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.
"A series of home visits with a group of Brazilian immigrant families of three and four year olds refutes the premise that financially disadvantaged immigrant children do not receive support for their learning at home. Parents and other family members participate in developing their children's literacy skills, and were observed engaging in a variety of communicative practice, such as singing, drawing, or dramatic play."
"The Campaign for Drawing is an independent charity which raises the profile of drawing as a tool for thought, creativity, social and cultural engagement.
The Campaign has created a new regard for the value of drawing to help people see, think, invent and take action.
Its long-term ambition is to change the way drawing is perceived by educationalists and the public. This has won support from leading practitioners in the creative industries and in art, architecture and design colleges, signalling an overdue realisation that drawing is fundamental to the training of students in these disciplines. The Campaign takes a wider view. It sees drawing as a basic human skill useful in all walks of life.
The Campaign's work will finish when the words 'I can't draw' are dropped from our vocabulary."
"I am a professor teaching English as a foreign language at a Japanese university. Some years back I was asked to take over an elective course, which was intended to engage students in the full range of language skills. The textbook I used was assigned before I took over the course. Entitled Communication Without Words, the book discussed the use of gesture, space, notions of time, and other dimensions of 'non-verbal' communication from a cross-cultural, East-West perspective. In teaching the class, I asked students to respond to, and try to expand on, the various topics raised in their textbook. Students were to reflect on their own lived experience and to look to the subcultures and social groups that they participated in for their examples.
Ironically, Communication Without Words was a book that contained nothing but words: it lacked any pictorial or graphic information, either to show examples or to clarify the points being explained. It was this omission that prompted me to ask students to incorporate visual elements in their written work. My expectation at that stage was that these visual elements would be in the form of some sort of pictorial 'illustration' that would support what they wrote in their paragraph or short essays. The results, however, were entirely different: their very first coursework assignments showed the visual dimensions of their compositions playing a dominant role. I saw visual meanings being used in complex and very distinctive ways. My desire to better understand why these texts looked the way that they did motivated my research in the area of visual composition and representation."
Lisa Hosokawa's insight:
Would have been interesting to connect concept of "modularity" to manga as well.
"The world will be more complex and overwhelming. Adaption of new technologies will accelerate. Companies will continue to chase growth in the midst of new competitors and customer demands. People will seek out communicative leaders who can help us feel safe, grounded, understood and inspired in the midst of all of this noise and uncertainty. The question is who among us will be the first to embrace the full potential of visual thinking as individual and organizational catalysts for leading innovation and change, helping make our work more meaningful and productive."
"[E]ngineers are notorious for not being able to think without making "back-of-the-envelope" sketches of rough ideas. Sometimes these informal sketches serve to communicate a concept to a colleague, but more often they just help the idea take shape on paper. It is in considering how these sketches help an idea take form that gives a hint that drawing's role in engineering is more than just to archive a concept or to communicate with others."
"The Drawing Network is an informal group of parents, teachers, academics and citizens concerned with children's learning through drawing." Experience-based posts by Bob Steele, Associate Professor (Emeritus) UBC.
A design and building high school public education program by Project H Design in Bertie County, North Carolina...
To begin to exercise these “seeing” muscles, we did a series of lectures on Color Theory, Gestural Drawing, and Point-Line-Plane (the basics of 2d design). These 3 lectures were accompanied by related exercises, including gesture drawings of images (5 seconds to represent its essence!), drawing the hand in 5-, 30-, and 60-second timeframes, and most notably, an exercise using the Curious Terrain Explorer’s Deck, “a creative toolbox for discovering and recording places.”
"If I was going to try to identify a weakness of the analysis that has already been done of children's drawing, it would be that it is often looked at quite apart from the rest of children's lives and the rest of their world. To read some text books on children's drawing, you would get the impression that more or less all they did was drawing, that it was not something which happened alongside other activities. It would be fruitful to try to look at children's drawing activities from another perspective. How does drawing relate to the efforts of children to understand the world in other ways?"
seeing drawing - an interactive multi-media learning package which can be readily integrated into teaching and learning in a variety of educational contexts
Lisa Hosokawa's insight:
"Drawing is the key and the core. It is a fundamental skill and it is the core around which the conceptual and the intellectual development of art and design students takes place. But what of drawing in the digital age? Over the last three years a number of art and design institutions in the UK have worked together to develop an electronic product which addresses this most important of subjects.
The partners in this project have focused throughout on the process of developing visual literacy in students through a computer based technology. The result is seeingdrawing - an interactive multi-media learning package which can be readily integrated into the teaching and learning in a variety of educational contexts.
seeingdrawing is in six parts - Exploration, Instrument, Method, Reflection, Understanding and Fashion."
"This excellent set of case studies offers many rewards. Erudite and skillful specialists, both American and European, show in rich detail how drawings of machines were made and used in early modern Europe. They illuminate the formal development of geometries of representation, the social relations between engineers, artisans, and patrons, and a wide range of other topics. Every essay rests on a deep foundation of drawings, lavishly reproduced and precisely analyzed. Historians of art, of architecture, and of Renaissance court and urban culture, as well as specialists on the history of science and technology, will find this volume indispensable." —Anthony Grafton, Henry Putnam University Professor of History, Princeton University
Learning sciences research project to teach medical students how to draw to help understand anatomy.
Lisa Hosokawa's insight:
"Medical students at The University of Nottingham are to get drawing lessons as part of new research into how visual representation can help the academic learning process.
Dr Shaaron Ainsworth, from the University’s Learning Sciences Research Institute, has won a prestigious Higher Education Academy grant to explore how learning and assessment of anatomy can be enhanced by introducing drawing into traditional dissection classes for first and second year medical students.
Existing research shows that experts in many fields use drawing to develop new insights, record their understanding and explain findings to an audience, but Dr Ainsworth’s new investigation will ask ‘can learners do likewise?"
Dr. Susan Sheridan is an artist, writer, parent and teacher. She received her undergraduate degree in Classics and English from Harvard College and her MAT and her doctorate in education from the University of Massachusetts in Amherst. For the past twenty years, Dr. Sheridan has taught English and Art at the middle school level, and studio arts and art history at the college level, promoting what she calls a Neuroconstructivist theory of education with the cross-modal practice Drawing/Writing.
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