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Archive for the ‘Sketching & Journaling’ Category

Information about UC Riverside’s annual botanical illustration workshop in the Mojave Desert is now available.

Here is what’s new at Classes Near You > Southern California:


University of California, Riverside

www.extension.ucr.edu

    Botanical Illustration of Desert Flora
    April 12-14, 2013. A field study course at the Desert Studies Center (Zzyzx), three hours north of Riverside near Baker, CA. Learn about desert flora while learning techniques used by botanical illustrators. Students will work in the field using pencil, pen and watercolor. Course fee includes two nights lodging (dormitory style) and meals. Registrants will receive information about the Center and what they should bring with them. Visitors not permitted. Cost: $325 credit; $245 non-credit.

    Recommended Book: Mojave Desert Wildflowers

    View Details/Register

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The words “draw” and “art” can be scary words. I observe this repeatedly when I interact with the public. It is for this reason that I invite the public to doodle in my traveling guest sketchbook instead of draw in it.

How people make meaning has been an interest of mine for many years. How they make meaning through drawing is of particular interest.

In this weekly column about teaching and learning, we often look at examples that involve drawing activities specific to some aspect of botany education. Less often we look at how drawing, the more expressive kind, affects understanding. We’ll do a bit more of this today.

In Do Attention Span and Doodling Relate to Ability to Learn Content from an Educational Video?, Ashley Aellig, Sarah Cassady, Chelsea Francis and Deanna Toops, student researchers at Capital University, evaluate the effect doodling has on student learning.

Thirty-four self-selected students participated in the study. Students were given paper and pens to take notes and doodle before watching a 25-minute video about communication styles (Aellig et al., 2009). Students watched the video together, then completed a questionnaire that included an assessment tool designed to measure attention span. Upon completing the questionnaire, students handed their notes, doodles and questionnaires to Aellig et al. (2009).

The research team found that there was not a significant relationship between doodling score, attention span, and the number of correct responses to the quiz about the video. Their hypothesis — students with shorter attention spans would have more complex doodles and lower scores on the video quiz — was not supported (Aellig et al., 2009). Instead what they observed were students who did very little doodling, but plenty of note taking. Of the students participating in the study, only six doodled while most of them (n=24) took notes (Aellig et al., 2009).

Why didn’t the students doodle during the video? Aellig et al. (2009) propose a few possible reasons:

  • The sample population is too embedded in the texting generation and may be less-likely to doodle.
  • The video’s content was not challenging enough.
  • The self-selected sample population (students at Capital University) are already engaged in their learning in ways that do not involve doodling.

In the discussion section of their paper, Aellig et al. (2009) propose an idea for future research about doodling in the classroom. They propose creating a doodling culture by embedding doodlers among the population of student research subjects. Their thought is that this would demonstrate to the sample population “that doodling is acceptable” as a form of notetaking (Aellig et al., 2009).

I would like to propose another suggestion to future student researchers who address this topic.

What if doodling were not left to chance? What if subjects were assigned a specific doodling activity to complete during a task, as was conducted by Jackie Andrade in her research about doodling and efficiency?

Readers, what do you think?



Literature Cited

Aellig, Ashley, Sarah Cassady, Chelsea Francis, and Deanna Toops. 2009. Do attention span and doodling relate to ability to learn content from an education video? Epistimi. 4: 21-24. Web. <http://www.capital.edu/epistimi-2009> [accessed 3 January 2013]

Epistimi is a student research journal at Capital University in Ohio.

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Trading cards from past events.

Trading cards traded at past events.

Looking to be more creative in the new year?

You are invited to begin your journey this week at Aurea Vista in downtown Riverside.

Visit ArtPlantae’s new sections celebrating plants, gardens and botanical art during the first ArtsWalk of 2013 and make artist trading cards to share with friends or other ArtsWalk visitors. Supplies will be provided.

Bring a friend.

See you there!


Artist Trading Cards with ArtPlantae at Aurea Vista

Thursday, January 3, 2013 (6-9 PM)
Lower level, across from the children’s boutique
Directions to Aurea Vista

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Event Poster at Sirindhorn Science Home

Info at Sirindhorn Science Home

Drawing from Nature
Sirindhorn Science Home
Thailand Science Park
February 14-15, 2013
9:00 AM -5:00 PM, plus evening event

Natural science illustrator Gretchen Kai Halpert and two Thai artists will lead this class designed for scientists, non-scientists, teachers, and anyone with an interest in nature and the environment. This two-day workshop includes the tools and techniques of drawing nature in and around the Sirindhorn Science Home and includes an evening lecture about botanical painting as fine art vs. scientific illustration.

Cost: 6,500 Baht ($210 USD; 180 Euro) includes two-day workshop, meals and accommodations. Discount cost before January 10, 2013 is 5500 Baht ($162 USD; 137 Euro).

For more information, go to Sirindhorn Science Home to download a beautiful 12-page brochure. This brochure contains information about each instructor, a course syllabus, payment information and a registration form.

This information has been added to the Classes Near You sections for New York and Thailand.



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Today Mariella Baldwin shares her thoughts about learning the botanical art.

As always, you are free to join the conversation at any time. Mariella will be taking questions the rest of this month.


ArtPlantae
:
You state that your primary objective for writing your book is to help build confidence with drawing and to create an enjoyable painting experience for anyone interested in botanical art. Drawing upon all of your years of experience explaining the drawing and painting process to beginners…

  • How do you think individuals new to botanical art learn drawing best?
  • How do you think individuals new to botanical art learn painting best?


Mariella
: The answer to both these questions is continual and ongoing practice. One never stops learning.

When it comes to drawing I recall a couple of sound pieces of advice I have gleaned over the years. “Draw what you see, not what you think you see”, and “If you haven’t drawn it, you haven’t seen it.” I would recommend drawing something every day – no matter how small – and make it simple. It is very easy to be carried away with the complexity of detail. It is easy to have a sketchbook and a pencil to hand at all times – they take up little room and are easily portable. I also recommend not using an eraser. Just drawing and making corrections as errors present themselves. Filling a page with loose sketches and gradually honing in on the subject makes for an interesting page. Any errors fade into the background as the page becomes an interesting study in itself – the demonstration of a learning process.


Mariella’s continues her discussion here…

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Our conversation with Mariella Baldwin continues…


ArtPlantae
:
I like that the images in your book come straight out of your sketchbooks and notes. They support what you describe in the text by showing each step of the painting process as a process and not as almost-finished polished paintings, like what is often seen in instructional books about watercolor, regardless of their subject matter. Why did you decide to use only pages from your personal notes?


Mariella
: I made the decision to use pages from my personal notes for a couple of reasons. Firstly, I believe they are helpful to come to understand that the finished painting doesn’t just happen due to the miracle of facility, but comes from minute observation and constantly referring to notes made whilst having access to a fresh plant specimen. Mistakes and corrections can be made in the sketchbook which also becomes a wonderful reference tool for future projects…

Read More

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Andie Thrams
www.andiethrams.com
Andie is a painter and book artist devoted to creative work in wild places. She teaches in California, Oregon, Alaska and Hawaii. Her work is widely exhibited and honored, and is held in many private and public collections. Get the latest news about Andie’s popular classes on her website.

  • Accordion Color Book – November 24-25, 2012. San Francisco Center for the Book, San Francisco, CA. View Details/Register
  • Captured: Specimens in Contemporary Art
    Now thru November 18, 2012. The Bedford Gallery, Walnut Creek, CA. Info
  • 19th Annual Sitka Art Invitational: Stories from Art and Nature
    November 10-11, 2012. Sitka Center for Art and Ecology, Otis, OR. Info
  • Field Notes: The Wild Book Show 2012
    November 16 – December 30, 2012. Artist books by Andie Thrams will be on view at Gallery Route One, Point Reyes Station, CA. Info
  • Big Island Retreat: Wild Art & Wild Yoga in Hawaii – March 2013. Kalani Honua, Hawaii. Download flyer
  • Private Creativity Coaching & Artist Mentoring
    In addition to the workshops listed here, Andie also works privately with a limited number of students. Contact Andie Thrams

This information has been updated at Classes Near You > Northern California. Exhibition information has been added to the “Exhibits to Visit” section.

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Get the latest at Classes Near You > Texas!

A new MeetUp group has been formed in Texas. The Dallas-Fort Worth Botanical Drawing and Painting Group will have their first meeting on November 3, 2012. All are invited to participate in this launch meeting that will occur at River Legacy Park in Arlington.

Please visit the group’s MeetUp page to sign up and to begin learning about other botanical artists in the Dallas-Fort Worth area. Artists must bring their own supplies. Artists of all abilities are welcome.

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Ten weeks of botanical illustration and mixed media – online and at your own pace! Here’s the latest at Classes Near You > Alabama:


The Illustrated Garden, A Studio Blog

www.valwebb.com
Val Webb is Derwent Pencils’ Feature Artist for 2012!
She will post drawing tutorials each month at Derwent’s blog, Love Pencils. See Val Webb’s online tutorial, Botanical Drawing with Pencil and Watercolor. Connect with The Illustrated Garden on Facebook. For more information about the classes below, or to register, email Val Webb.

    Draw & Paint Six Culinary Herbs
    This new online class is a mix of botanical illustration, economic botany and gardening. Students will learn how to create pencil studies, ink-and-wash-sketches and mixed media paintings using watercolor and colored pencil. This 10-lesson, four month class begins on January 7. Students will have access to video demonstrations, instruction pages, examples, and assistance through a private password-protected website. Students work at their own pace and can access the website at their convenience during the four month class period. Cost: $50. View Details/Register

Also see Val’s upcoming classes in Mississippi


Catch of the Day: Drawing Mississippi Gulf Marine Life
in Pen and Ink

Saturday, November 3, 2012; 10 AM – 3 PM. No experience necessary! All supplies and materials provided! Learn how to draw fish and shellfish using pen and ink. Location: The Mary C.O’Keefe Cultural Center, Ocean Springs, MS. Cost: $120 View Details/Register


Draw and Paint Holiday Botanicals

Saturday, December 1, 2012; 10 AM – 3 PM. No experience necessary! All supplies and materials provided! Celebrate the Christmas season and learn scientific illustration techniques to create drawings and paintings of seasonal plants using gouache and colored pencils. Location: The Mary C.O’Keefe Cultural Center, Ocean Springs, MS. Cost: $120 View Details/Register

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Here is a class that looks too good to miss!


The Art of the Creepy Crawlies Science and Art Drawing Class

Saturday, October 27, 2012
9 AM – Noon

In this unique art and science class, students in grades 5-8 will learn about illustrations created by 18th century explorers, examine “creepy crawlies,” and create their own scientific illustration. Students will practice basic observational drawing techniques and will apply their observation and drawing skills using the resources of the Lloyd Library. This class will be taught by medical illustrator, Marcia Hartsock. Cost: $25

View Details/Register

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Seed Packet Artist Book © Laura Stickney. All rights reserved

Artist’s Book Workshop with Laura Stickney
Saturday, Sept. 29, 2012
10 AM – Noon

Make your own accordion-folded book with decorative covers and create carved stamps in this book arts class for adults. This is an easy and fun project — no art experience necessary. Laura is a visual artist, poet and the Theodore Payne Foundation’s 2012 Artist in Residence. For 25 years, she taught and coordinated art classes at the Junior Arts Center in Barnsdall Art Park and continues to teach etching and parent/child art workshops in her community. Limit: 12 participants. Cost: $20 members, $25 nonmembers.

Register Today!



About the Theodore Payne Foundation

The Theodore Payne Foundation for Wild Flowers and Native Plants, Inc., is a non-profit organization dedicated to helping others discover the beauty of California native plants. It is located north of Los Angeles in Sun Valley, CA.
www.theodorepayne.org

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Instead of exploring drawing and learning as it applies to young learners, today we’re looking at drawing, learning and teachers.

How teachers view the environment influences how they make meaning about it. To investigate how teachers view the world around them, Christine Moseley, Blanche Desjean-Perrotta and Julianna Utley field-tested a scoring rubric assessing teachers’ perceptions of the environment as revealed through their drawings. Their findings are discussed in The Draw-An-Environment Test Rubric (DAET-R), Exploring Pre-Service Teachers’ Mental Models of the Environment.

Drawings have been used as a research tool for many years because they provide insight into an individual’s beliefs and how they make meaning about the world around them (Moseley et al., 2010). Because there has been little research into teachers’ mental images of the environment and how these images influence how teachers think about the environment, Moseley et al. (2010) made this the focus of their research.

To make it easier to quantitatively assess teachers’ mental images as revealed through their drawings, Moseley et al. (2010) created a rubric that enabled them to assign a score to specific elements (or “factors”) in a drawing. The rubric they designed was used to evaluate pre-service teachers’ replies to two prompts in the Draw-An-Environment Test (DAET). Teachers were instructed to draw a picture of what they thought the environment was and then were asked to provide a written definition for the environment. The two prompts pre-service teachers responded to were “My drawing of the environment is ___” and “My definition of the environment is ___”.

Moseley et al. (2010) designed this study to address two research questions:

  1. Is the Draw-An-Environment Test Rubric a valid assessment tool?
  2. What mental models (i.e., images) do early childhood pre-service teachers have of the environment?

The quick answer to their first research question is, “yes”. The rubric they created is a valid and reliable assessment tool. A thorough statistical analysis of the DAET-R can be found in their paper.

As for their findings regarding their second research question…

One hundred eighteen pre-K to fourth grade pre-service teachers (average age 26.9 years) participated in this study. The participants were enrolled in senior level science and math courses.

The drawing portion of the DAET was evaluated using the DAET-R. The evaluation focused on “the degree of evidence in the drawings of interactions” (Moseley et al., 2010). Scores were assigned if a factor was present, if a factor was not present, if a factor interacted with other factors and if two or more factors interacted with each other (Moseley et al., 2010). The research team assigned “degrees of evidence” using a scoring system of 0-3 points, with the highest point score assigned to drawings in which “the participant was trying to indicate an interaction among factors with an emphasis on a systems approach to the definition of environment” (Moseley et al., 2010).

The drawings they received revealed that the pre-service teachers do not consider humans to be an integral part of the environment. Sixty percent of the participants completing the DAET did not draw humans in their pictures and only 31% drew humans interacting with the environment in some way (Moseley et al., 2010). The drawings also revealed the pre-service teachers’ lack of understanding about interactions occurring between factors in the environment (Moseley et al., 2010). Participants included many factors in their drawings and while they labeled them with identification labels such as “cat” or “tree”, they did not assign conceptual labels like “pollination” or “growth” (Moseley et al., 2010). Only two of the 118 drawings scored represented an understanding of how systems are dependent upon each other in the natural environment (Moseley et al., 2010).

The research team observed several drawings of homes, bedrooms, schools, classrooms and urban neighborhoods — scenes suggesting to Moseley et al., 2010 that the word environment did not bring forth images of nature in the minds of their participants. Citing the work of several other studies, Moseley et al. (2010) concluded that their sample population of pre-service teachers had an “object view” of the environment instead of a view in which humans interacted with the environment.

Before I continue, I need to point out that, prior to participants completing the DAET, Moseley et al. (2010) asked participants about their “residential experiences” (i.e., where they have lived for most of their lives). They found out that 21% of their sample population had lived in a rural environment, 32% in an urban environment, and 46% in a suburban environment. It should also be pointed out that prior to their participation in this study, the pre-service teachers had not received any training in environmental education (Moseley et al., 2010).

The results of the drawing section of the DAET are consistent with the results observed in the written section of the test, an evaluation that Moseley et al. (2010) described in a separate paper. The research team evaluated the drawing and written portions of the DAET separately so that the DAET-R could be evaluated for its validity as an assessment tool.

The results of their study prompted Moseley et al. (2010) to call for teacher education programs “that support pre-service teachers’ development of a conceptual model of the environment that integrates humans and the abiotic and biotic factors within the environment” as this would better prepare teachers to teach children about organisms, the environment, and biodiversity.

Read more about the research team’s recommendations and see how they used the DAET-R to evaluate drawings. Purchase a copy of this paper online or
search for this article at your local college library. A copy of the DAET and the DAET-R are included in this paper.


Literature Cited

Moseley, Christine, Blanche Desjean-Perrotta and Julianna Utley. 2010. The Draw-An-Environment Test Rubric (DAET-R): exploring pre-service teachers’ mental models of the environment. Environmental Education Research.
16(2): 189-208.



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