We need to think constantly in terms of “drawing to learn” and “drawing to share”; to identify which is one is primary at any given moment; and to practice, guide, or provide feedback accordingly. Failure to do this can result in the extreme consequence of total rejection of drawing as an option for mark-making. Much research has already been done. We just need to pull the threads together, weave, and believe.
"In some work in Rwanda on developing a policy on violence against women and children, I spent time with young people in all regions of the country. They brainstormed, they performed through role-playing, and they drew pictures. It was their drawings that I shared with policy makers. "
“He started by drawing shapes, focusing on colour and texture and placement without a specific recipe plan,” Littman said, adding the chef would then reverse-engineer dishes based on this exercise in form rather than content.
“There’s a long history related to art and food. His drawings aren’t necessarily great representations of food, they are used more like mental maps or flowcharts to visualise the way that he thinks.”
"In some sense my period of studying science and later working as a research scientist was a break in my art-making, and now with the real possibility of not returning to science, I’m looking to my creative work pre-science to help to shed light on the direction my creative path might take moving forward."
"'Drawing is an important and powerful language of expression. There is a certain kind of physical intimacy and bodily vibrations that become vital part of the image, which are drawn with the human hand."
'Drawing An Act Of Art II', a show at Priyasri Art Gallery, May 2006
Lisa Hosokawa's insight:
useful for learning about practicing artists in India who are known for drawing
"And if you are going to say that the first perspective is the one that we actually see most of the time, when we look at a coffee cup… that it is the angle we are used to seeing the cup on our kitchen tables, I will tell you that this research has been done on many objects. For example, people were shown pictures of horses from various angles and perspectives and they most quickly recognized it as a horse when it was from this same canonical perspective."
"Judith Burton, a professor of art education at Columbia University, discusses the relationship between drawing and development and poses questions for the audience. What do drawings tell us about a child's development? What causes drawing abilities to shift over time? What do a child's scribbles tell us?"
"The process of drawing is fascinating. It's all about learning to change how we see. It can help shift the way of experiencing the world from something analytical to something more empathetic, and it's that latter viewpoint that helps us connect with our surroundings and transform our interactions with the world.
For a while I've been thinking about how valuable this shift could be to the development of our social, economical and ecological systems. If we could be more connected, more empathetic in our interactions both with each other and our surroundings perhaps it could help shift how we approach our lives in a really significant way. We might start caring more about how our actions and decisions affect others."
"Let's Create! (Online Creative Confidence-building Experiences for Adults) are small online classes / communities of parents / adults who recognize the importance of modeling creative confidence for (their) children. It’s an easy first step to take with others who are all starting from the exact same point of creative insecurity."
"How do I bring drawing into the heart of classroom learning — not as a way to develop artists, but as a thinking skill, as a language that could help students solve problems and enter different curricular material, be it a math problem or a science experiment or the journal of a historical figure? When students enter kindergarten, drawing is a natural language — stories, ideas, discoveries naturally erupt from the tip of a pencil. But quickly, students are required to learn and master writing, reading, and math. The drawing mind is shut down."
"The goal for the HATCH project is to bring together researchers and practitioners in order to explore, expand, uncover and incubate themes around drawing. HATCH is a forum for practical experimentation, collaborative initiatives, discussion and criticism, and exhibition and exposition. We hope to create and encourage an environment for drawing - and drawing conversation - that reflects the broadest investigation of methods and outcomes."
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