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Archive for the ‘teaching & learning’ Category

High school teachers, Brian C. Dempsey and B.J. Betz, describe how they use drawing as a learning tool in Biological Drawing: A Scientific Tool for Learning. They observed that while a lot of time is spent drawing during a typical biology lab, biology instructors do not take the time to teach students how to draw. In response to this observation, they incorporated structured drawing activities into a biology class and successfully taught students how to observe, describe, and draw.


Overview

Dempsey and Betz taught introductory drawing techniques to students in a 9th-grade biology class to enhance their observation skills and to make them better learners. The drawing activities and homework exercises they created were administered over a five-day period. During this time, students participated in exercises addressing observation, drawing from memory, the recording of texture, contour drawing, and the drawing of negative space. Most exercises were completed as homework, while class time was spent conducting directed activities.

Detailed descriptions of each activity and illustrated examples are included in Dempsey & Betz (2001). Here is a quick look at the exercises students completed.

    Exercise 1: Observing & Describing
    Students were instructed to sit with their backs towards each other. Each student took turns describing an object from nature to their partner, who could not see the object being described. Students were required to incorporate art-related terms into their descriptions (e.g., form, value, and color). Prior to this activity, students received instruction about terms used by artists during the drawing process.

    Exercise 2: Drawing from Memory
    In this exercise, students studied an object given to them by their teacher. After studying the object for a while, they put the object away and drew it from memory.

    Exercise 3: Textures & Surfaces
    Students collected as many textured items as they could find in their natural environment. Their recorded observations and texture rubbings were used to create a master list of textures and to launch a discussion about observation skills.

    Exercise 4: Contour Drawing
    After observing a classroom demonstration, students were instructed to create a contour drawing of an object at home. The construction of a contour drawing required students to observe carefully and to draw slowly while drawing what they observed.

    Exercise 5: Negative Space Drawing
    Students learned what negative space was and how to observe it. They then practiced their negative drawing skills.

    Exercise 6: Color Blending & Shading Techniques
    This lesson was taught in the classroom. Students learned different shading techniques and learned how to mix and blend colors. The student handout for this exercise is included in Dempsey & Betz (2001).

To assess if students knew how to use contour drawing, negative space, shading, and color in a biological drawing, Dempsey & Betz created a two-part project requiring students to apply their new skills. The first project was a take-home project requiring students to complete a drawing of a plant growing around their house. Students were graded on their use of contour drawing and negative space, their use of color blending and shading, their attention to detail, and the correct identification of their plant specimen. Dempsey & Betz established grading criteria by which student drawings were assessed. Their rubric and a copy of the handout students received are included in their article.

The second part of the assessment project was conducted in the laboratory and required students to apply their drawing skills while observing and comparing insect-pollinated flowers to wind-pollinated flowers during two 50-minute class periods. A detailed description of this activity is included in Dempsy & Betz (2001).

Since this initial program was conducted, Dempsy & Betz have revised their technique as necessary. They have also incorporated drawing lessons into a unit about human anatomy. In this unit, students apply their drawing skills while learning about bones and the origin and insertion of muscles.

Getting Started
Dempsey & Betz (2001) recommend teachers read Drawing on the Right Side of the Brain by Betty Edwards, take introductory drawing classes, and collaborate with the art teacher at their school. I would like to add the following resources to their recommendation:

  • The Art of Botanical Drawing: An Introductory Guide ($19.95) by Agathe Ravet-Haevermans, scientific illustrator at the Museum of Natural History in Paris. Read about this informative sketchbook-style guide for beginners.
  • Botanical Drawing in Color: A Basic Guide to Mastering Realistic Form and Naturalistic Color ($24.99) by Wendy Hollender, botanical artist, author, and teacher. Read the review about this comprehensive guide.


Literature Cited

Dempsey, Brian C. and B.J. Betz. 2001. Biological drawing: a scientific tool for learning. American Biology Teacher 63(4): 271-279.

Search for The American Biology Teacher at a library near you (enter your location in the appropriate field).


Also See

Drawing with Graphite Eyes




How do you use drawing as a learning tool in your classroom?



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A Reference for Botanical Illustrators

In the April 1999 issue of Plant Talk, Rosemary Wise (botanical artist at the University of Oxford) wrote an article about how to draw plants for documentation. In her article, Wise emphasizes how accuracy is important in a botanical drawing and explains how a botanical illustration can offer more information than a photograph. She also provides instruction on how to compose a botanical plate and discusses pen-and-ink drawing techniques in the process.

Wise also explains how to draw for publication, how to draw from herbarium specimens, how to draw dissections, how to hydrate dried material, and how to use tracing paper to draw dissections of symmetrical flowers.

The back issues of Plant Talk are no longer available. However a copy of this article is available for your use. This copy of Rosemary Wise’s article comes to you courtesy of the Eden Project and Plant-Talk.org.

Download – Drawing Plants: Ten Pointers to Botanical Illustration


Literature Cited

Wise, Rosemary. 1999. Drawing plants: Ten pointers to botanical illustration. Plant Talk. No. 17:29-32.

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What’s the value of an image?

Is a picture really worth a thousand words?

Today we value the use of illustrations to convey scientific information. But in early 19th-century Britain, the use of pictures in science education was a hot topic of debate. In her article Botany on a Plate: Pleasure and the Power of Pictures in Promoting Early Nineteenth-Century Scientific Knowledge, Anne Secord reviews the debate in detail. Secord’s research focused on botanists specifically and their use of illustrations because early botanists recognized the importance of providing pleasure (appealing imagery) to their audience while imparting scientific knowledge. Secord’s research brings attention to “the role of pleasure in intellectual pursuits.”

In the 1800s, the “Diffusers of Knowledge” (i.e., experts in any given field) networked with only one objective in mind — to encourage people with an interest in nature to begin formalized study so they can become experts. The recruiters for botany took advantage of the public’s interest in color botanical plates to establish their own following of “admirers.” Botanists knew that to be successful at turning admirers into future botanists, they needed to maintain a balance between making botany an attractive science and keeping it a serious discipline. As a naturalist in 1838 proclaimed:

I conceive that the presentation of an allurement to the study of any science, is both a justifiable and a legitimate mode of procedure.

The use of illustrations as a teaching tool was a controversial topic back then because there were two schools of thought. One school felt it was perfectly legitimate to use illustrations that appealed to their audience. They recognized the need to engage their audience in conversation and the need to form a relationship with their audience. The other school, however, disagreed with this approach. They felt that by using illustrations and paintings to appeal to amateur naturalists, botanists were not really addressing the discipline of botany. According to the botanists in this second group, botany is best learned by studying written descriptions of plants and by studying actual specimens, not by looking at pictures. They felt color plates were “harmful” and merely provided “easy access” to the discipline instead of “sound knowledge” and “rational instruction.”

Let’s revisit the 1838 debate about the use of illustrations to teach natural history. Here’s a question for you…

Do color plates encourage beginners to study botany or do color plates encourage a superficial appreciation of nature?


Literature Cited
:

    Secord, Anne. 2002. Botany on a plate: Pleasure and the power of pictures in promoting early nineteenth-century scientific knowledge. ISIS. 93:28-57


Related
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Topinka, Lorie and Diane T. Sands. 2005. Sketching as a science tool. Connect. 19(1): 4-7.

Illustrators Lorie Topinka and Diane T. Sands answer this question in their article, Sketching as a Science Tool (2005). They discuss how biologists use sketches and diagrams in their field journals and explain how some initial observations are more easily captured as sketches instead of as words. They then explain how they develop observational skills in their students through sketching exercises and explain the procedure they use to grade student sketches.

Topinka and Sands’ checklist provides structure to any sketching activity and assigns points according to met criteria instead of the quality of art a student produces.

This article is accessible online through Synergy Learning.

Purchase a back issue of Connect, Vol. 19(1), September/October 2005 ($6, incl. postage).

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