drawing – A Closer Look

YCBA Gallery Visit with 3rd and 4th Graders, by Darcy Hicks

Five teachers from the Read School in Bridgeport, CT brought their students to the Yale Center for British Art last week, as part of their Visual Literacy partnership. They were divided into groups and headed off into the galleries with their parent chaperones and their group leaders (either a docent, their teacher or myself). Each group visited two paintings, and discussed what they saw in the paintings as well as what they thought might be happening.

The children were equipped with pencils and their sketch journals, which they have been using in the classroom for drawing and writing as they engage in Visual Literacy. They drew what they saw in the paintings into their sketch journals. Drawing the paintings forces them to observe carefully and they see things they would have missed. As Donald Graves said, “We see with our hands.”

There are a number of things that happen when children talk about paintings. First, as they tell what they see, they share and build vocabulary at a rate I never see in other conditions. One child says “The horse has a seat on his back,” and another says, “It’s a saddle.” I kept notes as they shared new words, but could barely keep up!

The other thing that always surprises me is the easy connections they make to these paintings, which at first glance seem so distant from their lives today. Looking at these scenes allows the children to share their own previous knowledge and life experiences with each other. One little girl said, “I think it’s morning because the sun is shining some pink, and that’s what I see in the morning.” When describing a dog in a hunting scene, a little boy said, “I think he’s trembling because he is about to enter the woods and woods are dark.” Note the vocabulary: words like “trembling” catch the attention of us teachers, who are often surprised that they know these words.

For the last half-hour of our visit, the children met in the Library Court and wrote in their journals about what they saw. They were given choices for writing. Some told a story about a painting, others described it. Some also chose to write from the perspective of one of the people or animals in the paintings. A few wrote poems.

"The sky is blue and the sun is out. It is a sunny day. I'm feeding my horse Pumpkin. But then I began to sweat. It's humid outside. I see the clouds reflecting in the sparkly lake." — “The sky is blue and the sun is out. It is a sunny day. I’m feeding my horse Pumpkin. But then I began to sweat. It’s humid outside. I see the clouds reflecting in the sparkly lake.”

The kids are learning to live in the paintings, and write from there.

"It looks like the horse is trying to turn away because the lion is trying to kill the horse. And the lion is biting his neck and that makes the horse not to breath. And his mouth is open trying to breath. And if I was in that painting I would hear the loud roar and last but not least I would hear him running!" — “It looks like the horse is trying to turn away because the lion is trying to kill the horse. And the lion is biting his neck and that makes the horse not to breath. And his mouth is open trying to breath. And if I was in that painting I would hear the loud roar and last but not least I would hear him running!”

These journal entries are seeds for all sorts of writing: personal narratives, poems, stories, informative essays, expository pieces, etc. The paintings are the bridge to their authentic topics and voices.

Drawing and Writing

Practicing visual literacy skills throughout the year opens opportunities to explore new combinations of reading and writing. In this exercise I wanted to explore creative writing using a film, a painting, and drawing. As a whole class we had recently watched a film. I spent some time looking through the online collections at YCBA and I chose this image due to the film’s content concerning the inner workings of a court life. The first part of the exercise was to draw the whole picture in their journals.

ba-obj-877-0004-pub-large — The North Prospect of Hampton Court, Herefordshire by Leonard Knyff, 1650-1721, Dutch, active in Britain (by 1681)

The following day we used the painting as the setting for a scene between characters in A Midsummer’s Night Dream and the film we watched. They had to pick at least one character from each story. Inside the painting they had to choose a place for their scene to take place and draw a mini-scene.

The story was opened ended, but had to be accurate to the characters in the stories. Each student chose their own characters, imagined what characters from two different stories would say to each other, and then chose the best visual location for the story to take place.

The creative writing prompt gave them very specific tasks. Each student had to draw the whole, but then within that whole had to choose a specific location that would be meaningful for their story. The writing had to construct a story with characters from two different stories (and mediums) and place these characters (in character) into a third space. Within these requirements the students were free to imagine and explore. Although some students chose similar characters, no one story was the same.

–James Shivers

Using the Online Collections — Part Two

Students are accustomed to searching for materials online. Often the search comes from the browser they use. Using a curated collection like the one at YCBA is a different matter. All the materials exist, have been researched, catalogued, placed in the community for viewing and dialogue. I regularly search the collections and encourage my students to do the same. I have even designed lessons around the searching through the collections.

When we were reading Speak, I wanted a tree the class could draw. I found James Ward’s (1769-1859) ‘Mr. Howard’s Large Oak, August 5, 1820′ to be perfect for the assignment. As this was our last unit of the year, I was able to ask the students to draw in a different way. I asked them to draw the image of the tree as they felt at the beginning of the year. In other words, I asked them not to just copy the tree, but to use the tree as a starting point for a visual interpretation of their own experience. Their images were very personal and full of surprises. One student drew the tree with very little leaves. The only leaves he had, he wrote ‘a new hope’ for this year. The students were able to look back at themselves at the beginning of their High School experience and reflect using their visual literacy skills. The assignment also stretched their sense of drawing. Instead of drawing as ‘copying’ drawing was a way of seeing. They were free to modify, add, enhance, alter the image in order to communicate a particular experience.

As a general rule, I do the assignments with the students. I decided to draw the tree, but to fill the limbs from some comments written in my journal from quarter one.

Since I do the assignments with the students and tell them if they want to see my work they can. Occasionally, I will show them what I’ve done. But, I am careful here. I do not want them to fall into the mimetic role: only do what the teacher does, then copy it slavishly, and then you are finished. More important that seeing my work is seeing me work along side them instead of answer emails, grading, working on something for another class. Obviously, at times, I need to work the room and take care of paperwork. However, I don’t ask the students to do something I haven’t done myself.

–James Shivers

Visual Summaries

Reading Shakespeare is a challenge. Yet, with an annotated text, students find their way. Along with the normal strategies of reading an old text, in an unusual language, I have also explored using visual literacy skills to enhance meaning and explore the progression of the story.

Drawing and working with visual mediums as a regular practice affords many opportunities to work on critical and creative skills in order to develop insight, awareness, understanding, and enhance articulation.

For this exercise, I asked students to make a visual design of the particular act. A design that communicates both the meanings of the play, but also their interpretations and understandings of the play’s story.

I encourage students to pay attention to the page design, to incorporate place, subjects, people, even conversation that seems significant. I also suggested that they create a visuals that will tell the story but also remind them of their reading experience. The page becomes a canvas of visual knowledge, open to any arrangement that is meaningful to them. The journal without lines gives us this freedom. A freedom they completely explore. The page in the journal becomes a composition and like all the images we view, discuss and draw, a visual medium awaiting discovery and dialogue.

–James Shivers

The Visual Word

Having established a journal practice in class, I found multiple ways of using it for day to day assignments. One advantage of the journal is archival. Students begin with their work at the beginning of the year and keep adding to the pages as the year progresses. They can look back, refer to their previous work, re-read and use as a source. Students have a record of their ongoing learning, an archive.

The assignment here was to place image work along side their word-work. I don’t do this with every set of vocabulary words. As a visual literacy strategy, the word and the understanding spill into the experience of learning. Later, the student can look back and ‘see’ what they know. As is the case with drawing and designing, they often feel the urge to re-vise both. I ask the students for context, part of speech, definition, an example, and a visual.

Students learn words live in contexts with a narrative. Students create a unique iconography and links outside the text. The word then has a visual component along side a link outside the reading. Since the goal is practice and exploration, I can look at their work as a process of knowing and be flexible in my assessments. As their language use expands from ongoing practice in various modalities, students find more nuanced ways of communication. As their journal becomes an archive they see a residue of their growth or even see places where change is necessary. They continue to learn on their own.

–James Shivers

Seeing Perspective – Part Two

Perspective is an essential narrative feature. Each page of a book, each scene with a character provides another way of seeing the story. In many texts, the narrative has recursive features of time and knowing. We see the story different when we have finished and look back. We see the story different when we are given another vantage point. We see the story from our perspective as we read.

Each perspective generates a narrative of seeing, feeling, and knowing. If this is the case, then the exercise of drawing a sculpted figure from different vantage points should generate unique insights (follow the link to see what the students drew). As with reading a narrative, we see what we are given and what we look for. So, I asked students to draw the image first and then describe the mood. The act of description calls forth their own knowledge and experience: How is this person standing? When I stand this way how do I feel? How have I seen this stance before? What does this stance communicate?

“[L]ost, lonely, depressed. It seems as if this man is outside and is alone and thinking to himself. He is in a situation (stuck) but doesn’t go for help. He is desiring something without reaching out”.

“Nonchalant. He is on his phone but it’s cold out so he has one hand in his pocket and is wearing a sweater and pants. He must have heard something so his head is turned in a casual way. He is not in any rush. Maybe he is waiting for a bus”.

“Confused, Pondering. Maybe he’s thinking. I watch this man, he’s thinking or looking for someone. He’s looking for me. He doesn’t know I’m right behind him”.

Each student brings their world to bear on their expression and interpretation. Students can discuss what they see and why with each other. Students can also look at the progression of their work. What did they think at first? How do the three perspectives construct a whole? Some students wonder why I would show the “same” object three times, suggesting nothing is different. This leads to further conversation and closer looking. What would we know if we only had one of these vantage points? A question like this brings the sense of perspective to the forefront.

But why do this exercise in an English class? Simply, it’s a story of reading. As we go through a book, we are building a sense of the story. The longer we read, the more we ‘see’, and soon, we are living with a story with various narrative strands linked. Each link has value. Some students will see this quickly. Others, will need more time. If we choose not to ignore this multiplicity, we allow change and growth to occur. Allowing room for the process of knowing and practicing this skill makes the classroom a rich environment of dialogue and discovery.

–James Shivers

A Message for Teachers on How to Exist

Kick the Can memory from Darcy's journal — Kick the Can memory from Darcy’s journal

The other day my friend and colleague, Cyra Levenson, said, “Until the teacher has a voice again, no student will either.” I realized that while I coach how to teach writing to children, I have been neglecting to focus enough on the fundamental need for teachers to have a writing voice.

There are always great things happening in education, but for a long time now there have also been constraining mandates taking up more and more of our time. I felt suffocated towards the end of my time in the classroom, and today as a teaching coach I hear too often from teachers that they don’t feel like professionals when so much is decided for them. This needs to change. Obviously, you did not go into this job for the salary–so you deserve to feel happy in your job, as you educate the next generation.

Teachers: this is where I get bossy. If you don’t have a journal, get one. You need to exist on paper. Draw and write in it every day…not just about your students, but about yourself. Who were you as a child? How would you teach your younger self? What made you want to teach? What are your school memories? What do you love to do today? Write about anything. Join a writing workshop for teachers like the Summer Institute at the Yale Center for British Art (http://britishart.yale.edu/education/schools-and-teachers), or travel – there are teacher/writer workshops out there (like this one in Santa Fe: http://eefstc.sfprep.org/the-way-i-see-it/).

Reading a Degas painting from Darcy's journal — Reading a Degas painting from Darcy’s journal

Share your writing with your students so they see your process, your struggle, your courage, and your voice. And then, watch your students exist on paper too.

When we see ourselves as researchers and learners, we gain a deep understanding of the larger picture. We develop strategies to overcome the oppressive red tape and get down to what matters: learning to love learning.

Self-Portrait Study

The “getting to know you” theme that many teachers engage in at the start of the school year is a natural place to introduce the idea of “self-portrait”. Sylvia, my co-teacher, and I created a display of a dozen self-portraits which show a range of artistic expression for our five year old students to peruse during the first few days of school. Frida Kahlo, Ansel Adams, Pablo Picasso, and Georgia O’keeffe were among those displayed.

After the children discussed their observations of the portraits and we recorded them on chart paper, we invited our students to create their own self-portraits. Once they were complete, we had them write a sentence starting with “I am…” and we posted their thoughts with their portraits. This period of self-reflection was wonderful.

Once this was finished, we thought it would be an excellent lesson to have the children study the faces on the professionally rendered portraits, and decide what the artists would say if they wrote “I am….” sentences. Each child really studied the portraits, looked into the eyes of the artists, and came up with some interesting responses.

I loved noting the time that each child spent, really studying and thinking about each portrait before writing his/her idea. Overall, it was a meaningful way to get to know each other better.

First Drawing: planning, designing, reflecting

The circle undrawn is never the circle drawn; — Norman Nicholson

The 20^th Century British poet knew of the gap between our eye, our mind, and our hands. This gap, quite apparent at the beginning of the school year awaits our response. Integrating a visual strategy into your class can begin anywhere. The point is to start looking and start connecting looking to seeing, seeing to drawing, drawing to words.

For the past two years I have started with Albrecht Dürer’s Melencholia I (Albrecht Dürer – Melancholia I, 1514). I don’t spend a lot of time discussing the work of art as a cultural object; rather, we use the work of art as a beginning of seeing and thinking. I have chosen the print for a variety of reasons. First, it is a significant work of art that continues to inspire conversation. Many have tried their hand at its composition. The image also covers a range of objects and ideas: students can draw the entire piece or focus on one particular element.

“All her life Mary has been strong, confident and smart. Her parents were always wealthy, and had everything she had ever asked for. She had long beautiful silky dresses, and enough gold for the entire kingdom. Yet, she still felt as if something was missing – not something from her extravagant room, but something missing insider her…”

The image can handle sustained observation and the longer you look, the more you see.

“The Story: The woman, her child, and her crew were trying to get to their destination or the light in the distance. Their ship was wrecked and they were the only ones to survive. They washed up on a deserted island and the wreckage came with them. Now they are stuck on the gross uninhabited island and can see their destination in the distance. She is upset and starving. She is afraid she will die before someone finds them.”

The drawing work leads to conversation: What did you see? What did you draw? Why are these objects together? What does melencolia mean? I then can ask the question (and one we will be asking and discussing all year): In what ways is seeing literal? In what ways is seeing metaphorical?

“Two angels were sent to a small island. On the small island there were about 20 people on two boats which have crashed on the shore due to a bad storm. The boats no longer worked. Everyone was hot, thirsty, and hungry. They were so desperate for help…”

Of course, I don’t answer any of these questions, only start the story listening to the new worlds being made. The students are encouraged to speak, to say, and begin ‘showing’ what they see. And this starts our journey for the year. And our conversation…

–James Shivers

Science: Drawing to See, Wonder and Learn

“Once we draw, all of the sudden we begin to see again. Were we blind? How could we have ignored the beauty, the intricacies of these simplest things? The convoluted network of veins in an oak leaf, the graceful curve of a clover’s stem, the starry splendor of a humble dandelion…” Fredrick Franck

When teachers cover non-fiction units, we try to provide field or classroom experiences so that children can engage meaningfully and therefore fully assimilate what they learn. We grow fast plants in the classroom so that their life process can be observed. We lug in boxes of beautiful books about sea animals, icebergs, and cloud formations so that our students can see rather than just listen to facts. We bring in ant colonies, leaves, and rocks – all to bring the outside world into the room.

All of this is brought to a higher level when we draw. I always tell my students that scientists learn by drawing.

Thomas Edison filled over 3,000 journals in his lifetime, filled with sketches and notes.

Frankie's snail

Frankie, a third grader, learns about snails by carefully copying a picture out of a book.

In the absence of the real thing, photographs can be helpful. Right now education publications are putting out photo-laden books based on the Common Core, which are flooded with non-fiction. But a rich and detailed painting can provide the engagement we are often looking for when introducing our kids to unfamiliar topics. Looking at art is pleasing to our senses, and creates an environment that is open and inviting. Additionally, the act of drawing is a meditation – and when students create their own reproduction of something, it invests them in the topic. Their pictures also allow us to see what they already know, so we can easily differentiate, allow them to form their own questions, and help them to find the answers they need.

TRY THIS:

Jay, Green Woodpecker, Pigeons and Redstart

1. Take 15 quiet minutes to copy all or part of this Thomas Barlow painting from the YBCA collection into your journal (no phones, no interruptions). Don’t stop before the 15 minutes is over. During that time, pay attention to what you are thinking and wondering. Make notes right on the page as they come into your head.

2. Now take 10 minutes to label everything you can on your picture. Anything you don’t know, label with a question mark or write down what you are wondering. You have now laid out your own research outline for a study of birds.

I begin all science units by having the students draw. In the past we’ve started by drawing plants, the human skeleton, sea creatures, clouds, trees, earthworms, rocks, ants and owls. Find a painting of what you are studying (I found this bird painting on the Yale Center for British Art online collection)!

Slowing down to draw actually speeds up the learning: you would not believe the mad rush to the books and computers once the students realize they haven’t been able to properly label their beloved drawings! When a child draws, she realizes that she has questions. Those questions become her drive to learn.

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