider implementation in education. Conceptual
art developed in the late 1950s as a kind of reaction and bounty
against the ubiquitous abstract expressionism that was focused
on the expression of emotions without any social or political
engagement. Performance artists, performance being one of the
forms of conceptual art, first and foremost express their attitude
and ask questions and seek to encourage public reaction. Children
are a very grateful audience who, without obstacles, participate in
In our drama group where movement, mimicry, gesture and acting are performance with their body as well as verbally, upgrading it and
present in different ways on a daily basis these activities of performance and giving it a new direction. Of all performative forms most suitable
for children’s research, it is probably bodyart where the body of the
soft sculpture have totally engaged the children. The children connected performer becomes a tool and serves as a medium for expressing
all the elements, spontaneously, joyfully and with a lot of imagination, into emotions. It is equally possible to work with children to express
an artistic expression and while doing so thoroughly enjoyed themselves. their attitudes and ideas without further materialization in the form
Dragica Vinožganić, preschool teacher- consultant of a work of art. Through performance children are encouraged
to explore space, their body in space, experiment with rituals,
to introduce their friends to the process. Performative action
demands complete freedom of performance and requires creative
thinking that leads to unpredictable outcomes. Among children of
preschool age, clearly visible are individuals for whom conceptual
thinking is very familiar, they often form teams in which they state
the basic concept (forming an idea), and the other children become
practitioners.
A characteristic of performance is that it contains elements of
dance and dramatic art (speech, acting, scenography, costumes)
and this makes it suitable for interdisciplinary research and related
concepts. It is an opportunity for educators to expand the field
of research of visual arts and to make children become aware
of the possibility of artistic activity without the ultimate material
product. Video clips and photos remain as a testimony to what
has happened, everything is documented, and the documentation
process is present and developed in preschool institutions.
It is important to emphasize that the application of performances
or other forms of conceptual art in visual arts does not tend to
criticize traditional art practices, but rather enables children to
gain insight into the richness of artistic activity.

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Motion-based activity within a stretchy black fabric is designed as a performance performances under the lighting that laid the shadow of the performer on the back
act in which the creative process is recorded and documented by a camera and a of the stage and gave the children the opportunity to express themselves in this way.
video. All aspects of this activity were interesting to the children and they equally In both activities, children in public contributed with comments that influenced the
included themselves in the performance as well as in the observation section. The performance development.
first part of the activity consisted of movements in space, and the other individual

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Dealing with their own shadow, reflection on the phenomenon of shadows, initiated
many new activities, and contributed to the brightening of the contrast between light
and dark as a visual element, inspired imagination and sensitized the eye to seeing
unusual details.
The theater of shadow was a logical continuation of the exploration of light and
shadow, and in this process spontaneous stimulation of children’s literary creativity
was also initiated because puppet play triggered the creation of true dramatic
conversations.

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 Organisationally and technically quite demanding activity entitled “A Walk on the
Path” was carried out in two joined nursery groups and included a lot of natural
material. Toddlers had an opportunity to walk along the forest path and do whatever
they wanted. At the beginning, the children were excited about it because such
a scene was somewhat new to the group, but soon they began to explore all the
opportunities that they were provided with, from light walk to run. They accepted
the game as a play and spontaneously included all available means of transport and
props needed for the manipulation of leaves, chestnuts, pine branches and the like.
The children remained doing the activity for a long time and continued to use the
natural items after the scene was cleaned.

By enabling the youngest to explore and handle natural materials

and by giving them complete freedom in their choice, we have
discovered and learnt about new ways of applying art for the
purpose of design. Such art, freed and left to the creativity of
children, is just one of the areas that together with other art media
have a strong influence on emotions, intellect and sensory motor
skills of the child.
Art is an inspiration that develops drives for active creation.

Sanja Bijele, preshool teacher- mentor

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Performing was quite natural for children attending a drama group because In the activities of frozen live pictures they made masks for their performances all by
role-playing and creating characters for them is part of everyday activities. themselves.

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In the “Little Orchestra” activity we engaged in music and dance, trying to include as which the children were happy to join the singing and dancing. This was our valuable
many other artistic expressions into visual art activities. We introduced nursery children contribution to the exploratiom of possibilities of doing a performance in working
to improvised instruments like tambourines, castanets and various percussions, after with the youngest.

Through “Little Orchestra”, “Little Picasso”, “ A Twill Pinetree”

and “Four Seasons” activities children have explored new ways of
using different materials and new art techniques through playing,
and visual material was used as an incentive for a creative process
with a visual, but also non-visual product. Children spontaneously
approached the creative act of performance and action painting,
according to their nature, making it clear that these areas belong
to the child’s personality.
Interweaving different contents (music, dance, stage expression)
influenced the creation of an emotional experience that resulted
in the fulfillment of the innate child’s need for creativity. This also
fulfilled the educational task of developing the child’s awareness
of the interdependence of everything in its environment.

Željka Štabek, preschool teacher- mentor

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 Antonija Balić Šimrak
SOFT SCULPTURES IN
SCULPTURAL DESIGN
Soft sculpture is mentioned for the first time as a term in the
context of pop art in the United States and is mainly related to
Claes Oldenburg’s work (b.1929). In relevant glossaries, it is largely
defined according to the material used and is associated with works
made of fabric, plastic and fur, emphasizing its characteristics to
counteract the gravity and durability of shape. The characteristic
of soft sculptures that contains strong emotional meanings and
connection with tradition is largely unrecognizable, although
today, with the shift of half a century since the first sculptures of
soft expression emerged, it can certainly be identified as one of its
significant features.
Soft sculpture allows the child to spontaneously create, freely
shape the material, and to allow the material to impose its character.
It is a feature of the fibrous materials that they have a complex
construction structure which can result in amazing artistic formations
rich in texture, tone and color, indicating extremely great potential
for working with soft materials in the educational process.
By shaping soft sculptures with children, we encourage tactility and
creativity in creating unusual forms and open a new perspective of
modeling and exploration of sculpted materials. It is well known
that the children are sentimentally attached to the soft materials
they bring from home to kindergarten - various blankets, cloths,
pillows, cloth toys - their connection with home and the need to feel
and always carry the tenderness of parents’ vicinity. What should
also be emphasized is the possibility of designing space from soft
materials that appear in every room in which children are, and the
goal is to provide the children with peace, security, warmth and
intimacy.
The creation of soft sculptures and objects strongly supports
the cognitive development and the sensory motor skills and it is
instructive for each educator to engage in activities that will provide
them with a fresh approach to artistic creation with children and
encourage them to experiment further with the materials. It is well-
known that educators are constantly looking for new materials that
will provide children with quality incentives, and soft materials with
their availability, versatility, low price, and minimal risk of injury can
be seen as an excellent choice.

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 Soft materials in the pre-activities are ideal for research and play, and in further stages
they become a tool for shaping the most diverse sculptures. We followed basic ideas
of contemporary artists. In this way we designed funny installations with the children.

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A homemade plasticine is a very useful material and for nursery age perhaps the
most suitable for performing mass modeling techniques.

The coloring achieved with edible colors is additionally valuable, especially when a
nice pastel shade is obtained.

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In shaping an alternative pinetree, we were using an unusual combination of materials, exercise for developing a fine motor skill, has shown children how the outer primary
trying to stimulate creativity in children and make them aware of the possibility of base material takes over the shape of a filler. This experience will be valuable to a
transforming the material. The filling of the plastic gloves, besides being a good variety of other activities in the field of soft sculpture design.

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Gypsum is a material unjustifiably very rarely used in artistic activities with children After all the activities that students had with children in my group, I
of early and pre-school age. Besides being very accessible, there are also interesting can say that I am a bit envious of the freedom and spontaneity that
technological features that give children an insight into the chemical and physical children have in this youngest age. What is primarily and deeply
properties of the material. The process in which gypsum mixed with water passes first embedded in these little bodies is motivation and true desire
from powder to liquid and then into solid state is the basis for designing a series of for expression that inspires a sense of success, self-reliance and
creative activities. One of them is the “Walk on the Moon” in which we designed the relaxation.
theme in accordance with contemporary trends in art, with emphasis on performance The materials, equipment and techniques offered by students
and soft sculpture. The plastic sculpture in this case retained only visual softness provided unexpected situations and reactions and contributed to
because foot prints in the crowded masses acquired their constant, solid shape. learning in the most natural way - by research and experience in
By moving the gypsum from liquid to solid state, the children witnessed massive the immediate environment. I believe that a quality environment
heating of the mass and immediately followed by accelerated cooling during which and an educator who accepts and confirms are key to encouraging
the gypsum hardened. This process has been a spell for children, which has further children to create, imagine, and establish a contact with themselves.
stimulated interest, playfulness and enjoyment of activity, and has enabled play and
research to be revealed. The great potential of this material is to sensitize children Marina Dundić, pre-school teacher
to scientific experiments, and thus to link science and art in the educational process.

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A series of artistic activities based on the process of shaping soft sculptures have
been carried out in such a way that the children fill different fillings into almost sewn
shapes. Depending on the type of filler (cotton, sponge, seeds, stones and the like)
the shapes have taken on specific characteristics. They changed their weight and
they offered a completely different experience. A rabbit filled with seeds in the child’s
hand, under the influence of gravity, fell. Placed down on the surface, the same
rabbit would take over its shape. The rabbit filled with cotton would hold the shape,
but could not hold the upright position. This was also an incentive to reflect on the
physical properties of the material.

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As the activities took place at Christmas time, we decided to create another alternative The use of a variety of fabric for the design of soft sculptures is of great importance
pinetree inspired by clothing artists: Erwin Wurm, Charles LeDrayem, Robert Gober for the enhancement of the properties of fibrous materials. If the pinetree had been
and others who use for their art expression clothing items by transforming them into shaped like a pullover, it would have left a far warmer impression, while the pinetree
sculptures / objects of interesting meanings . The green shirt made of twill represented of a fine organigree would have given the impression of fluidity and meditation. The
the pinetree while the shapes made of aluminum foil were arranged on represented attributes that a fabric has are very much reflected in the overall impression of the
Christmas jewelry. The interesting thing we did not count on - this shirt made of twill shaped work.
with silver decorations largely resembled a uniform with ordnals so in some way, just
like it is in contemporary art, it also gained its metaphorical meaning.

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The question of using food in art is one of the issues around which it is difficult to
agree. There are different attitudes about it- that food can only be used for eating
to the point that such material is not sufficiently visually artistic. We decided to
experiment, in this case with pasta. In pasta we saw only the material that has its own
form, texture and color that corresponds well with the pastel shades of domestic
plasticine and allows research in the field of modeling.
We modeled by encouraging the development of tactile perception (soft, hard,
coarse, smooth) simultaneously counting the pikes on hedgehogs and wings on
butterflies. This activity was support for early adoption of mathematical terms.

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 Soft sculpture very often includes color, whether it is a pattern or a color of used
fabric or other fibrous material, or a painting intervention on the sculpture surface.
This principle led us to the dinosaur formation activity. What also played a great role
in this activity was the conversation with the children about these fascinating animals,
which deepened their scientific knowledge and gave them additional incentives for
painting the shapes. The filled dinosaur silhouette here served as a painting canvas
for children to paint their experience of a dinosaur character, as well as to show their
vision of the contents of a herbivorous or carnivorous stomach. This conversation
activity also inspired many statements about the dinosaur’s experience and pre-
history in general.

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 Antonija Balić Šimrak
ACTION PAINTING IN BIG FORMAT
When it comes to child’s artistic expression, action painting with its
passion, spontaneity and dynamism is probably the most exciting as-
pect of artistic creativity. The requirement to prepare space for such
activities is negligible in relation to the result obtained. Action painting
almost guarantees a quality work process, and the result makes it even
more impressive, so the effects of the apparent freedom and the grand
end result are always engraved in the psyche of the child. This man-
ner of painting is based on a creative process that excludes rational
opinion and control, and at the beginning of the 1950s, the 19th-cen-
tury art critic Harold Rosenberg identified it as one of the fundamental
approaches to art expression in art therapy. The reason for this is pre-
cisely the spontaneous release of emotions, whereby the work created
gives a sort of subconscious map of the one who created it and helps
in revealing and healing traumas, frustrations and bad emotions.
Action painting means using color and various tools for applying,
dropping, spraying, casting. Painting can be literally performed with
the whole body, by using energetic movements but also finest spon-
taneous actions with fingers or breath. It is almost common for such a
painting mode to produce a large format of some background, which
promotes freedom of movement and expression.
The most famous representative of action painting, the American paint-
er Jackson Pollock, explains this painting process: “It is not important
how you apply color, but what has been expressed.” This underscores
the importance of the subconscious, which through the creative pro-
cess finds its way and materializes itself. The works thus created are
in some way a record of condition of somebody’s psyche, and the re-
sulting composition becomes the content of the painting and speaks
about its author.
Educators often testify about the positive effect of such activities on
children who show the highest degree of agitation and aggression. Af-
ter painting in the manner of action painting, there is a visible decrease
in such feelings.
By performing action painting activities in kindergarten, we offer chil-
dren an exciting and contentious creative process, visual expression
through playing, and enjoyment in the research process. At the same
time, we expand the possibility of using different art materials and
tools, and point to the freedom that is achieved when we are creat-
ing our whole being without paying attention to the “harm” that has
been produced with it. Joy and laughter are the characteristics that are
evolving during action painting, which encourages the development
of positive emotions and group communion.

50 51
Action painting in a nursery group required a thorough preparation of space. The the color they had previously selected, in several circles until the composition was
children applied paint to the prepared canvas with plastic syringes, joyfully following saturated enough. Such a way of painting was very much awaited because it became
the orbit of the paint and the trail they left on the canvas. The painting was organized a play with an unexpected outcome. The color that fell on the protective foil was
in a way that the children are individually approaching the canvas and sprinkling used to make several prints by creating attractive large-format monotypes.

52 53
In the outer space, we could explore more thoroughly the possibilities of action
painting in large format and with various means. The paint was applied by means of
plastic balloons, ball and with the aid of a syringe. Water-melted canvas rendered the
dye in contact with the substrate to obtain a discolored, watercolorized outline and
The choice of art materials and techniques (painting, action
to dry in a pastel variant.
painting) in line with the level of child’s psychophysiological
development (3 - 4 years) has enabled openness, high involvement,
safety and emotional well-being for the child. Familiar materials as
artistic stimuli (balls, marbles, colors, balloons, boxes, surfaces of
different sizes and textures), the children unobtrusively and freely
experimented in a different way from the usual. Contribution to
the development of divergent thinking, and thus creativity, was
achieved.
By using activity photographs and the works themselves we later
encouraged the children to recall and comment on the creative
process they participated in. This resulted in increased initiative
and autonomy of children in the choice of materials, preparation
and performance of activities.

Helena Gašpar, pre-school teacher -mentor

54 55
 Action painting as a form of expression was first used in the older
nursery group Zvjezdice. The little ones were introduced to the
The body as a painting tool is a very common phenomenon in action painting, and game with their hands, the children were encouraged to exercise
children’s research into color mixing and its application to the surface with a foot and their fingers, palms, and feet. With a stimulating music background,
palm is a natural process. Foot-painting on a vertically-aligned paperboard inevitably the children started to explore and express different textures of
leads to the whole body being involved in the painting process and for the child to tempura. We realised the need for children to fully explore the
release the discomfort because its clothes got dirty. offered material using the entire surface of their hands and feet.
From this we conclude that in the collective artistic expression
of children, emphasis is placed on the process and research of
materials.
Marija Oršić, preschool teacher

56 57
The painting method by color dripping was inspired by the representative of this
painting method - Jackson Pollock - by applying the color to the vertically placed
large piece of plexiglass. This is an activity in which the children remained exclusively
for a very long time, and especially exciting was the painting on the plexiglass placed
in the middle of the space so that it could be seen from reverse and could clearly
follow the course of the painting. This process, taken over from the documentary
film about Pablo Picasso, is ideal for tracking and documenting a child’s research on
painting.

58 59
 Group action painting provides
the possibility of designing very
interesting paintings that can be
further intervened by stamping or
by transferring a figurative motif
with a brush. Large formats can be
used as decorations in space or as
scenery.

In the activities entitled “Four

Seasons” we combined dance and
visual expression. On the big white
cloth, the children danced along to
Vivaldi’s celebrated music starting
from winter, spring and summer to
fall. Each time, children were offered
colors characteristic for a particular
season in specially prepared bowls,
and when they dipped their feet in
the color, they danced freely on the
canvas. The result was a remarkably
expressive composition that later
served as decoration in space.

60 61
 Action painting can also be accessed very meditatively, as in this example, where we
performed after relaxing to gentle music with bubble balloons. The combination of
gentle, floating balloons that left a pastel trace on the substrate and relaxation music
on the floor have made this activity just magical and gave a new, subtle note to action
painting.

In today’s hectic way of living, this activity has enabled the children
to have moments of relaxation and silence. Music as a background
and the magic of the tale that preceded it initiated and enriched
an emotional experience that inspired motivation, creativity and
ultimate artistic expression. The exploratory process that took
place has resulted in children’s excitement and joy!

Dragica Vinožganić, preschool teacher-consultant

62 63
 Antonija Balić Šimrak
GRAPHIC PAINTING AS A PLAY
IN THE KINDERGARTEN
Graphic techniques are the ideal media for exploration through play-
ing. Early and pre-school children can extremely easily adopt a graphic
technique that implies printing a certain motif on the substrate with ma-
trix mediation. In this case, the term matrix can encompass the most di-
verse media and forms (parts of the body, plant, coin, templates), while
the substrate on which something is printed can virtually be any flat sur-
face or material. The diverse use of the matrix and substrate provides a
very creative approach to the art activities in the kindergarten and can
be combined with many other expressions, such as performance, ac-
tion painting, applied arts etc. Sometimes graphics combined with oth-
er art techniques can lose visibility, but it is important that the concept
of graphic thinking is adopted during the activity. The very reproductive
feature of the graphics attracts the child to experiment with color and
print strength, and the specialty of high, deep, and flat prints is chal-
lenging for educators preparing the creative process. Graphic painting
with its rich and complex technology makes it an impressive result be-
cause, apart from child spontaneity and technique, it adds extra fresh-
ness and rarely passes into a stereotyped expression.
In addition to mastering basic visual concepts, developing creative
thinking and developing sensitivity in the field of visual arts, graphic
painting also stimulates the adoption of mathematical concepts through
the ratio of quantities transmitted by a negative or positive of the ma-
trix. So graphic painting has an extraordinary impact on the cognitive
development of the child.
The specificity of the graphic technique lies in some kind of workshop
and teamwork. Space needs to be specially prepared and stages of
work organized, whereby each child can receive a certain task or try out
all phases of the creative process. Special pleasure for children is the
creation and exchange of matrices that every time give different prints,
depending on the choice of color and pressure. Teamwork encourages
children to freely present their own ideas and experiences and encour-
ages them to research, contributes to the development of communica-
tion skills, collaboration and mutual help, ie socio-emotional develop-
ment. The working and creative atmosphere that is happening in the
group certainly leaves a positive impact on the further planning of the
program of the group. Especially the value of the research of graphic
techniques in the nursery should be emphasized. Although this seems
too demanding for such an early age, it is among the youngest that
graphic painting experiences the freest approach giving the children
the opportunity to play by imprinting their first figurative forms which
they are not yet able to draw, paint or model themselves. In this way,
“babies” create magic with their hands.
64 65
Graphic techniques or their alternative versions, such as seal prints with natural
materials and various stamps made of various types of material, are a source of
inspiration for artistic activities. Handling the seals is at the same time a play and
an experiment that encompasses the research of many artistic elements and thus
enriches the child’s approach to visual art. The imprint of some form or material, with
its very matrix, guarantees a satisfactory result and the children look forward to every
task.

66 67
The storybook about the little elephant Elmer served as an inspiration for the matrix
printing activity being prepared in cylindrical form. Spatula, wire, cardboard and lace
made it possible to create different textures and combine them in different colors.
The outline of little elephant Elmer was filled with white A4 size papers that are then
removed from the substrate and on them in the style of Eric Carle a texture was
printed to recast the elephant again into a vivid whole. It was a great opportunity to
talk about diversity and tolerance - topics that are also being discussed in the story.

68 69
Printing our own palms and fingers is very often offered to children, from the earliest
age. It thus evokes form, color, getting new colors by mixing basic, color tones ... If
activity lasts long enough, the children will explore the formatting itself by applying
several prints that will create different formations on the substrate. Sometimes these
are evenly distributed prints, sometimes children enjoy creating dense prints by
overlapping, and often this game leads them to create daring compositions that
show that the child can intuitively form a very harmonious and powerful composition
that reflects its personality.

70 71
By preparing the original printing matrices, we will ensure a great deal of interest in the role of animals whose paws they were wearing. The combination of dramatic
artistic activity. This time, students made “slippers” from sponges and cartons in the activity, the development of speech by imitating animal sounds, discussion about
form of animal paws. They were put on with great joy and, as this is a nursery junior certain species of animals and their characteristics and artistic expression have made
group, with the help of a student they passed through the prepared path, enjoying this activity extremely interdisciplinary.

72 73
By looking at an art discipline of artjournaling, which is often used in art therapy
and design, we offer children newspapers as a base for printing various matrices,
including their own palms. This is a technique that already contains an interesting
typographic raster on the surface, which ensures the art quality of the finished task.
It is an opportunity for children to hear something about printing work, about the
process of designing and publishing newspapers and magazines, but also to try out
this very creative technique that has many characteristics of collage.

74 75
 Magic is always good, especially in activities with children, so we prepared for them
an alternative variant of batik on paper. By spreading color with sponge seals, the
children slowly uncovered the figure hiding in white paper. Discovering the dinosaur,
which is certainly one of the most interesting themes, their enthusiasm was immense.
The only thing that technically went wrong was the fact that the children, in an effort
to reveal the hidden drawing as soon as possible, pulled the sponge stamp, making
this activity more painterly than graphic. This change of direction of activity is always
awaited with enthusiasm because we are able to note the spontaneous art expression
of a child.

76 77
Showing more and more encouragement in selecting the matrix and the substrate
for the graphics technique, we had cars which became paint carriers and left long
traces on the canvas. We could characterize this activity both as action painting and
seal printing. However, the classification of techniques in children’s art creativity is not
what we put in the foreground, but we are primarily interested in the child’s interest
in the activity and how it will approach it.

78 79
The format can always be limited and the printing equipment combined. In this
case, the substrate was limited to the bottom of the boxes whose sides allowed us
to roll balls and collide with cars within them, creating a compressed, expressive
composition. They were later extracted from the box and exposed as graphics. The
play here was the main trigger and the cause of long-standing enjoyment in activity.

80 81
Educators in their practice must be extremely creative in finding manipulative The circular format also enabled group work and a greater number of participants
material, and this plastic cover is a real example of success. It helped us awaken the on the same task. With regard to the works taken out of the rectangular cover, this
possibilities of circular compositions using the same procedures as in carton boxes. exhibition of children’s works made it richer and more intriguing.

82 83
As the end of the research of printing technology we decided for a really great format,
offering the children a canvas that they could handle, wear it, walk on it, sit down
under it and do all that seemed interesting to them. Tennis balls soaked in color were
rolled down the canvas tensely following their path.

84 85
The activity lasted for a very long time, as evidenced by the amount of paint applied
to the balls, and the work is an exemplary sample of abstract expressionism created
by the ball-bearing technique that demonstrates the child’s enjoyment of the process.

The outcomes of students’ work show that they have acquired

the skills of using information and communication technologies
in documenting processes, developing creative ability to motivate
children for the highest quality artistic expression, gain knowledge of
the importance of visual art for psychophysical child development,
develop the ability to acquire knowledge and develop visual
language as well as the ability to design art activities. We believe
that our joint work will be an incentive for further exploration in the
field of artistic creativity and visual arts of children in kindergartens.

Helena Burić, pedagogue

86 87
 KINDERGARTEN IZVOR KINDERGARTEN ŠPANSKO

ANADOLAC EVA ZORIĆ ASJA TATAR NIKOLA ANTOLKOVIĆ FRAN MRKŠA ROBERT JURIĆ TRISTAN
BILIĆ ŠKRLEC PETRA TVRDINIĆ ELENA VULETIĆ MARIN GAJKANOVIĆ MIA PAPEC ENA KLJUČE PAOLA
ĆALETA DOMINIK BAJS MARSEL AHEL ADAM HLOBIK MARTA PETKOVIĆ LUKA KOVAČIĆ PETAR
DOLEŽAL LENKA BREBRIĆ ANABELA ALBRECHT SOFIJA HORVAT RAFAEL PETRIŠKO TIN LONČAR IVAN
ĐOKIĆ ISAK ĆURIĆ LUKA BALENOVIĆ BARTOL HRKAĆ FRANO POLJAK GEA LONČAR PETAR
ĐOKIĆ RIA BATISWEILER NEVIA BINGULA LAURA JURČIĆ SVEN RADMAN KATJA MARIN IVA
FERINA LUKA ČIŽMEŠIJA TOMISLAV ČORDAŠ LUKA KAVUR LEONA RUŽIĆ JAKOV MOSKALJ GABRJEL
GELO GAŠPAR ĆUK BELA ĆURIĆ LUKA KULENOVIĆ ANA SOPTA NIKO PINJUH BORNA
GOLIK TRIVIĆ RAHELA DEPOLO DUNJA DELAYE LUKA LEŽAIĆ LUKA VIDIĆ NOLA PRITIŠANAC LINA
HAĐINA ŠKRLIN GITA FAR PETRA HAJČIĆ MARO LOVRIĆ ADRIANA LEONA VRBANIĆ LUKAS SPAJIĆ MARKO
HRABAR SAMALKI NOLA GLOGOVIĆ LUCAS JOKIĆ VITO NEKIĆ DORA VUK KORINA STANILOVIĆ ANTEA
IVANIĆ NELA HABAZIN FRIAS DOMINIK KRNIĆ TALIJA NOVAK TOMA ZEMLJIĆ MARIA ŠAJNOVIĆ MONIKA
IVANČIĆ LOLA HOJNIK JOSIĆ MAK KRPETIĆ PETAR PREKPALAJ LENA KRIŠKOVIĆ DENIS ŠUĆUR TARA
KAJS ROZA HULJEV VITO LAPENDA NIKOLA RIEGER LENA MESARIĆ VID TOMAŠEGOVIĆ MATEO
KEKIN MIŠA JAKOPEC SARA MARTINOVIĆ TEA SAMARDŽIĆ MIHAEL MIGLES HELENA VIDIĆ BORNA
KLISURIĆ VID KVRGIĆ LEJLA MATIJAŠEVIĆ MAŠA SMILJANIĆ MATEO MIOČIĆ ROKO VUKSANOVIĆ LAURA
KNEZ LEBARIĆ FREYA KUKEC JAN MILOŠ MARELA STANILOVIĆ JAKOV NOVAKOVIĆ LINA
LJUTIĆ BORNA LUČIĆ EVA NOVAK AMELIE STRIČEVIĆ IVAN ROPAC DORIS
MAJCEN MATIJA PAVLEČIĆ LUKA NOVAK JANA TUDJMAN LUKAS TATAR TENA
MIHALIĆ EMANUEL POJE PATRIK PERICA IKA BRATIĆ MARIA MATEA ADAMOVIĆ LENA
MRDULJAŠ TRINAJSTIĆ EVA POKRAJAC LEONA PRIKRATKI TIN BRATUŠA LUNA CRNKOVIĆ LEONA
MRDULJAŠ TRINAJSTIĆ IVAN RAVLIĆ ROZA PRLIĆ VERONIKA BRCANIJA LUKA ČABRAJA FILIP
NAGY LOVRO ŠEBELIĆ JAN PROTEGA ROKO BRZIĆ JAKOV ČAUŠ RITA
POMPER MARKO TURUDIĆ LENI RAJHER HELENA FRANCETIĆ KIM ĆOSIĆ LUKA
RAMLJAK JOSIP VERGLES AGATA ŠERCAR GRGUR JUKIĆ VIŠNJA DROŽĐEK SUNČICA
TRBUŠIĆ ENA VOLAREVIĆ JAKŠA UZELAC JAN JURATOVAC IVAN DŽEPINA TENA
SUBOTIĆ IDA VOLIĆ RIKO ZIRDUM KAROLINA JURIĆ KORINA ERIĆ JAKOV
VEIN MANU VUJIĆ MARKO BANOV EMANUEL KLJUČE NOLA FILIPOVIĆ KRISTIJAN
WAGNER LARA WAGNER PETAR BALENOVIĆ MARTIN KRIŠKOVIĆ DENIS HAJDINJAK LEONA
ZUANOVIĆ MIA ZALOŽNIK MIA BILIĆ MATEJA LEKO MIA KOVAČIĆ ELENA
BEUK MELITA BARTOLIĆ JURA BOROVIĆ FRANKA LOVRIĆ KATARINA KVESIĆ LOVRO
DESNICA JULIJA BERC PETAR BREBRIĆ MIKULA LUKIĆ VITO NERALIĆ ROKO
DUMIĆ BORNA BIOČIĆ ANA BUJ PAVAO MARN MARIETA PERIĆ FRANJO
FORENBAHER JAKOV BLAŽEVIĆ TARA CUKAR NINA MATOVINA LUCIJA PULIĆ JOSIP
GAČIĆ EVA BRAOVAC MISLAV ĆOSIĆ RITA MESARIĆ VID PULIĆ MATO
GARIBOVIĆ EMA BRČIĆ LUNA ĆURIĆ ROKO MIGIĆ MIHAEL RAŠUO PETRA
GAŠPAROVIĆ ELENA DEJANOVIĆ KRISTIAN ĆURIĆ LUCIJA MIGLES HELENA RIBAREVIĆ GOSPODNETIĆ NEVA
GLAVAŠ JOSIP DUMIĆ SCARTEZINI MARA DUNDOVIĆ MAŠA MIOČIĆ ROKO SEVERINAC DARIA
HORVAT FILIP DUMIĆ SCARTEZINI NEVA ĐULVAT PAUL NOVAKOVIĆ LINDA STANIĆ MARKO
IVKOVIĆ ANDRO ĐOGIĆ LUNA GAJIĆ ANASTASIJA ORŠIĆ GAŠPAR ŠOKČEVIĆ EVA
JELUSIĆ ANDRO ERIĆ FRANKO KRSNIK DAVID ROPAC DORIS TOMAS ADRIAN
KRSNIK TIŠLAR BORNA KABALIN IVAN MADŽAR IVONA TATAR TENA VUKOVIĆ VITA
LESNIK ARON KOLIĆ BARTOL MIHANOVIĆ KAJA DROBNJAK IVA VRUČINIĆ LUKAS
LIKIĆ BIRKENMAYER LUKA KRŽELJ MARA MUJIĆ HANA ĐUJIĆ MARIJA ZDOLC JURA
MEDUN MARIJA LUKAČIĆ FRAN NAGY JAKOV FABIJANEC FRAN BAN FILIP
OBERMAN MAK MAŠIĆ EMA ŠARIĆ MAŠA HRKAĆ PAVLE BAN TIA
PEROK TEA MIŠETIĆ MARA ŠTROMAR LOVRO JAKŠIĆ NIKO BAZINA BARTOL
ŠALAMON JANEČIĆ ELI PRIPUZ ŠPEKULJUK PETAR VNUČEC JAKOV JURČIĆ MAŠA BELAMARIĆ MARKO
STANCIU LUKAS PROTEGA ANTE VRBANIĆ PETAR JURKOVIĆ TENA BERISHA FILIP
SUBOTA SARA PULJIZ ROKO VNUČEC TOMA KOVAČ JANA BUĆAN LEON
VALEČIĆ MAGDALENA RAGUŽ MAKS WEISSMANN TIN KOVAČEVIĆ TONI DELIĆ LUKA
VUČKOVIĆ MARKO RIBIČIĆ ROKO WEISSMANN TOMO LESKOVŠEK LUCIJA GRZELA NIKA
VURUŠIĆ LUKA RIGO FILIP ZMAZEK NOA MARIĆ GABRIEL JAZVEC JULIA
ŽIVKO ZARA ŠUMAN ZOLA ZORIĆ BEPO MIHELIĆ GRGO JUKIĆ IVANO

88 89
 Students on the
Graduate University Study Programme of Early Childhood
and Pre-School Education
ACADEMIC YEAR 2015./2016 AND 2016/2017.

BIUK ENA LUCIJA SOLARIČEK

BUTIGAN PETRA VALENTINA RUKLIĆ
ČAMBER ANAMARIJA PATRICIA PLAHINEK
ČEČURA SANTANA MARINA PANIĆ
ČIŽMEŠIJA MARIJA BARBARA PETI
DRONJIĆ NIKOLINA MARTINA ŠKULEC
ĐAIĆ TENA IVONA AJDUKOVIĆ
ĐURKOVIĆ NIKOLINA ANA MARIA SARJANOVIĆ
ERDELJA GABRIJELA IVA PUŠIĆ
FRANTAL ADRIJANA VLATKA SEVER
FRETZE SANJA JANJA PETRA VULIĆ
GRUBIŠIĆ MARINA DORA NEMANIĆ
HODAK HELENA MARTINA MIKULJAN
HORVATIĆ MARGARETA IVANA KORENIKA
KANCELJAK ANAMARIJA KATARINA PETRIČEVIĆ
KARAŠIĆ IVANA KRISTINA MANDIĆ
KĆIRA LORETA MARTINA NEBOSENKO
KEVAC TEA MILA ROSO
KOLARIĆ MARIJA VALENTINA MIRT
KRANJČEC LORENA VIKTORIA ŠOŠTARIĆ
LUJIĆ IVA KLARA NJEGAČ
MANZONI KARLA ĆUTIĆ MAJA
MARJANOVIĆ TENA BUČANAC MATEA
NANJARA PETRA BEŠKER ALKA
NIKOLIĆ KATARINA BJELIČIĆ MARTA
PATLJAK IVONA KUNA MATEA
PRANJIĆ IVANA LAPENDA IVANA
SABADOŠ MIRNA ERCEGOVAC PETRA
ŠIMIĆ IVA BUBLE KATARINA
ŠITUM IVANA MAJSTOROVIĆ ANJA
ŠRENG ANDREA MIKULJAN MIRNA
ŠRENG REBEKA PETRA BARAĆ
TKALČEVIĆ NIKOLINA IDA IMBIŠAK
TOMAŠIĆ JASMINKA TENA MALINAR
VARGOVIĆ DUNJA ELIZABETA HERCEG
VRANIĆ ANJA ANTONIA PERIĆ
VUKOVIĆ IVANA IVNA IŠTUK
VUKŠIĆ TEA KRISTINA KALIĆ
ZEBEC MONIKA EMA LAIĆ
ZIRDUM ANA ANTONIA KARAULA
RAJTER KRISTINA ANA GALIĆ
SAMARDŽIĆ MAGDALENA ANDREA BEŠLIĆ
VUJEVIĆ MARTINA EVA HADAŠ
SARA VUKELIĆ ANDREJA LEKO
TIHANA VERIĆ EVA BACH
MILKA JAKOVLJEVIĆ ELLA BABIĆ
ANTONIJA JAKŠIĆ TEA DVORŠCAK
ANA BULAJA KRISTINA MARKOVIĆ
VIKTORIJA BARIŠIĆ ANA BAŠIĆ
PETRA MAHOVLIĆ JANA ŽABOJEC
MARINA MARIJIĆ ANDREA LAKIĆ
IVANA MALOVIĆ ANTONIJA HALAVUK
DORA ŠARIĆ TATJANA KOKOT
DORA PLIŠKO
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92