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Archive for the ‘drawing’ Category

How can we help children experience plants differently before we teach them that they are insignificant?

This heavy question is rooted in the sobering reality that adults teach children how to think about plants and how to treat them.

In Where did you go? The forest. What did you see? Nothing., Lynda H. Schneekloth discusses how adults send conflicting messages about plants to children and how the dominant message to children is that vegetation can be categorized as “nothing” (Schneekloth, 1989). Examples of conflicting messages adults send to children are “vegetables are good for you, eat them…we need to build something here, bulldoze the trees” (Schneekloth, 1989).

How did vegetation become so invisible?

Schneekloth (1989) presents three factors contributing to the unfortunate status of plants in our society. She explains that plants make up too much of the background. Because there are so many plants, they have suffered the fate of any element, when in abundance, that forms a background. Because they are the background, plants make what is different appear to be more important (Schneekloth, 1989).

Also contributing to the problem of visibility is how people experience plants in their real lives compared to what we know about them at the scientific level. Regardless of how we’ve come to know plants scientifically, in our real lives plants exist only to serve us (Schneekloth, 1989). This reality contributes directly to the the third issue making plants invisible and this issue is, it’s all about us.

Because we have come to know plants so well through research, Schneekloth (1989) says this has created a feeling of superiority that prevents us from seeing the extent to which we are dependent upon plants. She explains that our ability to make plants grow and appear in ways that suit us has created a “false sense of security” (Schneekloth, 1989) and has left us feeling in control of our world.

With plants existing only in the background and with our anthropormorphic view of the world, how are plants perceived by humans?

Schneekloth investigated this by asking two groups of people (environmental educators and grad students studying architecture) to draw a picture of “an experience, place or activity” (Schneekloth, 1989) that was key to their forming a relationship with nature. The details of her study can be reviewed in her paper. The big takeaway from her investigation is this — when people drew their nature experience, they placed humans in a scene with vegetation; when they talked about their experience, the actions taken by humans was the focus. Schneekloth (1989) observed that drawing gave plants a presence, while language rendered plants invisible. She observed that in a drawing, plants are “something” (Schneekloth, 1989) because they are given form.

There is much more to learn from Schneekloth in her article about the value of vegetation. Look for the journal Children’s Environments Quarterly at your local college library.

So let’s get back to that big question…

    How can we help children experience plants differently before we teach them that they are insignificant?

Share your thoughts in the comment box below.


Literature Cited

Schneekloth, Lynda H. 1989. Where did you go? The forest. What did you see? Nothing. Children’s Environments Quarterly. 6(1):14-17



Related

Children’s books cited by Schneekloth that give plants a foreground presence:

  • The Little Prince by Antoine de Saint-Exupery, translated by Richard Howard (2000)
  • The Return of the King by J.R.R. Tolkein (1965)
  • A Wind in the Door by Madelaine L’Engle (1973)

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With spring and Earth Day fast-approaching, here is a resource you’ll want to refer to the next time you need to talk about plants with preschool children. It will also help you introduce young audiences to the subjects of inheritance and traits.

In Plants, Alike and Different professor Kathy Cabe Trundle and doctoral students Mandy McCormick Smith and Katherine N. Mollohan explain how they use a learning cycle involving play, exploration, and discussion to teach students how plants and insects are alike and different. Below is a general overview of their process. For a thorough review that includes the prompts they use in class and how they bridge one activity with another, read their enlightening paper.

During the Play Phase of the learning cycle, Trundle et al. (2013) provide children with unstructured playtime in a play area that has been stocked with silk flowers and plants. The authors state they often observe children pretending to pick flowers and pretending to plant a garden. Trundle et al. (2013) explain that unstructured playtime with plants gives children time to think about plants and to ask questions about them. Instructor-guided learning begins later in this phase and begins with a conversation about how humans are similar and different. This then leads to a conversation about how plants are similar and different (Trundle, et al., 2013).

During the Exploration Phase, students compare two types of marigolds, two types of pansies and two types of coleus plants to make observations about flower size, flower number, leaf shape, leaf color, textures, stem length and stem shape (Trundle, et al., 2013). Children document observations by drawing them, by creating leaf rubbings and by tracing leaves. The visual data recorded by children are then shared, much like how works-in-progress are shared at the end of a botanical illustration workshop. The sharing of data enables students to more easily see patterns in color, shape, size etc.

This visual information created during the Exploration Phase is paired with detailed discussion during the Discussion Phase of the learning cycle. Student observations are grouped and then arranged in a graphic organizer (i.e., chart). This chart helps students compare traits for each plant they studied.

The process of observing similarities and differences described above helps establish a foundation for more detailed conversations about traits and inheritance, concepts that are the focus of Part II of this activity by Trundle, et al. (2013). A link to their activity about inheritance is included in their paper.

Also included in their paper is a link to the rubric the authors use to evaluate student drawings and assess student understanding. The rubric serves as a checklist of objectives and targeted behaviors and is based on a project about helping children draw and sketch from observation from Illinois Projects in Practice at the University of Illinois at Urbana-Champaign.

Published just this week, Trundle et al. (2013) can be purchased online for 99¢.


Literature Cited

Trundle, Kathy Cabe, and Katherine N. Mollohand and Mandy McCormick Smith. 2013. Plants, alike and different. Science and Children. 50(6): 52-57



Related Resources

  • Look Once, Look Again – Fruit and Seeds by David M. Schwqrtz and Dwight Kuhn
  • Look Once, Look Again – Plant Leaves by David M. Schwartz
  • Secrets of the Garden: Food Chains and the Food Web in Our Backyard by Kathleen Weidner Zoehfeld and Priscilla Lamont
  • Trait-based Learning with Trading Cards

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When drawing in pen and ink, what gets inked first?

Anita describes how she inks a botanical plate:

After tracing the habit of the plant and drawing all the details asked for by the scientist, I gather all the items and arrange them in my format of 24 cm x 36 cm, taking much care with the composition. Because I do not work with a computer and everything is done by hand, I try to avoid overlaps. This is because later on, after the drawing has been scanned, some elements of the drawing may be re-used in another format…

Learn More

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Here is the latest at Classes Near You > England:


Lewisham Arthouse, London

www.lewishamarthouse.co.uk
The Lewisham Arthouse once served as the central library of Deptford. Designed by architect Sir Alfred Brumwell Thomas (1868-1948) and funded by Andrew Carnegie (1835-1919), this former library is now features a public gallery and studio space for professional artists. Artist studios are open to the public once per year. Exhibitions in the gallery are open to the public year-round, free of charge. Ten-week botanical illustration classes are taught by Alison Day. Watch for information about her next class.

    Drawing from Plant Life
    Mondays, February 4 – March 25, 2013 (8 meetings)
    Plus one additional Saturday meeting
    Cost: £90/85 concessions

    This introductory course aims to provide an opportunity to explore the art and science of botanical Illustration. Students will have the opportunity to explore both drawing and painting plants whilst learning a range of graphic techniques used to represent plant material. Some basic theory is taught and where relevant historical and contemporary practice is referenced.

    The course is taught by a practicing artist who has a background in the science of botany and the practice of fine art.

    Students are asked to bring their own ideas and specimens to the course. Basic materials and reference literature are provided, students must provide their own sketchbook pencils and colours. All are welcome, no experience needed.

    This is a small class and provides and supportive and relaxed environment in which to draw. Places are limited so booking is required. Please contact Alison Day.

    The Lewisham Arthouse is located at 140 Lewisham Way, New Cross, SE14 6PD.

    Transport: BR/overground. New cross/New Cross Gate.
    Bus 136, 21, 436, 321.

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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.



Also See

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According to professors Shaaron Ainsworth, Vaughan Prain and Russell Tytler, this is what makes drawing an effective learning tool.

They offer their thoughts on the subject in Drawing to Learn in Science, a paper in which they make the case that drawing circumvents the passive learning often observed in science classrooms. Their position on this topic can be summed up simply — instead of leaving students to interpret the drawings of others, have them create their own (Ainsworth et al., 2011).

The authors offer five suggestions as to why drawing makes a good learning tool. What follows is a very brief summary of the arguments Ainsworth et al. (2011) make in their paper.

    Drawing Encourages Engagement
    Passive learning can be diverted when drawing is used alongside reading and writing in the classroom. To draw means to explore and to understand.


    Drawing Deepens Understanding

    Drawing also develops visual literacy skills and provides real-time experience documenting observations.


    Drawing Develops Reasoning Skills

    Planning a drawing requires thinking through content and learning to reason in different ways.


    Drawing is a Good Learning Strategy

    Drawing is a good way to work through confusing information and transform student understanding into an observable medium.


    Drawing Makes Knowledge Public

    When knowledge becomes public, it can be shared and discussed with others.

Ainsworth et al. (2011) continue making their case for drawing in the sciences by highlighting programs that are actively researching the effectiveness of drawing in the classroom.

Drawing to Learn in Science can be purchased online for $20 or obtained by visiting your local college library.


Literature Cited

Ainsworth, Shaaron and Vaughan Prain and Russell Tytler. 2011. Drawing to learn in science. Science. 333(6046): 1096-97



Also Hear…

Shaaron Ainsworth’s interview about this paper in a podcast produced by the American Association for the Advancement of Science.

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It may be winter, but there is no need to wait for Spring to integrate plants and art in the classroom. All one needs to do is follow the example set by biology teacher Pat Stellflue, art teacher Marie Allen and botany professor D. Timothy Gerber. In their paper Art & Science Grow Together, they explain how they created a project that placed plants and botanical illustration high on the agenda for an entire school year.

In a program they call “Plants, Pots and Paints”, Stellflue et al. (2005) integrated the plant sciences with the arts in their work with fourth and fifth grade students. On the science side, their program addressed plant structure and function, growth stages, survival strategies and reproductive strategies. On the art side, their program focused on different media and art techniques. Key to this program was a pottery project (clay pot construction) and drawing (botanical illustration). The disciplines of botany and art came together in a series of hands-on activities in which growing, drawing, painting and dissecting (Stellflue et al., 2005) were the focus.

Using tulips, crocus, iris and daffodils as their primary study subjects, students learned about growth stages, form, function and drawing while planting and growing spring flowers and illustrating their observations.

After a full year of integrating botany and botanical art, Stellflue et al. (2005) observed that students ended the year with stronger observation skills and an enhanced understanding of plants. This became clear to the authors through the increasingly informative illustrations students created (Stellflue et al., 2005). The authors also observed students taking better care of their plants because they had built the clay pots and drainage trays themselves.

Art & Science Grow Together is available online and can be purchased for 99¢.


Literature Cited

Stellflue, Pat and Marie Allen, D. Timothy Gerber. 2005. Art and science grow together. Science & Children. 43(1): 33-35



Related Information

Resources about bulbs, seeds, plants and schoolyard gardens at ArtPlantae Books

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