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Archive for the ‘drawing’ Category

Frye Art Museum
fryemuseum.org
The Frye Art Museum was established in 1952 and contains the collection of Seattle collectors and philanthropists, Charles Frye (1858-1940) and Emma Frye (1860-1934).

    Urban Foraging and Botanical Illustration – October 6, 13, and 20; 9 AM – 4 PM. Learn to identify edible and medicinal plants growing in Seattle’s urban landscape. Each field excursion is followed by a studio session in which participants will learn how to draw and paint the plants they collected. Field excursions are three hours in length. Cost: $220 Frye members, $280 non-members. View Details/Register

This information has also been posted to Classes Near You > Washington.

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Evening course in botanical illustration includes instruction in pencil, ink and watercolor.


City College of Glasgow

www.cityofglasgowcollege.ac.uk
The City College of Glasgow offers vocational and recreational courses through twelve schools. The college will host botanical illustration classes this Fall and early Spring 2013.

    Botanical Drawing & Painting – This 10-session class is for first-time artists who would like to learn how to draw flowers, fruit and vegetables. Students will use pencil, ink and watercolor. Class meets on Thursdays from 6-9 PM. Available sessions are listed below. Cost: £96.
    View Details/Register

    September 6 – November 15, 2012
    November 29, 2012 – February 14, 2013
    March 7, 2013 – May 23, 2013

This information has been added to Classes Near You > Scotland.

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Concerned students have very little exposure to the outside world, middle school science teacher Janita Cormell and professor Toni Ivey created a curriculum that uses writing as a tool to reaquaint students with nature. In Nature Journaling: Enhancing Students’ Connections to the Environment Through Writing, you’ll discover that writing can be used as more than a tool for reflective thinking. Cormell and Ivey (2012) show that writing encourages people to share their thoughts, to engage in analytical conversation, to see the world around them, and to describe what they see through drawing.

To reverse the disconnect between youth and nature the authors feel is coming at the hands of technology and the fact that too much outdoor science is taught indoors, Cormell and Ivey (2012) created a research project that called upon students to discuss, illustrate, and write about issues affecting the environment and the relationship humans have with it.

The authors began their project by teaching students how to create their own journals. They then arranged for students to spend 30 minutes each week in the outdoor classroom at Cormell’s school. While outdoors, students participated in several learning activities. Some activities encouraged reflective thinking. Others were designed to enhance students’ listening, reading, writing, and speaking skills.

Cormell & Ivey (2012) observed that nature journaling increased the “depth of (student) understanding of the environment” and helped Cormell’s students “make better connections between science activities, writing and the environment”. In their article, they discuss eight journaling exercises, the rubric they used to assess student understanding of the environment before and after their study, and provide a list of resources for teachers.

Interpretive naturalists may find the activity Cormell & Ivey (2012) used to enhance students’ observation skills of particular interest. Students became so engaged with this activity, they took on the role of interpretive guide all on their own.

Cormell & Ivey’s article is available online for 99¢ from the National Science Teachers Association. Alternatively, you can look for their article at your local college library.


Literature Cited

    Cormell, Janita and Toni Ivey. 2012. Nature journaling: Enhancing students’ connections to the environment through writing.
    Science Scope. 35(5): 38-43

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There was much interest in last week’s article about the art strategies that can be used to enhance science communication, so I thought we’d take a few moments looking at the strategies that were used by Buczynski et al. (2012). The strategies they used came from Julia Marshall’s paper, Five Ways to Integrate: Using Strategies from Contemporary Art.

In her article, Marshall (2010) cites studies explaining how integrating art with other disciplines is worthwhile. She also provides teachers with specific ideas on how to integrate art into all subject areas.

The strategies defined by Marshall (2010) have one thing in common — they are strategies artists use “to manipulate ideas and imagery to make meaning” (Marshall 2010). Through the manipulation of ideas, artists re-frame information in direct or creative ways. Here is a quick look at these strategies and how they enhance learning.

    Depiction:
    A straightforward approach that involves drawing or creating from observation. Scientific illustration and botanical illustration fall into this category. According to Marshall (2010), this strategy is appropriate to use with all ages (preschool to adult) and aids in learning because it requires a learner to observe a subject, reproduce a subject and reflect upon the subject’s construction.


    Extension/Projection
    :
    This strategy calls upon artists to make predictions — to reflect on how a situation will change or to reflect on what might be possible. The implementation of this strategy aids learning because it requires learners of all ages to study an idea before they can think about how it could change (Marshall, 2010).


    Reformatting
    :
    This strategy requires learners to see things in a new context. Doing so is beneficial to learning because seeing a subject or a concept in a different way results in a new understanding of the subject or concept (Marshall, 2010). This strategy can be used in middle school and high school classrooms (Marshall, 2010).


    Mimicry
    :
    Mimicking the methods of others is simply doing what others do. Mimicking is beneficial because it provides an opportunity for experiential learning; this strategy can be implemented in grades K-12 (Marshall, 2010).


    Metaphor
    :
    The creation of metaphors requires identifying differences between similar entities. Creating metaphors aids learning because it requires analytical thinking and provides a way to identify connections between disciplines (Marshall, 2010). Marshall states this strategy is best used with high school students.

To learn more about each of these strategies, read suggestions about how they can be used in the classroom, and to view examples of art created through the use of these strategies, download a copy of Marshall (2010). A link to her paper is available on the website of the College of Performing and Visual Arts at the University of Northern Colorado.


Literature Cited

Marshall, Julie. 2010. Five ways to integrate: Using strategies from contemporary art. Art Education. 63(3): 13-19. Web.
http://www.arts.unco.edu/ciae/institute/documents/Articles/Marshall-Five%20Ways%20to%20Integrate.pdf
[accessed 19 July 2012]



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The disciplines of science and art are intertwined in more ways than you can imagine. The benefits of using art to communicate science is articulated beautifully in Communicating Science Concepts Through Art: 21st-Century Skills in Practice by Sandy Buczynski, Kathleen Ireland, Sherri Reed, and Evelyn Lacanienta.

In an article published two weeks ago, Buczynski et al. (2012) explain how it is necessary for the next generation of scientists to communicate using more than words. They explain that the scientists of the future will need to use artistic means of communication that include “illustrating, animating, videography, cartooning, and model building” (Buczynski et al., 2012).

To show how art can be used to reinforce learning in science, they cite the results of their work with students at a college prep academy. Students were taught how to use fundamental art techniques as tools to aid their comprehension of science content.

Buczynski et al. (2012) explain how they and the academy’s art teacher put into practice the five conceptual art strategies identified by Julia Marshall (2010). The academy’s art teacher taught students how to draw, how to observe angles, how to observe positive and negative spaces, and how to observe patterns and textures (Buczynski et al., 2012). Students were also taught how to shade, how to create form and how to apply highlights using colored pencils, graphite pencils, charcoal and ink pens (Buczynski et al., 2012).

The authors then incorporated Marshall’s art strategies into lessons about the human body, the scientific process, science communication through popular culture, and botanical exploration.

Briefly, here are the conceptual art strategies Buczynski et al. (2012) used and how they used them:

  • Depiction – Seventh-grade students were asked to apply their new knowledge about “scale, shadow and proportion” (Buczynski et al., 2012) to observe and draw the human body. This strategy was employed to move students away from the usual “stick figure”-type of thinking often observed in science lab notebooks.
  • Projection – Students were asked to predict the outcome of a scientific event using hand-drawn images instead of words.
  • Reformatting – Utilizing art forms from popular culture, students were asked to reformat scientific content into “a comic book, magazine, advertisement or film” (Buczynski et al., 2012).
  • Mimicry – Students were assigned the task of becoming botanists by mimicking how botanists collect information in the field.
  • Metaphor/Analogy – Students were asked to create a visual metaphor to describe how the digestive system works.

Buczynski et al. (2012) explain how they evaluated student work and what they learned from implementing each of these strategies. To learn more about their study, visit your local college library to get a copy of their new article or buy this article online for 99¢ from the National Science Teachers Association.


Real-life Science Communicators

This week I had the opportunity to attend the annual conference of the Guild of Natural Science Illustrators (GNSI). As expected, my appreciation for what scientific illustrators do has increased yet again. Scientific illustrators are a significant force in the field of science communication and their contribution to this field knows no bounds. From children’s books, to outdoor sculpture, to magazines, to cultural exchange (take the virtual tour), they make science and the natural world easier to understand through everything they do.

This year the conference theme was Scientific Illustration: Frontiers Past and Future. Featured were presentations about explorers and natural history artists from the past and presentations about how scientific illustration is used and created today in the 21st century.

Learn more about the Guild of Natural Science Illustrators at www.gnsi.org.

Looking for a scientific illustrator to work on a project? Visit Science-Art.com, a resource connecting artists and art buyers in the nature, science and medical community.

The host of the GNSI conference this year was the Savannah College of Art & Design (SCAD). The Illustration Department at SCAD offers a minor in scientific illustration and is doing their part to create the next generation of science communicators. Learn more about this wonderful school and their students at www.scad.edu.


Literature Cited

    Buczynski, Sandy and Kathleen Ireland, Sherri Reed and Evelyn Lacanienta. 2012. Communicating science concepts through art: 21st-century skills in practice. Science Scope. 35(9): 30-35.

    Marshall, Julia. 2010. Five ways to integrate: Using strategies from contemporary art. Art Education. 63(3): 13-19.

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Here is the latest at Classes Near You > England :


Highgate Literary & Scientific Institute

www.hlsi.net
Cultural arts center and library in London founded in 1839. In addition to their courses in botanical drawing and painting, the Highgate Literary & Scientific Institute offers courses in art, art history, ancient and modern languages, music appreciation and the history of London.

    Botanical Drawing & Painting with Sandra Wall Armitage
    Mondays, September 24 – December 3, 2012; 2:30 – 4:30 PM. Study shape, color, texture and the structure of plants in this introductory course taught by Sandra Wall Armitage. Cost: £80, members, £90 non-members.
    View Details/Register

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Our conversation with Heeyoung Kim continues…


Question #4: I read the painting of Silene regia, the Royal Catchfly
(Image 6), took two years to create. What challenges did you encounter with this project?


Heeyoung
: The biggest challenge was the weather and location. This beautiful red plant was in full bloom in August. The temperature at that time went up to 100 degrees in the prairie. The hot and humid prairie was heaven for the bugs and insects. They literally tried to eat me up alive. When we have hot and humid weather in Chicago land, usually sudden showers follow. You can imagine what happened to me with my big sketch pad. Another challenge was the plant itself. It had a very complicated structure with multiple flower stalks branched out at several nodes. And it’s hairy and sticky. That is how it got its common name; the sticky hair catches flies. When I tried to start drawing, the composition didn’t come to me. After several days’ trial, I still could not get it started. So I changed my strategy. Forget the composition! Study parts first, and then work with the whole image! For many days afterwards, I did detailed drawings of petals, flowers, and leaves to make myself familiar with the plant structure and shape. Finally when I felt I got to know the plant, I could compose the image on paper with confidence. It took 2 weeks to get the composition I liked. At the end of the year, I proudly showed my finished painting to my mentor. He gave me wonderful compliments, but very cautiously advised me to see some other photos, as he believed the red on the painting was not intense enough. I could not believe that, because I worked first-hand with the plant right in the habitat for so long and so hard. Without having my signature on that painting, I put it in my flat file and waited one year to see the color again with my bare eyes. The following spring, I made regular visits to check the whole life cycle of the plant. What I found out in the second year was very simple. My observation in the first year started too late. I missed the very early bud which had more orange and the brightest red in freshly bloomed flowers. That was the biggest lesson I keep in mind ever since. I feel like I learned everything about botanical drawing and watercolor, and the way I should approach my subjects, in this one project.

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NOTE: Heeyoung’s painting of the Royal Catchfly is the signature image for the upcoming meeting of the American Society of Botanical Artists. This year, botanical artists from all over the world will travel to Illinois to attend this annual meeting.



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