Drawing With the Hand, Eye, Mind, and Heart by Michael S. Call A thesis submitted in partial fulfillment of the requirements for the degree of MASTER OF EDUCATION IN CURRICULUM AND INSTRUCTION WEBER STATE UNIVERSITY Ogden, Utah May 9, 2025 Approved Ryan Cain, PhD Ivy Brenneman, MFA Adam Blundell (May 10, 2025 16:36 MDT) Adam Blundell, MS Drawing with the hand, eye, mind, and heart 2 Table of Contents TABLE OF CONTENTS .................................................................................................. 2 LIST OF FIGURES ......................................................................................................... 5 LIST OF TABLES ........................................................................................................... 6 ABSTRACT .................................................................................................................. 7 ACKNOWLEDGEMENTS ............................................................................................... 8 LITERATURE REVIEW OR BACKGROUND INFORMATION ............................................ 11 Drawing as a thinking tool ................................................................................................................. 11 Tripartite purposes of drawing. ......................................................................................................... 12 Drawing to Observe .................................................................................................................................. 13 Drawing to communicate .......................................................................................................................... 15 Drawing to Understand ............................................................................................................................. 16 Examples of Artist Scientists .............................................................................................................. 17 Leonardo Da Vinci .................................................................................................................................... 17 Galileo Galilei ........................................................................................................................................... 19 Maria Sibylla Merian ................................................................................................................................ 20 Benefits of including drawing in Science Curricula .............................................................................. 21 Assessment Tool ....................................................................................................................................... 21 Improved memory ..................................................................................................................................... 21 Drawing with the hand, eye, mind, and heart 3 Creative thinking and problem solving ..................................................................................................... 22 Challenges of Learning to Draw ......................................................................................................... 22 Top-Down Interference ............................................................................................................................. 22 Mindsets .................................................................................................................................................... 24 METHOD .................................................................................................................. 25 The Hand, Eye, Mind, and Heart Curriculum Design ............................................................................ 25 Curriculum Structure ................................................................................................................................ 25 Drawing with the hand .............................................................................................................................. 29 Drawing with the eye ................................................................................................................................ 30 Drawing with the mind ............................................................................................................................. 31 Drawing with the heart.............................................................................................................................. 31 Feedback on the Curriculum .............................................................................................................. 32 Feedback Procedure .................................................................................................................................. 32 Feedback Results ...................................................................................................................................... 33 Curriculum Revisions......................................................................................................................... 35 DISCUSSION ............................................................................................................. 36 Implications on teaching practice ...................................................................................................... 36 Implications on personal practice ...................................................................................................... 37 Implications for further development and expansion of the curriculum .............................................. 39 Conclusion ........................................................................................................................................ 40 Drawing with the hand, eye, mind, and heart 4 REFERENCES ....................................................................................................... 41 APPENDIX A: LESSON PLANS ..................................................................................... 45 APPENDIX B: LESSON PRESENTATIONS ...................................................................... 63 APPENDIX C: FEEDBACK SURVEY ............................................................................... 181 Drawing with the hand, eye, mind, and heart 5 List of Figures FIGURE 1. DRAWING TO OBSERVE ............................................................................................................................... 14 FIGURE 2. DRAWING TO COMMUNICATE .................................................................................................................... 15 FIGURE 3. DRAWING TO UNDERSTAND ....................................................................................................................... 16 Drawing with the hand, eye, mind, and heart 6 List of Tables TABLE 1. TABLE OF DRAWING INSTRUCTION BOOKS .................................................................................................. 26 Drawing with the hand, eye, mind, and heart 7 Abstract This thesis examines the role of drawing as a learning tool in science education. Drawing is presented as an observational, communicative, and metacognitive process, structured around four modes: drawing with the hand, eye, mind, and heart. A four-lesson curriculum was developed to help high school science students improve observational skills, conceptual understanding, and visual communication. Eight educators, including science and art teachers, reviewed the curriculum and provided feedback after viewing lesson materials and a classroom teaching video. Respondents praised the interdisciplinary nature of the lessons and affirmed the value of drawing for student learning. Suggestions for improving the curriculum included simplifying lesson content, providing more time for feedback, and connecting learning objectives more directly to instruction. Revisions were made accordingly. This project argues that drawing supports deeper understanding and offers an authentic assessment alternative in an era of increasing reliance on generative AI. Drawing with the hand, eye, mind, and heart 8 Acknowledgements I have benefited from the instruction of many educators throughout my life. I am especially grateful to Leon Parson, Dean G. Keller, and Jerry Weiss, who not only taught me how to draw but also showed me how to teach drawing with both warmth and rigor. I also wish to thank the faculty of the Weber State University Moyes College of Education, who mentored and encouraged me as I transitioned into a career in education. Their collective guidance helped me become both an artist and an educator, rather than simply an artist who happens to teach. I am deeply grateful to my thesis committee. Adam Blundell’s willingness to exchange classes with me so I could share my passion for drawing with his ornithology students was invaluable to the development of this project. Ivy Brenneman provided thoughtful feedback and was instrumental in helping me clarify both my thinking and my writing. I am especially thankful to Dr. Ryan Cain, whose consistent encouragement and availability helped keep me on track. His thoughtful suggestions for related research and his shared background in both education and the fine arts made him an ideal committee chair. Finally, I am profoundly grateful for the support of my family, both immediate and extended, who offered constant encouragement and resources that made this project possible. I am especially thankful to Brookeh Call, my partner throughout this journey, and to our children, Margaret, Chadley, Lila, and Grace, who inspire me every day. Drawing with the hand, eye, mind, and heart 9 I love to draw. This love began, as I think it does for most children, with the sense of satisfaction that comes from seeing one’s direct influence on the world. There is an immediate response when dragging an implement across a surface and leaving a mark behind. Eventually, those marks begin to take on meaning, representing objects and ideas from our experiences. These drawings are often considered beautiful and valued for the emotional responses that they elicit. There is simple pleasure in both the act of creation and the viewing of that creation. My love for drawing continued throughout high school, and I eventually chose to pursue art as my college major. During my undergraduate studies, one of my English instructors assigned On Writing Well by William Zinsser (2001) as the course textbook. I appreciated this text because it presented writing in a way that I had never previously considered: as a means of forming and clarifying ideas. This was a revelation. Until then, I had viewed writing only as a tool for communication, not for developing thoughts. For the first time in my life, writing became an act of thinking, with grammar serving as a tool to support clarity rather than an end in itself. Previously, my study of English had emphasized rules without explaining their purpose. It was an approach that left me disengaged. The concepts I encountered in Zinsser’s book resonated with the instruction I was receiving from one of my drawing professors, Leon Parson. I wrote my final paper for that English class exploring the connection between writing and drawing as tools for developing and expressing ideas. I argued that both processes are recursive rather than linear. Both involve cycles of thinking, creating, processing, and revising until the final product clearly expresses the intended message. Years later, as I prepared to apply to graduate school, I revisited On Writing Well (Zinsser, 2001) and discovered that Zinsser had written another text: Writing to Learn (Zinsser, Drawing with the hand, eye, mind, and heart 10 1988). In this book he highlighted a program that was being promoted at the school where I was teaching: writing across curriculum. Teachers of all subjects were encouraged to incorporate writing into their instructional practices. Once again, I was struck by the parallels between writing and drawing. As Leon Parson often emphasized, a drawing is a representation of understanding, and one cannot draw what one does not understand. The accuracy of a drawing is limited not only by a person’s technical ability but also by their grasp of the subject. Zinsser (1988) articulated how the process of writing is similar in that it not only requires understanding, but also helps the author develop understanding: “…the act of writing even the simplest document—a letter, for instance—had clarified my half-formed ideas. Writing and thinking and learning were the same process” (p. ix). I have found that drawing functions in much the same way. In both teaching and personal practice, I have observed that drawings contain knowledge and understanding. More importantly, attempting to draw something often reveals the boundaries of one’s comprehension. When something in the drawing appears unclear or inaccurate, I must return to the subject for closer observation and identify what information I lack. This process repeats until the drawing reaches clarity. One of my instructors used to say, “when you find mistakes, rejoice, because you can only fix the mistakes you are aware of.” In this way, drawing becomes a powerful feedback loop, offering students a means of selfassessment and giving teachers insight into conceptual gaps in student understanding. In contemporary education, drawing is typically confined to the art classroom, where it is used to help students develop technical skills and artistic voice. This process often involves studying the elements and principles of art in order to express ideas and emotions visually. However, throughout human history, drawing has served far broader purposes. It has been used to depict the natural world, convey narratives, create abstract symbols, and communicate Drawing with the hand, eye, mind, and heart 11 increasingly complex ideas. Drawing has helped preserve collective memory, facilitate learning, and enable creative problem-solving. It has been essential to the advancement of human civilization. The purpose of my curriculum project is to design a series of lessons that teach drawing in educational settings beyond the art classroom. Specifically, this project focuses on how drawing can be a valuable tool for learning and thinking in science education. Literature Review or Background Information Drawing as a thinking tool Drawing as a tool for developing and communicating ideas visually exist on a spectrum ranging from abstract to representational forms (Baskinger & Bardel, 2013). Visual tools such as graphic organizers, charts, and diagrams fall on the more abstract side of this spectrum. In contrast, drawings that depict visual phenomena in a way that more closely reflects our visual experience of the world, though not necessarily photorealistic, are considered representational. All of these drawing approaches are valuable in developing observation skills, deepening understanding through visual analysis, and communicating ideas effectively. This curriculum focuses primarily on teaching skills that support representational image-making, which is less understood and underutilized in science education settings (Quillin & Thomas, 2015). However, many of the underlying concepts and strategies will also apply to other forms of drawing. With practice and experience, students can use the skills they develop to create representational drawings not only from observation but also from imagination. It is important to acknowledge that all drawing is a form of abstraction. Even the most realistic image is a translation filtered through the perception and choices of the artist. As teacher and author Ted Seth Jacobs (1991) wrote, “the drawing is not and never can be the object it Drawing with the hand, eye, mind, and heart 12 portrays” (p. 11). Drawings are representations, not realities. When an artist draws a portrait of a person, they may capture some of that person’s distinctive features, making the image recognizable to viewers. However, it remains a representation of select aspects. The person depicted is, in reality, far more complex, possessing thoughts, interests, and experiences that cannot be fully contained within a single image. Artists are not the only individuals who work with varying levels of abstraction. Anthropologist Bruno Latour explored how scientists attempt to better understand and describe the natural world. In his book Pandora’s Hope (1999), Latour described his experiences observing researchers studying the relationship between the edge of the Amazon rainforest and the neighboring savannah. To determine whether the forest was advancing into the savanna or vice versa, scientists engaged in a series of methodical steps along a spectrum from reality to abstraction. Each step became increasingly removed from the physical world, yet more focused and informative within the research process. For example, soil samples were collected systematically from the real world and placed into gridded storage boxes. These samples were then analyzed and translated into numbers, words, graphs, and charts that described various attributes of the contents of the samples. Moving in and out of abstraction allowed researchers to refine their focus and determine which information was most relevant and to discard extraneous details to isolate specific truths. Similarly, an artist begins by closely observing the many aspects of a subject. As their understanding deepens, they are better able to determine what elements to emphasize and how best to communicate those ideas through drawing. Tripartite purposes of drawing. Numerous authors have examined the cognitive and physical processes involved in creating a drawing. Cohen and Bennett (1997) describe observational drawing as a complex, Drawing with the hand, eye, mind, and heart 13 iterative process involving four main stages: perceiving the subject “as it exists in space”(p. 609), deciding what to represent and how, physically translating perceptions into visual form, and continually evaluating and refining the drawing during its creation. Similarly, Quillin and Thomas (2015) propose a three-part cognitive model for drawing in biology classrooms, consisting of selecting key observations, organizing how to represent them, and integrating them into coherent mental and visual models. Building on these frameworks—and influenced by James Paul Gee’s (2007) tripartite identity theory developed in the context of game-based learning—I propose a simplified tripartite model that identifies three primary cognitive purposes for drawing, each with distinct educational applications. First, drawing to observe involves students drawing with the goal of seeing the natural world more clearly and carefully, with information flowing inward from the external world. Second, drawing to communicate consists of translating internal understanding into external visual forms in order to share knowledge with others; here, the flow of information moves outward from the internal world of the student. Finally, drawing to understand engages students in a bidirectional feedback loop, where creating and analyzing drawings deepens both conceptual understanding and metacognitive awareness. In this instance, information flows inward and outward as students interact with their representations. In the sections that follow, each purpose is explored in greater detail, drawing on educational research and artistic practice. Drawing to Observe Drawing serves as a powerful tool for developing observational skills. In this mode, the goal is not necessarily to produce a polished artwork, but to sharpen perception and construct an accurate mental model of the subject. Here, information flows primarily from the outside world into the mind of the artist (see Figure 1). Drawing with the hand, eye, mind, and heart 14 Figure 1. Drawing to Observe As Franck (1973) describes in The Zen of Seeing, true observation requires sustained attention and deep engagement. He writes, “I have learned that what I have not drawn I have never really seen” (p. 6). Similarly, Aristides (2019) emphasizes that careful, prolonged looking, beyond the immediate recognition of objects, allows artists to see their subjects as they truly are, free from habitual assumptions. However, observation is not purely a visual process. Speed (1972) notes that early human experiences link vision and touch, shaping how individuals interpret their surroundings. When children begin to draw, they often prioritize tactile associations over purely optical information, leading to symbolic, simplified representations. Jacobs (1991) refers to this type of tactile drawing as "sculptural drawing," characterized by the use of strong contour lines to delineate objects based on their tangible boundaries. In contrast, optical drawing seeks to capture visual phenomena without interference from memory, symbolism, or tactile association. As Jacobs (1991) explains, “the final aim of the optical approach to drawing is to represent as far as possible just the function of sight, the perception of the field of vision devoid of all attached opinions and conceptions” (p. 19). Drawing with the hand, eye, mind, and heart 15 By practicing observational drawing, students learn to distinguish between what they think they see and what is actually present, an essential skill for both scientific modeling and artistic representation. In educational contexts, drawing to observe trains students to refine their skills in interpreting visual input, laying the foundation for deeper understanding and accurate communication. Drawing to communicate Beyond observation, drawing is a valuable tool for externalizing ideas to share them with others. In this mode, the goal shifts from perception to communication. The flow of information is directed outward, from the mind of the artist to the page, and ultimately, to an intended audience (see Figure 2). Figure 2. Drawing to Communicate According to Baskinger and Bardel (2016), effective communication through drawing begins with clarity of intent. The artist must first determine the core idea to convey, then tailor the drawing to the needs and expectations of the viewer. As they note, “Taking the extra moment to think and plan promotes more efficient drawing and produces more effective, articulate sketches—something any audience will appreciate” (p. 174). Drawing with the hand, eye, mind, and heart 16 Drawing also has unique advantages over photography and other forms of visual communication. Scientific illustrator Jenny Heller highlights the power of illustration to present information more selectively and clearly than a camera often can. “An illustration can clean up a messy dissection, portray muscles beneath the skin, or make the layers of an archaeological dig magically float in space” (Heller, as cited in Canfield, 2011, p. 166). In science education, drawing to communicate supports the development of scientific literacy by helping students externalize their conceptual models and convey them to others. It can also encourage deeper engagement by requiring students to consider both the clarity and accuracy of their visual messages. Drawing to Understand Drawing also functions as a powerful tool for metacognition and conceptual development. In this mode, information flows in both directions: students analyze their drawings and use the insights gained to revise both their representations and their thinking (see Figure 3). This dynamic process strengthens understanding and highlights gaps in knowledge. Figure 3. Drawing to Understand William Zinsser (1988), writing about the cognitive effects of writing, describes this bidirectional process: “Writing and thinking and learning were the same process” (p. ix). The Drawing with the hand, eye, mind, and heart 17 same can be said of drawing. Attempting to represent something visually often reveals incomplete or inaccurate mental models, prompting further observation, questioning, or research. Quillin and Thomas (2015) identify this iterative refinement process as essential to model-based reasoning in science. In their drawing-to-learn framework, students are encouraged to use drawings both to test their understanding and to make their thinking visible. “Drawing models can also help motivate students and make them more self-aware of their own learning” (p. 5). By cycling between drawing, evaluating, and revising, students engage in a process of visual reflection that supports the development of more accurate and meaningful understanding. In this way, drawing becomes not only a tool for producing knowledge, but also a means of revealing and refining it. Examples of Artist Scientists Leonardo Da Vinci Benesch (1943) describes Leonardo da Vinci’s relationship with both art and science, stating, "The picture of the artist Leonardo will ever remain incomplete without the scientist" (p. 311). For Leonardo, "Art and science were not separate or even opposed notions but formed a unity," and his "scientific attitude is that of a visual empiricist" (Benesch, 1943, pp. 311–312). Although Leonardo is regarded as one of the greatest artists of the Italian Renaissance, few of his finished artworks survive. In contrast, more than 7,000 pages of his drawings remain, illustrating the breadth of his investigations into physics, hydraulics, botany, astronomy, and anatomy (Ackerman, 1998). Leonardo used drawing not only to record observations but also as a tool to design inventions, explore visual perception, and deepen his understanding of the world. For example, Drawing with the hand, eye, mind, and heart 18 he compared how light travels through the lens of a camera obscura, producing a reversed image, with how light travels through the pupil of the human eye. Although he was unsuccessful in determining how the brain corrects the inverted image, his drawings show the depth of his inquiry. Frequently, to enhance his anatomical knowledge, Leonardo supplemented his human dissections with observations from animal anatomy. While not always accurate, these efforts demonstrate how he used drawing not merely for documentation or communication but for creative problem-solving and conceptual development (Ackerman, 1998). Some of Leonardo’s last drawings, meticulous depictions of an ox heart, include the first known description of coronary arteries. His choice to draw the heart from multiple angles reveals his goal of truly understanding the organ's structure and function. His accompanying notes theorize how the heart heated the blood and describe his ideas about blood flow (Ackerman, 1998). Leonardo also valued the communicative power of images. He wrote: And you who wish to represent by word the form of man and all the aspects of his membrification, get away from that idea. For the more minutely you describe, the more you will confuse the mind of the reader and more you will prevent him from a knowledge of the thing described. And so, it is necessary to draw and to describe (Benesch, 1943, pp. 318–319). In essence, he recognized that drawings could convey knowledge more clearly and efficiently than words alone. What sets Leonardo apart from other early artist-scientists is the combination of his wideranging interests and his extraordinary draftsmanship. In describing Leonardo’s drawing of a bramble branch, Benesch (1943) observes: Drawing with the hand, eye, mind, and heart 19 We not only see exactly rendered the curve of the branch in its thorny quality... but we also feel the elastic strength of these creeping, interlacing twigs. The draughtsman expresses the power of growth, the rising of the sap in the plant... Without this deep understanding of their morphologic shape and physiologic function, he would never have been able to render plants so faithfully (p. 314). Galileo Galilei Galileo Galilei is another important figure who used drawing in his scientific explorations. While astronomers before and after him used diagrams, Galileo’s early work stands out for his observational drawings. Some scholars suggest that as Galileo sought acceptance among intellectual elites, he gradually moved away from drawing, since it was often associated with craftspeople rather than court scholars (Winkler & Van Helden, 1992). Galileo demonstrated an awareness of different artistic goals depending on the intended purpose of his drawings. For instance, when sketching the moon with watercolor washes, he prioritized observational accuracy. However, when preparing images for engraving and publication, he altered the drawings to emphasize specific features discussed in his writings (Winkler & Van Helden, 1992). In one significant case, Galileo used an innovative drawing method to defend his theory about sunspots. Using a telescope to project the sun’s image onto a sheet of paper, he traced the movement of sunspots over time within pre-drawn circles. This approach allowed him to show that sunspots were not satellites orbiting the sun but transient phenomena on or near the sun’s surface (Winkler & Van Helden, 1992). In this instance, drawing served both as a tool for scientific understanding and as persuasive evidence to support his discoveries. Drawing with the hand, eye, mind, and heart 20 Maria Sibylla Merian Another artist-scientist who used drawing to study change over time was Maria Sibylla Merian. Rather than focusing on astronomical phenomena, Merian was fascinated by the life cycles of insects and their interdependence with plants and other animals. Merian lived during a period when European exploration was revealing new flora and fauna previously unknown to scholars (Wettengl, 1998). Her early exposure to art (she came from a family of artists and engravers) combined with her scientific curiosity, allowed her to begin documenting insects by the age of thirteen. Though she started her career in Germany, she eventually moved to Amsterdam and later to Suriname, where she continued her groundbreaking investigations. Renowned for both the accuracy and beauty of her work, Merian’s published illustrations were widely sought after by entomologists and collectors, including Peter the Great. Her detailed drawings later assisted taxonomists in developing classification systems for insects (Wettengl, 1998). According to Paravisini-Gebert (2012), "Maria Sibylla Merian’s voyage to Suriname unleashed a series of epiphanies that changed forever the way we look at the natural world. Her paintings provided some of the most beautiful early depictions of tropical fauna and flora while offering groundbreaking observations of the nature of metamorphosis" (pp. 17–18). Merian’s work exemplifies how drawing can move beyond documentation to become a powerful tool for observing, understanding, and communicating complex natural phenomena. Many consider her to be the world’s first ecologist. Drawing with the hand, eye, mind, and heart 21 Benefits of including drawing in Science Curricula Assessment Tool Due to its metacognitive nature, drawing is a valuable tool for both formative and summative assessment. Quillin and Thomas (2015), while noting the need for further research into the efficacy and consistent application of drawing as an assessment tool, describe a variety of ways that surveyed biology teachers have incorporated both representational and abstract drawings into their classrooms. As a formative assessment tool, educators can use drawing tasks to foster active learning, enhance observational skills, and increase learner motivation. As a summative assessment tool, drawing provides a visible representation of students’ observations, conceptual understanding, and knowledge construction. In the era of generative artificial intelligence, many educators are recognizing the need to redesign assessment practices to prioritize authenticity and higher-order thinking (Khlaif, Alkouk, Salama, & Abu Eideh, 2025). Traditional assessment methods that rely on rote memorization or easily replicable tasks are increasingly vulnerable to automation. As educators seek ways to assess creativity, critical thinking, and active engagement, drawing may serve as a valuable tool to promote and evaluate these essential skills. Improved memory Drawing activities can also significantly enhance memory and retention of complex information. In a 2016 study, anatomy students were divided into three groups: one group was asked to create drawings of anatomical features before an upcoming dissection, a second group created drawings after the dissection, and a third group did not complete any drawings. Students were assessed one week after the dissection and again seven weeks later. In both cases, students who engaged in drawing performed better on assessments than those who did not draw, although Drawing with the hand, eye, mind, and heart 22 there was no statistically significant difference between students who drew before versus after the dissection (Alsaid & Bertrand, 2016). Creative thinking and problem solving In today’s innovation-driven economy, creativity and creative problem-solving skills are becoming increasingly essential in the workplace. Puccio, Mance, and Murdock (2010) noted that "educational reports published over the last 20 years have consistently identified creative thinking and problem solving as among the most crucial skills necessary for success in today’s workplace" (p. 153). As a result, research in the field of creative problem solving has expanded considerably. One of the leading creative frameworks developed to foster these skills is Design Thinking, a process largely developed at Stanford University by Robert H. McKim and his colleague James L. Adams, based on earlier conceptualizations by J.E. Arnold. McKim is credited with emphasizing a critical component of Design Thinking: visual thinking (Kim & Park, 2021). In this context, visual thinking refers to the use of sketching and modeling to represent ideas early in the creative process. Incorporating visual elements such as sketches enables creators to develop deeper understandings of their concepts and engage in metacognitive reflection, expanding the creative process beyond the limitations of purely verbal or written communication (Puccio et al., 2010). Challenges of Learning to Draw Top-Down Interference In his book Your Artist's Brain, Carl Purcell (2010) identifies two distinct ways the human brain processes visual information. The first process, spatial processing, involves the brain rapidly and subconsciously scanning the visual field for the purposes of navigation and Drawing with the hand, eye, mind, and heart 23 environmental awareness. The second process occurs at a more conscious level, where the brain begins to recognize, name, and package information for storage in memory. Purcell suggests that understanding the interaction of these two types of processing is essential for overcoming one of the major challenges in learning to draw from observation, a phenomenon known as top-down interference (Glazek, 2012; Kozbelt 2017). This phenomenon occurs when students revert to drawing previously stored symbols or preconceived notions about a subject instead of purely analyzing the visual relationships between the parts of a subject. Cohen and Bennett (1997) describe this concept using the term "delusions" to explain how artists often rely on internal symbols rather than direct observation. They offer the example of a landscape painter who paints water as blue, not because of its observed color, but because of the cognitive association of water with the color blue. Such delusions demonstrate how symbolic memory can distort accurate perception. To develop strong observational drawing skills, art students must learn to recognize and manage top-down interference, effectively "shutting off" preconceived notions to observe subjects more truthfully. However, Cohen and Bennett (1997) also suggest that there are moments when artists must rely on conceptual knowledge over visual input, particularly when encountering visual illusions. In these cases, the familiar advice to "draw what you know, not what you see" becomes essential, a phrase frequently emphasized in drawing instruction. Another way that cognitive bias can inhibit drawing accuracy occurs when depicting people or animals. Students often name different parts of the body and subsequently draw them as disjointed forms. Jacobs (1991) explains, "A common mistake is to draw a curve to represent the lower leg and then add the foot to it at a sharp angle. This error is based upon the preconception of forms as being divisible by their names such as a leg or foot…. This prejudice Drawing with the hand, eye, mind, and heart 24 prevents the mind from registering the true nature of the continuous curve between the leg and foot" (pp. 22–23). Other human tendencies further limit drawing accuracy. As a teacher, I have noticed common issues with beginning and experienced art students and artists. For example, students often draw heads that are too large in proportion to bodies and faces that are too large within heads, likely because people tend to emphasize the features they focus on most. Similarly, students exhibit a tendency toward evenness when arranging elements on the page, resulting in the "sticker page" effect—drawing objects evenly spaced rather than overlapping naturally. When learning to draw, students may also unintentionally straighten diagonal lines, causing a loss of visual dynamism. Overcoming these challenges requires a combination of careful observation and an awareness of these cognitive biases, allowing artists to more accurately capture the true nature of their subjects. Mindsets A student’s ability to succeed in an art class is influenced, at least in part, by their beliefs and feelings about their capacity to draw. Quillin and Thomas (2015) suggest four categories that describe a student’s mindset about drawing. These categories fall along a spectrum that includes how much the student enjoys drawing, whether they perceive drawing as important, whether they believe they are capable of learning to draw, and whether they are willing to put in the effort required to improve. A student’s beliefs about their own abilities and their general feelings about drawing significantly affect their motivation to engage in drawing tasks and their persistence in developing drawing skills to a level where drawing becomes a useful tool for learning. Insecurity about one's drawing ability can serve as a barrier for both students and teachers who might otherwise benefit from incorporating drawing into science curricula (Quillin & Drawing with the hand, eye, mind, and heart 25 Thomas, 2015). The question of whether drawing is a learnable skill or an innate talent remains central to many students' and educators' attitudes. Julia Aristides (2019), in her book Beginning Drawing Atelier, argues that if an individual can learn to write letters, they can also learn to draw, framing drawing as an attainable skill rather than an inherent talent. Method The Hand, Eye, Mind, and Heart Curriculum Design Curriculum Structure I developed a curriculum divided into four lessons designed to help science students learn more about drawing, overcome some of the common challenges faced by beginning drawing students, and understand how drawing can be useful in their education outside of traditional art classes. These lessons were organized into the categories of drawing with the hand, drawing with the eye, drawing with the mind, and drawing with the heart. Breaking drawing down into these distinct categories enables students to focus on one aspect of drawing at a time in order to develop specific skills more effectively. The lessons were created in two parts, lesson plan documents and lesson slide presentations, available in Appendices A and B. Each lesson included one drawing standard and one science standard, both selected from the Utah State Office of Education standards (Utah State Board of Education, 2016; Utah State Board of Education, 2023). Each lesson incorporated a presentation, a discussion of key ideas, and carefully selected drawing activities aligned with the lesson’s objectives. As part of the curriculum development process, I reviewed a variety of books on drawing and drawing instruction to determine the best strategies for teaching students to draw. I specifically examined how these different texts addressed the categories of drawing skills Drawing with the hand, eye, mind, and heart 26 outlined in the curriculum. In my analysis, I looked for patterns across the texts, identifying commonalities, contrasts, and contradictions among different authors’ approaches to drawing instruction. I selected a range of texts from different time periods and domains of expertise. For example, I included foundational books in the fine arts, such as texts dating back to the 19th century by John Ruskin, as well as contemporary publications by experts in drawing education. I also selected books focused on drawing for engineering and product design, such as Drawing Ideas, and a book geared toward drawing in the field of entertainment design. The full list of selected books and information about each is provided in the table below. Table 1. Table of Drawing Instruction Books Title About the Author Intended Audience Publication Date Drawing Ideas: A Mark Baskinger Novice to 2016 Hand-Drawn and William professional artists Approach for Better Bardel: Professor of with an interest in Design Industrial Design at design and Carnegie Mellon communication. University / Owner of Luminant Design, Information Designer Drawing with an Ted Seth Jacobs: Open Mind Artist, Instructor at Unspecified 1986 Drawing with the hand, eye, mind, and heart 27 The Art Students League, NY How to Draw: Scott Robertson Written for artists, Drawing and and Thomas architects, and Sketching Objects Bertling: Artist, designers; for and Environments Professor, and novice, student, and from Your former Chair of the professional (Back Imagination Entertainment Cover) 2013 Design Department at Art Center College of Design / Industrial Designer, Professor at Art Center College of Design Lessons in Juliette Aristides: "To all who love to Classical Drawing: Artist, Author, draw" (p. 5) Essential Founder of Gage Techniques from Academy of Fine Inside the Atelier Arts Practice and Harold Speed: "Primarily Science of Drawing Artist and Author addressed to 2011 1917 Drawing with the hand, eye, mind, and heart 28 working [art] students" (p. 1) The Art of Nathan Goldstein: "This book is Responsive Artist, Professor of intended for the art Drawing Painting and student, the Drawing at The Art interested amateur, Institute of Boston the art teacher, and at Lesley the practicing University artist…" (p. xi) The Elements of John Ruskin: "His object was not Drawing Writer, to instruct Draughtsman, Art professional artists, Critic, Art but to show how Historian, with the elements of interests in many drawing might best other fields become a factor in including science, general history, and education…" (p. literature vii) The Language of Sherrie McGraw: Written to "those Drawing: From an Artist, Instructor at who are moved by Artist's Viewpoint The Art Students beautiful drawing League, NY and wish to draw 1973 1857 2004 Drawing with the hand, eye, mind, and heart 29 beautifully…" (p. 15) The Natural Way to Kimon Nicolaides: Written to first-year Draw Artist, Author, drawing students. 1941 Instructor at The Art Students League, NY In the Drawing with the Hand, Eye, Mind, and Heart curriculum, drawing is conceptualized as an act that engages the hand, eyes, mind, and heart. Although all four aspects work together in the creation of a drawing, it is pedagogically useful to examine them individually before exploring how they interact. This approach is particularly beneficial in instructional settings, where isolating these components allows for more targeted teaching. When assessing student work, teachers can often identify which of the four domains presents the greatest challenge for a student. Recognizing these specific areas of difficulty enables instructors to address them with focused exercises designed to strengthen the student's skills and understanding in that domain. Drawing with the hand The primary goal of Drawing with the Hand is to introduce students to the physical act of drawing and help them develop foundational hand-eye coordination skills. Students learn about the element of line, how lines can be varied to convey information, and how intentional line work can enhance the clarity and communicative power of a drawing. The lesson emphasizes the Drawing with the hand, eye, mind, and heart 30 physical process of mark-making, positioning drawing as a physical skill similar to those developed in sports or music. Students engage in a series of drawing exercises designed to build muscle memory, strengthen fine motor control, and increase their confidence in creating a variety of lines. Through examining an exemplar artist, Leonardo da Vinci, students also analyze the intentional use of line in scientific and artistic drawings. Additionally, the lesson ties drawing skills to broader scientific practices by emphasizing the use of visual communication to convey complex ideas. Drawing with the eye Many beginning drawing students struggle to accurately represent what they see because of a phenomenon known as top-down interference, in which prior knowledge and symbolic thinking distort direct observation. Cohen and Bennett (1997) argue that the difficulty most individuals experience when drawing stems not from deficiencies in motor skills, but from perceptual distortions that occur when the brain substitutes learned symbols for actual visual input. The Drawing with the Eye lesson is designed to help students recognize and overcome these perceptual distortions by strengthening their observational skills through direct drawing practice. Students are introduced to the concept that what they believe they see and what they actually observe can differ significantly. To address this, the lesson teaches two key observational drawing strategies, gesture drawing and measured drawing, that encourage students to rely on visual perception rather than symbolic memory. Students further develop their observational abilities by analyzing and contrasting techniques evident in the work of Rembrandt van Rijn, illustrating different approaches to recording the visual world. Drawing with the hand, eye, mind, and heart 31 The lesson also integrates science and art standards by emphasizing careful observation, proportion, and spatial reasoning—skills that are essential in both scientific modeling and artistic practice. Students are encouraged to refine their techniques to better align visual input with artistic output, thereby enhancing both cognitive understanding and technical drawing ability. Drawing with the mind The primary goal of Drawing with the Mind is to teach students how to create the illusion of three-dimensional form in their drawings by applying principles of light, value, and edge control. Students explore how understanding light logic (how light interacts with surfaces) can strengthen their ability to depict form realistically. They learn to recognize different lighting conditions and apply this knowledge to enhance the believability of their drawings. The lesson emphasizes the use of prior knowledge to supplement observational skills, distinguishing when it is beneficial to rely on conceptual understanding in addition to direct visual input. Students analyze observational drawings by Galileo Galilei to examine how scientific observation and artistic techniques intersect. The lesson integrates science and art standards by focusing on developing modeling skills and spatial reasoning. Through structured drawing activities and targeted feedback, students practice creating images that convincingly portray volume, depth, and light behavior. Drawing with the heart The primary goal of Drawing with the Heart is to teach students how to intentionally craft drawings that communicate clear ideas to a specific audience. Building on the observational and technical skills developed in previous lessons, students shift their focus toward the communicative power of drawing. They explore the advantages that drawings have over Drawing with the hand, eye, mind, and heart 32 photography in conveying ideas, particularly through selective emphasis, clarity, and imaginative composition. Students are introduced to strategies for clarifying their intended message and selecting visual structures that best serve their communication goals. The lesson features Maria Sibylla Merian as an exemplar artist whose work demonstrates the use of drawing to document and communicate complex natural phenomena. Students engage in a series of exercises designed to help them plan and execute drawings that thoughtfully balance visual elements, message clarity, and audience needs. By emphasizing ideation, planning, and refinement, the lesson helps students use drawing as a persuasive and meaningful form of visual communication. Feedback on the Curriculum Feedback Procedure To gather formative feedback on the Drawing with the Hand, Eye, Mind, and Heart curriculum, I created a short document summarizing the project's purposes and justification. This document was shared with science and art teachers across Davis School District to introduce the goals of the curriculum. I invited eight teachers to review both the introductory document and the accompanying curriculum materials. Additionally, I created a video recording of myself teaching the first lesson in the series, Drawing with the Hand, to ornithology students at Farmington High School. The lesson was recorded using an iPad and a Swivl Series robot video capture system, allowing the reviewers to observe the proposed curriculum being implemented in a classroom setting. This recording was intended to provide additional context and help reviewers better understand the instructional approach and activities in practice. Drawing with the hand, eye, mind, and heart 33 After reviewing the project materials and video, participants completed an electronic survey designed to gather qualitative feedback. The survey included open-ended questions to elicit detailed, candid responses regarding the curriculum’s strengths, weaknesses, and areas for improvement. I systematically reviewed their responses and identified recurring themes and patterns to guide the revision and refinement of the curriculum project. For a complete list of survey prompts see Appendix C. Feedback Results Of the eight teachers who responded to the feedback request, five were science teachers at Farmington High School in Davis School District, two were art teachers from other high schools within the district, and one was a college-level art instructor. In addition to reviewing the lesson plans and accompanying slide presentations, five of the eight respondents also viewed the recorded video of the curriculum being taught. Significantly, five respondents indicated that they were highly likely to use all or part of the curriculum in their own classrooms. Two respondents reported being somewhat likely to use the materials, while one respondent indicated being neither likely nor unlikely. Analysis of the feedback revealed several encouraging patterns. First of all, the science teachers who responded reported that they already incorporate drawing activities into their curricula and affirmed that additional instruction in drawing would be useful for their students. This suggests that the integration of visual learning strategies, such as drawing, is both valued and actively practiced within science education at the secondary level. A notable theme across responses was the appreciation for how the curriculum bridges artistic and scientific practices. Respondents praised the curriculum’s ability to demonstrate that both disciplines rely heavily on experimentation, observation, hypothesis testing, revision, and Drawing with the hand, eye, mind, and heart 34 communication. Several teachers highlighted that drawing activities promote the development of shared intellectual processes between science and art, helping students experience multiple modes of inquiry and knowledge construction. This interdisciplinary focus aligns closely with the goals of the Drawing with the Hand, Eye, Mind, and Heart curriculum, which seeks to leverage drawing as an observational, communicative, and metacognitive tool across academic fields. Respondents commended the curriculum for its strong structure, logical progression of skills, and clear articulation of learning outcomes. Teachers appreciated how the lessons built gradually from simple exercises to more complex applications, making the drawing process approachable even for students with little prior art experience. The curriculum’s emphasis on connecting drawing activities directly to educational objectives was seen as a major strength, particularly in demystifying artistic practice for science students. As far as suggestions for improvement, several reviewers recommended providing additional time for students to engage in drawing activities, as well as allocating more time for reflection and feedback. One reviewer expressed concern about the "Drawing with the Mind" lesson, noting that its emphasis on three-dimensional form might not align with the primarily two-dimensional line drawings typically produced in their classroom. Another suggestion was to more explicitly reference the learning outcomes within both the presentation and the lesson delivery, so that students could better track their progress and understand the purpose behind each activity. Additionally, one reviewer recommended incorporating a discussion of professional opportunities related to drawing and scientific communication, such as careers in medical illustration or science communication fields. Drawing with the hand, eye, mind, and heart 35 Curriculum Revisions Based on the feedback received from reviewers, I made several revisions to the Drawing with the Hand, Eye, Mind, and Heart curriculum to better support student engagement and learning. First, I simplified the lessons to create more time for drawing activities and to allow for post-drawing feedback and discussion. In Lesson One, Drawing with the Hand, I removed the section on Nicolai Fechin. I believe that one exemplar artist is sufficient for this lesson, and Leonardo da Vinci will remain as the featured figure to maintain focus and clarity. In addition, I revised the slide presentations for each lesson. I replaced the slides that displayed sample art and science standards with slides that include the learning objectives from the lesson plans. The standards are more relevant for teachers’ understanding, whereas the learning objectives are written in student-centered language that will help students better grasp the goals of each lesson. I also duplicated the learning objectives slide near the end of each lesson to prompt review and reflection on how well the objectives were met. Furthermore, I included a new slide in the final lesson that outlines potential careers combining art and science, such as medical illustration, science communication, and scientific visualization. This addition addresses the recommendation to show students real-world applications of the skills they are developing. While I do not plan to make immediate changes to the Drawing with the Mind lesson based on concerns about its focus on three-dimensional form, I will include suggestions for future adaptation in the discussion section. This will provide teachers with optional strategies for modifying the lesson to better suit classes that predominantly use two-dimensional drawing approaches. Drawing with the hand, eye, mind, and heart 36 Discussion Working on this curriculum project has increased my belief in drawing as a powerful learning tool for both myself and my students. The sheer breadth of the subject continues to inspire me and serves as a reminder to remain open to new insights and approaches. I have come to understand that observational drawing is not synonymous with realism; rather, it encompasses a wide range of practices that encourage close looking, analysis, and reflection. As an educator, I have learned that while breaking down the drawing process into distinct components and using constraints can help develop specific skills, drawing itself remains a highly complex and deeply personal act. The more one engages with the process, the more expansive and nuanced it becomes. These realizations now serve as the foundation for how I understand drawing, how I teach it, and how I plan to evolve my curriculum moving forward. Implications on teaching practice Designing and implementing this curriculum has improved my approach to teaching. I have developed a heightened awareness of how students engage with their subjects while drawing. For example, one research article by Glazek (2012), which tracked the eye movements of experienced versus novice artists, revealed that more experienced artists spend more time looking at their subjects than at their drawings, frequently shifting their gaze back and forth. This behavior, which I had engaged in intuitively, became a point of focus for my teaching. Now, I am more attentive to identifying students who spend too much time looking at their drawings and not enough at their subject, and I coach them toward more observational engagement. Another research study from the literature that has impacted my focus as a teacher, helped me to understand that time spent practicing drawing was not a good predictor of artistic growth. Chamberlain, McManus, Brunswick, Rankin, and Riley (2015), found that in addition to Drawing with the hand, eye, mind, and heart 37 practice, students also need coaching and timely feedback. This research has helped me prioritize individual guidance during lessons, reinforcing the idea that my presence and feedback are essential to student growth. Implications on personal practice During my undergraduate studies, I was intensely focused on what is commonly considered a classical art education with a focus on representational art. Reading the drawing texts and other research helped me to understand more deeply that there is a big diversity of opinions both within the domain of classical representational drawing, sometimes termed academic drawing, as well as among the many other approaches to drawing throughout the history of art, each with distinct and intermingled values and goals. This project has helped me expand my understanding of additional approaches to drawing that will be beneficial for me and for my students. For example, my understanding of what observational drawing includes has expanded. Drawing from observation extends much further than the practice of trying replicate what one sees on the surface. Drawing is a way of seeing and experiencing underlying movements and connections of the subjects being drawn. Goldstein (1984), Nicolaides (2013), and Jacobs (1991) all speak to the hidden rhythms that flow through drawing subjects. They most commonly use the term gesture drawing when referring to drawings created by artists as they seek to understand and convey these connections visually. Even Baskinger and Bardel (2013), who focus on industrial and communication design, refer to the term, fresture, coined by one of their students by combining the words fresh and gesture. They speak to the value of gesture more from the communicative side of drawing. Drawings that convey gesture have a more energetic and livelier Drawing with the hand, eye, mind, and heart 38 feel than drawings created with a focus on measurement and precision. This freshness can make a drawing more visually appealing to clients. Another approach to observational drawing that I had not previously considered involves exploring a subject’s perceived weight and mass rather than striving for photographic likeness. In this method, Nicolaides (2013) encourages his students to think of drawing as akin to sculpting—like adding clay to a wire armature. Artists convey mass and weight by applying darker, denser lines in areas that feel more substantial. The resulting drawing would never be mistaken for a photograph, but its creation engages the artist in deep observation and effectively communicates meaning and experience from artist to viewer. Additionally, I was surprised to discover that many artists whose work I have long admired, and who share a similar realistic, observational style, hold strong and often contradictory opinions about the best way to teach beginning drawing students. For example, nearly every book I read addressed topics that could be categorized as either drawing with the mind or drawing with the eye. McGraw (2004), for instance, devoted a chapter of The Language of Drawing to topics such as perspective, anatomy, and proportions, titling it “The Whiles of Mass Distraction.” While she concedes that these subjects can support learning for some students, she argues that they often become overwhelming and may hinder close, perceptual observation. Her recommendation is either to delay these studies until students feel a genuine need for them, or to study them deeply and then “forget” them—allowing the knowledge to operate subconsciously. In contrast, Aristides (2011) emphasizes these same topics as fundamental to a rigorous and effective drawing education, advocating for their early and systematic inclusion in instruction. These contrasting views challenged me to reflect on how I balance structure and intuition in my own teaching. Drawing with the hand, eye, mind, and heart 39 Another tool to support observational drawing that I had not previously considered came from Nicolaides (2013), who encourages students to empathize with their subject and to imagine the impulses that drive its existence. Although his focus was primarily on the human figure, similar ideas appear in Ruskin’s (1971) writings, where he advocates for the same empathetic engagement when drawing elements of the natural world, such as trees and rocks. Both Nicolaides (2013) and Ruskin (1971) emphasize that drawing can foster a deeper connection between the artist and the subject, inviting the artist to consider where the subject has come from, how it has developed, and where it might go next. I believe this empathetic approach to observation holds significant value, particularly in the context of teaching drawing to science students, where understanding the form, function, and life history of a subject can enhance both scientific insight and artistic expression. Implications for further development and expansion of the curriculum In developing the "Drawing with Your Hand, Eye, Mind, and Heart" framework, I found the themed structure to be extremely effective in guiding lesson development. The categories offered both focus and flexibility. Reviewers of the lessons appreciated the clarity of purpose within each category and the diversity of approaches they allowed. However, the feedback also revealed the importance of adaptability. For instance, one science teacher found that the "drawing with the mind" lesson on light logic did not align with their course objectives. This highlighted the need for additional modular lessons that could be substituted or used to complement the core curriculum depending on the subject area. Potential additions might include proportion, anatomy, perspective, or even content-specific lessons tied to scientific disciplines. Drawing with the hand, eye, mind, and heart 40 The curriculum also showed promise for expansion into a full semester course, and the structure lends itself well to online or hybrid adaptations. Flexibility in delivery, as well as content, will be key to its long-term usefulness. Conclusion Through the process of researching, designing, and teaching this drawing curriculum, I have come to a more profound understanding of what drawing is and what it can do. Drawing is not just a representational tool, it is a way of thinking, seeing, empathizing, and connecting. It holds immense value not only in artistic development but also in supporting learning across disciplines. This project has strengthened my practice as a teacher by encouraging me to be more intentional, observational, and reflective. I am more equipped to guide students in both skillbuilding and in the development of visual thinking strategies. Looking ahead, I am excited to continue growing this curriculum, adapting it to new contexts and learners. I see drawing as a lifelong practice, one that invites curiosity, fosters understanding, and continually evolves. This project has reaffirmed my commitment to drawing as both an educator and an artist, and it has laid the groundwork for future explorations in curriculum development, interdisciplinary teaching, and creative inquiry. Drawing with the hand, eye, mind, and heart 41 References Ackerman, J. S. (1998). Leonardo Da Vinci: Art in science. Daedalus, 127(1), 207-224. https://www.jstor.org/stable/20027483 Alsaid, B., & Bertrand, M. (2016). Students' memorization of anatomy, influence of drawing. Morphologie, 100, 2-6. https://doi.org/10.1016/j.morpho.2015.11.001 Aristides, J. (2011). Lessons in classical drawing: Essential techniques from inside the atelier. Watson-Guptill. Aristides, J. (2019). Beginning drawing atelier: An instructional sketchbook. Watson-Guptill. Baskinger, M., & Bardel, M. (2013). Drawing ideas: A hand-drawn approach for better design. Watson-Guptill. Benesch, O. (1943). Leonardo da Vinci and the beginning of scientific drawing. American Scientist, 31(4), 311-328. https://www.jstor.org/stable/27826007 Canfield, M. R. (Ed.). (2011). Field notes on science and nature. Harvard University Press. Chamberlain, R., McManus, C., Brunswick, N., Rankin, Q., & Riley, H. (2015). Scratching the surface: Practice, personality, approaches to learning, and the acquisition of high-level representational drawing ability. Psychology of Aesthetics, Creativity, and the Arts, 9(4), 451-462. https://doi.org/10.1037/aca0000011 Cohen, D. J., & Bennett, S. (1997). Why can't most people draw what they see. Journal of Experimental Psychology: Human Perception and Performance, 23(3), 609-621. Franck, F. (1973). The Zen of seeing: Seeing/drawing as meditation. Vintage Books. Gee, J. P. (2007). What video games have to teach us about learning and literacy (2nd ed.). Palgrave Macmillan. Drawing with the hand, eye, mind, and heart 42 Glazek, K. (2012). Visual and motor processing in visual artists: Implications for cognitive and neural mechanisms. Psychology of Aesthetics, Creativity, and the Arts, 6(2), 155-167. https://doi.org/10.1037/a0025184 Goldstein, N. (1984). The art of responsive drawing (2nd ed.). Prentice Hall. Jacobs, T. S. (1991). Drawing with an open mind. Watson-Guptill. Khlaif, Z. N., Alkouk, W. A., Salama, N., & Abu Eideh, B. (2025). Redesigning assessments for AI-enhanced learning: A framework for educators in the generative AI era. Education Sciences, 15(2), 174. https://doi.org/10.3390/educsci15020174 Kim, Y. S., & Park, J. A. (2021). Design thinking in the framework of visual thinking and characterization of service design ideation methods using visual reasoning model. The Design Journal, 24(6), 931-953. https://doi.org/10.1080/14606925.221.1977497 Kozbelt, A. (2017). Learning to see by learning to draw: Probing the perceptual bases and consequences of highly skilled artistic drawing. High Ability Studies, 28(1), 93-105. https://doi.org/10.1080/13598139.2017.1298995 Latour, B. (1999). Circulating reference: Sampling the soil in the Amazon forest. In Pandora's hope (pp. 24-79). Harvard University Press. McGraw, S. (2004). The language of drawing: From an artist's viewpoint (2nd ed.). Bright Light Publishing, LLC. Nicolaides, K. (2013). The natural way to draw: A working plan for art study. Read Books Ltd. Paravisini-Gebert, L. (2012). Maria Sibylla Merian: The dawn of field ecology in the forests of Suriname, 1699-1701. Review: Literature and Arts of the Americas, 45(1), 10-20. https://doi.org/10.1080/08905762.2012.670450 Drawing with the hand, eye, mind, and heart 43 Puccio, G. J., Cabra, J. F., Fox, J. M., & Cahen, H. (2010). Creativity on demand: Historical approaches and future trends. Artificial Intelligence for Engineering Design, Analysis and Manufacturing, 24, 153-159. https://doi.org/10.1017/s0890060410000028 Purcell, C. (2010). Your artist's brain: Use the right side of your brain to draw and paint what you see—not what you think you see. North Light Books. Quillin, K., & Thomas, S. (2015). Drawing-to-learn: A framework for using drawing to promote model-based reasoning in biology. Life Sciences Education, 14, 1-16. https://doi.org/10.1187/cbe.14-08-0128 Robertson, S., & Bertling, T. (2013). How to draw: Drawing and sketching objects and environments from your imagination. Design Studio Press. Ruskin, J. (1971). The elements of drawing. Dover Publications. (Original work published 1857) Salamon, M. (2018). Drawing laboratory: Research workshops and outcomes. UAL Creative Teaching and Learning Journal, 3(2), 4-14. Speed, H. (1972). The practice and science of drawing. Dover Publications. Utah State Board of Education. (2016). Utah core state standards for the fine arts. https://schools.utah.gov/curr/finearts Utah State Board of Education. (2023). Utah science with engineering education (SEEd) standards. https://schools.utah.gov/curr/science Wettengl, K. (Ed.). (1998). Maria Sibylla Merian: Artist and naturalist 1647–1717 (J. S. Southard, Trans.). Hatje Cantz. Winkler, M. G., & Van Helden, A. (1992). Representing the heavens: Galileo and visual astronomy. Isis, 83(2), 195-217. https://www.jstor.org/stable/234504 Drawing with the hand, eye, mind, and heart 44 Zinsser, W. (2001). On writing well: The classic guide to writing nonfiction (25th anniversary ed.). HarperCollins. Zinsser, W. (1988). Writing to learn. Harper & Row. Appendix A: Lesson Plans Drawing with the Heart Learning Outcomes • • • Outcome 1: Students will explore advantages that drawings can have over photography when communicating ideas. Outcome 2: Students will learn how to craft clear ideas by considering the message they want to share and who their intended audience is. Outcome 3: Students will learn about and analyze the work of exemplar artist, Maria Sibylla Merian. Science Standard GEOL.2.4 Obtain, evaluate, and communicate information about the causes of fossilization and how the fossil record provides evidence of change in environments and life over time. Art Standard L2.V.R.2 Evaluate the effectiveness of an image or images to influence ideas, feelings, and behaviors of specific audiences. Rationale In the Tripartite model of drawing, we draw to observe, to understand, and to communicate. The previous lessons have focused on developing observation and drawing skills. In this lesson students will learn to use their drawing skills to share their observations and understandings with a specific audience. To clearly communicate ideas, it is important to have a clear message and an understanding of whom they are sharing it with. Knowing these two things will enable students to make essential decisions about how they craft their drawings. Review of Past Lessons In the first lesson, students learned about the physical act of mark making; literally, how to draw. In the second lesson students learned to draw what they see. The third lesson was about essential knowledge that helps one draw better so they can draw what they know. In this lesson students will be empowered to use the previous skills to draw what they want to see. Activities Description • • • • • • • • • • • • • • Activity 1: Review previous lessons and introduce the idea of drawing what you want to see. Introduce the two necessary components of crafting a message through art. Time Required: 8 minutes. Activity 2: Introduce and discuss work of exemplar artist: Maria Sibylla Merian. Time Required: 10 minutes Activity 3: Have students analyze two images of a volcano and discuss ideas and intended audiences. Time Required: 3 minutes Activity 4: Discuss how to clarify ideas and select a graphic structure appropriate to the message and audience. Time Required: 5 minutes Activity 5: Introduce ideation strategy of using thumbnail sketches to develop ideas. Time required: 3 minutes. Activity 6: Students will begin the process of creating their final drawing, first through thumbnail sketches, and then they will begin their final. Teacher will provide individual feedback to students as they work. Time Required: 30-60 minutes. Activity 7: Review learning outcomes, reflect on progress, show slide of possible vocational opportunities related to drawing and science. Time Required: 5 minutes. Materials • • • Art supplies Photo reference Electronic devices for additional research Additional Activities This activity will most likely require additional time for students to complete their final drawings. It would be helpful to have a final critique session and a display of student artwork. References Baskinger, M., & Bardel, W. (2016). Drawing ideas: A hand-drawn approach for better design. Watson-Guptill. Canfield, M. R. (Ed.). (2011). Field notes on science & nature. Harvard University Press. da Vinci, L. (c. 1489). The cranium sectioned [Drawing]. Royal Collection Trust. https://www.rct.uk/collection/search#/15/collection/919058/recto-the-craniumsectioned-verso-the-skull-sectioned da Vinci, L. (c. 1489–1490). Studies of proportions of face and eye (with notes) [Drawing]. Meisterdrucke. https://www.meisterdrucke.uk/fine-art-prints/Leonardo-daVinci/642231/Studies-of-proportions-of-face-and-eye-%28with-notes%29,-c.-148990.html da Vinci, L. (c. 1510–1511). The bones of the hand (verso) [Drawing]. Wikimedia Commons. https://commons.wikimedia.org/wiki/File:Leonardo_da_Vinci__RCIN_919009,_Verso_The_bones_of_the_hand_c.1510-11.jpg da Vinci, L. (c. 1511–1513). The heart and coronary vessels (verso) [Drawing]. Wikimedia Commons. https://commons.wikimedia.org/wiki/File:Leonardo_da_Vinci__RCIN_919073,_Verso_The_heart_and_coronary_vessels_c.1511-13.jpg Depositphotos. (n.d.). Shield volcano [Illustration]. https://depositphotos.com/illustrations/shield-volcano.html?qview=537958958 Getty Museum. (2023, August 15). Maria Sibylla Merian's metamorphosis of a small emperor moth on a damson plum [Video]. YouTube. https://www.youtube.com/watch?v=GhII_vAZ4xg Kinsella, E. [@edwardkinsella]. (2023, March 14). [Sketchbook thumbnails and handwritten notes exploring visual elements and composition for illustration concepts] [Instagram post]. Instagram. https://www.instagram.com/p/Cpn3-lBjnYg/ Krosovskiy, S. (n.d.). Volcanic eruption destroys the hunting grounds of tyrannosaurus rex [Illustration]. Getty Images. https://www.gettyimages.com/detail/illustration/volcanic-eruption-destroys-thehunting-royalty-free-illustration/495836425 Marrel, J. (1697). Portrait of a woman called Maria Sibylla Merian [Painting]. Wikimedia Commons. https://commons.wikimedia.org/wiki/File:Bildnis_der_Maria_Sibylla_Merian,_1679.j pg Merian, M. S. (1679). The caterpillars' marvelous transformation and strange floral food [Illustration of Calliteara fascellina and Taraxacum] [Illustration]. Wikimedia Commons. https://en.wikipedia.org/wiki/File:Danedlion_Maria_Sibylla_Merian.png Utah State Board of Education. (2016). Utah core state standards for the fine arts. https://schools.utah.gov/curr/finearts Utah State Board of Education. (2023). Utah science with engineering education (SEEd) standards. https://schools.utah.gov/curr/science Wikipedia contributors. (n.d.). Maria Sibylla Merian. Wikipedia. https://en.wikipedia.org/wiki/Maria_Sibylla_Merian Drawing with the Hand Learning Outcomes • • • Outcome 1: In this lesson students will learn about the element of line, how we use it to convey information, and how to vary lines to increase clarity and beauty in drawings. Outcome 2: Students will learn and work through a series of exercises to help them build muscle memory and improve their hand-eye coordination. Outcome 3: Analyze and discuss drawings by exemplar artists: Nicolai Fechin, Leonardo da Vinci Science Standard Standard WILD.2.1 Obtain, evaluate, and communicate information about organisms by using classification tools to identify and study them based on physical structures and characteristics. Art Standard Standard L2.V.CR.3 Demonstrate acquisition of skills and knowledge in a chosen art from through experimentation, practice, and persistence. Rationale Like sports or playing a musical instrument, drawing is a physical activity. This lesson focuses on helping students understand the physical process of creating a drawing and provides them with activities to improve their ability to make a variety of marks with confidence. Additionally, using marks intentionally to communicate ideas is an essential skill in scientific drawing. This lesson teaches skills to not only create a variety of lines, but to know how to use them to communicate ideas. (Genge, 2020, Sections 2.4-2.5) Review of Past Lessons As this lesson is the first in the series, in place of a review, I will introduce the Tripartite Model of Drawing and the Drawing with the Hand, Eye, Mind, and Heart curriculum. Activities • Activity 1: Display a picture of a subject appropriate for the class (birds for • ornithology, rock formations for geology, etc...). Have students sketch for 5 Minutes. Time Required: 5 minutes • Activity 2: Discussion about what drawing is, why we use lines, the value of • drawing over photography. Time Required: 8 minutes • Activity 3: Analyze Lines in da Vinci Drawing • Time Required: 5 minutes • Activity 4: Introduce Drawing workouts • Time Required: 5 minutes • Activity 5: Final Activity Revise original drawing with better line quality. • Time Required: 25 minutes • Activity 6: Group critique and review of learning objectives. • Time Required: 10 minutes Additional Activities These additional activities will extend learning beyond the classroom and provide varied approaches to reinforce and explore the lesson's concepts. Activity 1: Blind Contour Drawing Time Required: N/A Activity 2: Semi-Blind Contour Drawing Time Required: N/A Materials Pencils Drawing Paper Photocopies of reference photos (if no projector available) Notebook for taking notes and participating in activities. References Canfield, M. R. (Ed.). (2011). Field notes on science & nature. Harvard University Press. christinenguyen04. (n.d.). Cadaver shoulder diagram [Diagram]. Quizlet. https://quizlet.com/336752475/cadaver-shoulder-diagram/ da Vinci, L. (c. 1489). The cranium sectioned [Drawing]. Royal Collection Trust. https://www.rct.uk/collection/search#/15/collection/919058/recto-the-craniumsectioned-verso-the-skull-sectioned da Vinci, L. (c. 1489–1490). Studies of proportions of face and eye (with notes) [Drawing]. Meisterdrucke. https://www.meisterdrucke.uk/fine-art-prints/Leonardo-daVinci/642231/Studies-of-proportions-of-face-and-eye-%28with-notes%29,-c.-148990.html da Vinci, L. (c. 1504). Two studies of a helmet with a face-shaped visor [Drawing]. Royal Collection Trust. https://www.rct.uk/collection/912590/two-studies-of-a-helmetwith-a-face-shaped-visor da Vinci, L. (c. 1510). The muscles of the shoulder [Drawing]. Art History Project. https://www.arthistoryproject.com/artists/leonardo-da-vinci/the-muscles-of-theshoulder/ da Vinci, L. (c. 1510–1511). The bones of the hand (verso) [Drawing]. Wikimedia Commons. https://commons.wikimedia.org/wiki/File:Leonardo_da_Vinci__RCIN_919009,_Verso_The_bones_of_the_hand_c.1510-11.jpg da Vinci, L. (c. 1511–1513). The heart and coronary vessels (verso) [Drawing]. Wikimedia Commons. https://commons.wikimedia.org/wiki/File:Leonardo_da_Vinci__RCIN_919073,_Verso_The_heart_and_coronary_vessels_c.1511-13.jpg Genge, M. J. (2020). Geological field sketches and illustrations: A practical guide. Oxford University Press. Jacobs, T. S. (1991). Drawing with an open mind. Watson-Guptill. Nicolaides, K. (2013). The natural way to draw. Read Books Ltd. (Original work published 1941) Robertson, S., & Bertling, T. (2013). How to draw: Drawing and sketching objects and environments from your imagination. Design Studio Press. Tuluzakova, G. P. (2007). Drawings of Nicolai Fechin. Fechin Art Reproductions. Utah State Board of Education. (2016). Utah core state standards for the fine arts. https://schools.utah.gov/curr/finearts Utah State Board of Education. (2023). Utah science with engineering education (SEEd) standards. https://schools.utah.gov/curr/science Drawing with the Eye Learning Outcomes • • • Outcome 1: Students will learn about how what we know and what we think we see are not always what we are actually observing. Outcome 2: Students will learn about and practice 2 different strategies for creating observational drawings. Gesture drawings and measured drawings. Outcome 3: Students will further develop their understanding of observational drawing by looking at and contrasting two images by Rembrandt van Rijn. Science Standard HUMA.1.1 Develop and use models to demonstrate the orientation of anatomical structures and regions of the human body. Emphasize how size, orientation, and location within the human body supports the function of the anatomical structures. Art Standard L2.V.CO.1 Utilize inquiry methods of observation, research, and experimentation to explore unfamiliar subjects through art-making. Rationale One of the challenges that drawing students face is referred to as “top-down interference.” This phenomenon occurs when a student reverts to a symbolic representation of a subject as opposed to accurately observing visual phenomena. For example, when children draw faces the features are represented with symbols as opposed to accurately observed shapes like a circle for eyes and a curved line for a mouth. The purpose of this lesson is to give students proven strategies to overcome top-down interference and focus on what they are actually seeing. Review of Past Lessons At the beginning of this lesson, we will review the concept of line quality from the last lesson and combine it with a gesture drawing activity to introduce this lesson’s topic. Activities Description • Activity 1: Review the concepts introduced during the last lesson. • Time Required: 3 minutes • Activity 2: Introduce observational drawing and look at two types of observational • drawing with examples from the work of Rembrandt van Rijn. This will be followed by a drawing activity. Time Required: 10 minutes • Activity 3: Analyze the knowledge contained in a highly symbolic drawing created • by a kindergarten aged child. Time Required: 5 minutes • Activity 4: cup of water drawing activity. • Time Required: 8 minutes • Activity 5: Presentation about the difference between our visual brain and our • symbolic brain followed by teaching of three strategies to help students observe sizes, angles, and positions when drawing. Time Required: 10 minutes • Activity 6: Students will select one of the three proposed strategies to use while creating a drawing. Teacher will provide individual feedback as student work • Activity 7: Students will review outcomes and reflect on their success Time Required: 3 minutes Materials • • • Pencils Paper Grid worksheet Additional Activities To further develop their observational skills, students can do additional drawings using their choice of the three strategies discussed during the lesson (also included below.) Activity 1: Try drawing from and inverted reference image. Time Required: 30-60 minutes Activity 2: Try drawing using the grid method. Time Required: 30-60 minutes Activity 3: Try drawing using your pencil as a measuring tool as well as a drawing tool. Time Required: 30-60 minutes References Aristides, J. (2011). Lessons in classical drawing: Essential techniques from inside the atelier. Random House. da Vinci, L. (c. 1489). The cranium sectioned [Drawing]. Royal Collection Trust. https://www.rct.uk/collection/search#/15/collection/919058/recto-the-craniumsectioned-verso-the-skull-sectioned da Vinci, L. (c. 1489–1490). Studies of proportions of face and eye (with notes) [Drawing]. Meisterdrucke. https://www.meisterdrucke.uk/fine-art-prints/Leonardo-daVinci/642231/Studies-of-proportions-of-face-and-eye-%28with-notes%29,-c.-148990.html da Vinci, L. (c. 1510–1511). The bones of the hand (verso) [Drawing]. Wikimedia Commons. https://commons.wikimedia.org/wiki/File:Leonardo_da_Vinci__RCIN_919009,_Verso_The_bones_of_the_hand_c.1510-11.jpg da Vinci, L. (c. 1511–1513). The heart and coronary vessels (verso) [Drawing]. Wikimedia Commons. https://commons.wikimedia.org/wiki/File:Leonardo_da_Vinci__RCIN_919073,_Verso_The_heart_and_coronary_vessels_c.1511-13.jpg Edwards, B. (2012). Drawing on the right side of the brain: The definitive, 4th edition. TarcherPerigee. Goldstein, N. (1977). The art of responsive drawing. Prentice-Hall. Nicolaides, K. (2013). The natural way to draw. Read Books Ltd. (Original work published 1941) OpenAI. (2024). [Brain character] [AI-generated illustration]. ChatGPT. https://chat.openai.com/ OpenAI. (2024). [Brain character versus eye character] [AI-generated illustration]. ChatGPT. https://chat.openai.com/ OpenAI. (2024). [Eye character] [AI-generated illustration]. ChatGPT. https://chat.openai.com/ Purcell, C. (2010). Your artist's brain: Use the right side of your brain to draw and paint what you see – not what you think you see. North Light Books. Rembrandt. (1632). The anatomy lesson of Dr. Nicolaes Tulp [Painting]. Wikipedia. https://en.wikipedia.org/wiki/File:Rembrandt__The_Anatomy_Lesson_of_Dr_Nicolaes_Tulp.jpg Rembrandt. (c. 1654). A young woman sleeping [Painting]. Wikimedia Commons. https://commons.wikimedia.org/wiki/File:Rembrandt,_Hendrickje_schlafend.jpg Rembrandt. (1659). Self-portrait with beret and turned-up collar [Painting]. Wikimedia Commons. https://commons.wikimedia.org/wiki/File:Rembrandt_-_Self-Portrait__Google_Art_Project.jpg Speed, H. (1917). The practice and science of drawing (Reprint ed.). Dover Publications. (Original work published 1917) Utah State Board of Education. (2016). Utah core state standards for the fine arts. https://schools.utah.gov/curr/finearts Utah State Board of Education. (2023). Utah science with engineering education (SEEd) standards. https://schools.utah.gov/curr/science Wikipedia contributors. (n.d.). *Rembrandt*. Wikipedia. https://en.wikipedia.org/wiki/Rembrandt Drawing with the Mind Learning Outcomes • • • Outcome 1: Students will learn how to create the illusion of form in their drawings using light logic, value, and appropriate edges. Outcome 2: Student will learn to recognize different lighting situations. Outcome 3: Students will learn about and analyze work by Galileo Galilea. Science Standard ASTR.1.1 Develop and use models to evaluate the relationship between the relative positions of the Earth, Sun, and Moon and the phenomena caused by the relationship as observed from Earth. Art Standard L3.V.CO.1: Synthesize knowledge of social, cultural, historical, and personal life with art-making approaches to create meaningful works of art or design. Rationale Understanding how light reveals the world through the sense of sight can help students to create the illusion of form in their drawings. While a very observant artist might be able to record the effects of light in their drawings, knowing what to look for and how to depict the different parts of light in drawing empowers art students to make more knowledgeable and believable representations of their subject. Review of Past Lessons In the last lesson we talked about how to focus on visual information rather than symbolic knowledge in order to better draw what we see. In this lesson we will talk about times when it is helpful to rely on knowledge to empower our drawing. In the first lesson we talked about how artists use line. In the second lesson we talked about how to transform three dimensional objects into two-dimensional shapes. Today we will talk about creating the illusion of three-dimensional forms. Activities Description • Activity 1: Introduce the concept of how visual art is dependent on light. Brief • thought experiment followed by a drawing of a primitive geometric form from imagination. Time Required: 8 minutes • Activity 2: Presentation on concepts of Value, Edges, and Parts of Light. • Time Required: 10 minutes • Activity 3: Introduction and discussion on exemplar artist: Galileo and his • observational drawings of the moon. Time Required: 5 Minutes. • Activity 4: Discussion and examples of different lighting conditions students may • encounter when drawing and the benefits and limitations of each. Time Required: 8 minutes. • Activity 5: Drawing Activity. Reminder of how to block in a drawing using Size, • Angle, and Position. Create a drawing focused on creating the illusion of form. Individual demonstrations and critiques as needed. Time Required: 30 minutes. • Activity 6: Review learning objectives and introduce homework for lesson 4. • Time Required: 3 minutes. Materials • • Paper Pencils Homework Activities With this lesson students will have a homework assignment in order to prepare for the final lesson in the series, Drawing with the Heart. Homework assignment 1: Select a class appropriate subject to draw next class. Time Required: N/A Homework assignment 2: Research and have a couple of ideas in mind that the student could share about the subject beyond what it looks like. For example, a student could pick an animal and share about its role within its ecosystem. Time Required: N/A Homework Assignment 3: During the research phase, students should create a folder of image files related to their topic. Time Required: N/A References Aristides, J. (2011). Lessons in classical drawing: Essential techniques from inside the atelier. Random House. da Vinci, L. (c. 1489). The cranium sectioned [Drawing]. Royal Collection Trust. https://www.rct.uk/collection/search#/15/collection/919058/recto-the-craniumsectioned-verso-the-skull-sectioned da Vinci, L. (c. 1489–1490). Studies of proportions of face and eye (with notes) [Drawing]. Meisterdrucke. https://www.meisterdrucke.uk/fine-art-prints/Leonardo-daVinci/642231/Studies-of-proportions-of-face-and-eye-%28with-notes%29,-c.-148990.html da Vinci, L. (c. 1510–1511). The bones of the hand (verso) [Drawing]. Wikimedia Commons. https://commons.wikimedia.org/wiki/File:Leonardo_da_Vinci__RCIN_919009,_Verso_The_bones_of_the_hand_c.1510-11.jpg da Vinci, L. (c. 1511–1513). The heart and coronary vessels (verso) [Drawing]. Wikimedia Commons. https://commons.wikimedia.org/wiki/File:Leonardo_da_Vinci__RCIN_919073,_Verso_The_heart_and_coronary_vessels_c.1511-13.jpg Galilei, G. (1609). Drawings of the Moon [Drawing]. NASA. https://science.nasa.gov/imagedetail/galileo-moon-3/ GeoArtRef. (n.d.). Primitive shapes pack 1 [Reference photos]. Cubebrush. https://cubebrush.co/geoartref Goldstein, N. (1977). The art of responsive drawing. Prentice-Hall. Sustermans, J. (n.d.). Galileo Galilei (1564–1642) [Portrait]. Wikimedia Commons. https://en.wikipedia.org/w/index.php?title=File:Galileo_Galilei_(15641642)_RMG_BHC2700.tiff&page=1 Wikipedia contributors. (n.d.). Galileo Galilei. Wikipedia. https://en.wikipedia.org/wiki/Galileo_Galilei Appendix B: Lesson Presentations DRAWING WITH THE HAND, EYE, MIND, & HEART A CURRICULUM PROJECT BY MIKE CALL GOALS OF THESE LESSONS Draw to Learn THE VALUE OF DRAWING IN EDUCATION TRIPARTITE PURPOSES OF DRAWING Drawing to Observe Drawing to Understand Drawing to Communicate DRAWING FOR OBSERVATION AND PERCEPTION DRAWING FOR UNDERSTANDING AND METACOGNITION DRAWING FOR EXPRESSION AND COMMUNICATION DRAWING WITH THE HAND Learning Outcomes • Outcome 1: In this lesson students will learn about the element of line, how we use it to convey information, and how to vary lines to increase clarity and beauty in drawings. • Outcome 2: Students will learn and work through a series of exercises to help them build muscle memory and improve their hand-eye coordination. • Outcome 3: Analyze and discuss drawings by exemplar artist: Leonardo da Vinci LET’S DRAW • 5 minute drawing project DEFINE THE WORD DRAW DRAWING • To pull or drag • “Drawing is the relic of movement.” Ted Seth Jacobs ENGLISH VS. ITALIAN • Disegno, from the Italian word for drawing or design, carries a more complex meaning in art, involving both the ability to make the drawing and the intellectual capacity to invent the design. LEONARDO DA VINCI • Italian Renaissance Artist • 1452-1519 DRAWING VS. PHOTOGRAPHY LINE IS A POWERFUL DRAWING TOOL • Look at the image. • Select a single line. • What words could you use to describe it? • What is that line communicating? • How many other lines can you identify? • What other jobs are lines doing in this drawing? QUALITIES OF LINE • Thin to Thick • Light to Dark • Hard to Soft OTHER QUALITIES OF LINE • Character: Straight or Curved • Direction:Vertical, Horizontal, Diagonal. LINES CAN….. • Denote the edges of shapes, planes, and forms • Create a sense of volume, perspective, light and shadow, and space • Describe texture • Emphasis important parts of the drawing • Direct the viewer’s eye • Express emotion • Try gripping the pencil in different ways • Vary pressure SUGGESTIONS FOR VARYING LINE QUALITY • Use wrist, elbow, and shoulder when drawing, not just fingers. • Posture • Drawing tools. LINE WORKOUTS • Draw straight parallel lines- Fill a page with lines starting with shorter and moving up to longer lines until they are the length of the page. (practice different line qualities, light, dark, thick, thin, hard, soft) • Point to Point Exercise- Draw a series of points and practicing connecting them with straight lines. • Draw through a center point- put a point on the page and practice drawing lines through that point to create a “starburst.” • Draw curves through multiple points- Put a series of dots on a page and draw a smooth curving line that passes through each dot. LET'S GO BACK TO THE DRAWING FROM THE BEGINNING OF CLASS • Quickly finish laying in the drawing (we are not overly concerned with accuracy and proportions today.) • Identify what you want to emphasize and bring forward • How can you adjust/use line quality to complete your drawing with clear and descriptive lines? DRAWING WITH THE HAND Learning Outcomes • Outcome 1: In this lesson students will learn about the element of line, how we use it to convey information, and how to vary lines to increase clarity and beauty in drawings. • Outcome 2: Students will learn and work through a series of exercises to help them build muscle memory and improve their hand-eye coordination. • Outcome 3: Analyze and discuss drawings by exemplar artist: Leonardo da Vinci ADDITIONAL RESOURCES AND ACTIVITIES BLIND CONTOUR (THREE RULES/SUGGESTIONS) • Imagine your eyes are the tip of the pencil, reaching out and tracing your subject.Your hand and eye must move and draw together. Your eye traces around the subject while your hand moves the pencil on the paper.You cannot look at your drawing because your eyes are busy tracing your subject. (That’s why it’s called blind contour.) • You are going to draw with one continuous line. Once the pencil touches the paper, you don’t pick it up until you are finished. • Set a time limit and draw for the full time. (3-5 minutes) SEMI-BLIND CONTOUR • Imagine your eyes are the tip of the pencil, reaching out and tracing your subject.Your hand and eye must move and draw together. Your eye traces around the subject while your hand moves the pencil on the paper.You cannot look at your drawing because your eyes are busy tracing your subject. (That’s why it’s called blind contour.) • This time you can pause and check your drawing. If needed, you can pick up and reposition your pencil. Then look back at your subject and continue drawing. • You are not allowed to work on the drawing while you are looking at it. REFERENCES Canfield, M. R. (Ed.). (2011). Field notes on science & nature. Harvard University Press. christinenguyen04. (n.d.). Cadaver shoulder diagram [Diagram]. Quizlet. https://quizlet.com/336752475/cadaver-shoulder-diagram/ da Vinci, L. (c. 1489). The cranium sectioned [Drawing]. Royal Collection Trust. https://www.rct.uk/collection/search#/15/collection/919058/recto-the-cranium-sectioned-verso-the-skullsectioned da Vinci, L. (c. 1489–1490). Studies of proportions of face and eye (with notes) [Drawing]. Meisterdrucke. https://www.meisterdrucke.uk/fine-art-prints/Leonardo-da-Vinci/642231/Studies-ofproportions-of-face-and-eye-%28with-notes%29,-c.-1489-90.html da Vinci, L. (c. 1504). Two studies of a helmet with a face-shaped visor [Drawing]. Royal Collection Trust. https://www.rct.uk/collection/912590/two-studies-of-a-helmet-with-a-face-shapedvisor da Vinci, L. (c. 1510). The muscles of the shoulder [Drawing]. Art History Project. https://www.arthistoryproject.com/artists/leonardo-da-vinci/the-muscles-of-the-shoulder/ da Vinci, L. (c. 1510–1511). The bones of the hand (verso) [Drawing]. Wikimedia Commons. https://commons.wikimedia.org/wiki/File:Leonardo_da_Vinci__RCIN_919009,_Verso_The_bones_of_the_hand_c.1510-11.jpg da Vinci, L. (c. 1511–1513). The heart and coronary vessels (verso) [Drawing]. Wikimedia Commons. https://commons.wikimedia.org/wiki/File:Leonardo_da_Vinci__RCIN_919073,_Verso_The_heart_and_coronary_vessels_c.1511-13.jpg REFERENCES Genge, M. J. (2020). Geological field sketches and illustrations: A practical guide. Oxford University Press. Jacobs, T. S. (1991). Drawing with an open mind. Watson-Guptill. Nicolaides, K. (2013). The natural way to draw. Read Books Ltd. (Original work published 1941) Robertson, S., & Bertling, T. (2013). How to draw: Drawing and sketching objects and environments from your imagination. Design Studio Press. Tuluzakova, G. P. (2007). Drawings of Nicolai Fechin. Fechin Art Reproductions. Utah State Board of Education. (2016). Utah core state standards for the fine arts. https://schools.utah.gov/curr/finearts Utah State Board of Education. (2023). Utah science with engineering education (SEEd) standards. https://schools.utah.gov/curr/science DRAWING WITH THE HAND, EYE, MIND, & HEART A CURRICULUM PROJECT BY MIKE CALL TRIPARTITE MODEL OF DRAWING Drawing to Observe Drawing to Communicate Drawing to Understand DRAWING FOR OBSERVATION AND PERCEPTION DRAWING FOR EXPRESSION AND COMMUNICATION DRAWING FOR UNDERSTANDING AND METACOGNITION DRAWING WITH THE EYE Learning Outcomes • Outcome 1: Students will learn about how what we know and what we think we see are not always what we are actually observing. • Outcome 2: Students will learn about and practice 2 different strategies for creating observational drawings. Gesture drawings and measured drawings. • Outcome 3: Students will further develop their understanding of observational drawing by looking at and contrasting two images by Rembrandt van Rijn. TWO TYPES OF OBSERVATIONAL DRAWING Gesture Drawing Measured Drawing • Capture the feeling of movement • Creating an accurate depiction of the subject. • Looking for hidden connections between all the parts of the subject. • Fast and energetic • Looking for the correct relationships between the observed features of the subject • Slow and careful MENTOR ARTIST: REMBRANDT HARMENSZOON VAN RIJN • 1606-1669 • Dutch Golden Age Painter GESTURE DRAWING VS. MEASURED DRAWING DRAWING ACTIVITY • Review of concepts discussed in drawing with the hand lesson. • Introduce the idea of gesture drawing vs measured drawing. • Provide an appropriate image and have students draw for 3-5 minutes LET’S TALK ABOUT DRAWING • What do you notice? • What is this drawing about? • What knowledge does the artist have about the subject? LET’S TRY A QUICK ACTIVITY. • Take a minute or two and draw a glass of water. WE HAVE TWO BRAINS (THIS IS A GROSS OVERSIMPLIFICATION, I KNOW….) INTELLECTUAL/ SYMBOLIC BRAIN • Mostly conscious • Priortitizes • Simplifies • Stores data ARTIST/VISUAL BRAIN • Mostly Subconscious • Sees everything • Scans the environment SIZE ANGLE POSITION STRATEGIES TO HELP WITH USING VISUAL BRAIN 1 Turn your reference upside down 2 Use a grid 3 Use your pencil UPSIDE DOWN IMAGE DRAWING WITH A GRID MEASURE WITH YOUR PENCIL PICK ONE OF THE THREE STRATEGIES PROPOSED AND LET'S DRAW • Upside down reference • Grid method • Measure with your pencil DRAWING TIPS 1 2 3 Work big to small Work fast to slow Work light to dark DRAWING WITH THE EYE Learning Outcomes • Outcome 1: Students will learn about how what we know and what we think we see are not always what we are actually observing. • Outcome 2: Students will learn about and practice 2 different strategies for creating observational drawings. Gesture drawings and measured drawings. • Outcome 3: Students will further develop their understanding of observational drawing by looking at and contrasting two images by Rembrandt van Rijn. REFERENCES References Aristides, J. (2011). Lessons in classical drawing: Essential techniques from inside the atelier. Random House. da Vinci, L. (c. 1489). The cranium sectioned [Drawing]. Royal Collection Trust. https://www.rct.uk/collection/search#/15/collection/919058/recto-the-cranium-sectionedverso-the-skull-sectioned da Vinci, L. (c. 1489–1490). Studies of proportions of face and eye (with notes) [Drawing]. Meisterdrucke. https://www.meisterdrucke.uk/fine-art-prints/Leonardo-daVinci/642231/Studies-of-proportions-of-face-and-eye-%28with-notes%29,-c.-1489-90.html da Vinci, L. (c. 1510–1511). The bones of the hand (verso) [Drawing]. Wikimedia Commons. https://commons.wikimedia.org/wiki/File:Leonardo_da_Vinci__RCIN_919009,_Verso_The_bones_of_the_hand_c.1510-11.jpg da Vinci, L. (c. 1511–1513). The heart and coronary vessels (verso) [Drawing]. Wikimedia Commons. https://commons.wikimedia.org/wiki/File:Leonardo_da_Vinci__RCIN_919073,_Verso_The_heart_and_coronary_vessels_c.1511-13.jpg Edwards, B. (2012). Drawing on the right side of the brain: The definitive, 4th edition. TarcherPerigee. Goldstein, N. (1977). The art of responsive drawing. Prentice-Hall. REFERENCES (CONTINUED) Nicolaides, K. (2013). The natural way to draw. Read Books Ltd. (Original work published 1941) OpenAI. (2024). [Brain character] [AI-generated illustration]. ChatGPT. https://chat.openai.com/ OpenAI. (2024). [Brain character versus eye character] [AI-generated illustration]. ChatGPT. https://chat.openai.com/ OpenAI. (2024). [Eye character] [AI-generated illustration]. ChatGPT. https://chat.openai.com/ Purcell, C. (2010). Your artist's brain: Use the right side of your brain to draw and paint what you see – not what you think you see. North Light Books. Rembrandt. (1632). The anatomy lesson of Dr. Nicolaes Tulp [Painting]. Wikipedia. https://en.wikipedia.org/wiki/File:Rembrandt_-_The_Anatomy_Lesson_of_Dr_Nicolaes_Tulp.jpg Rembrandt. (c. 1654). A young woman sleeping [Painting]. Wikimedia Commons. https://commons.wikimedia.org/wiki/File:Rembrandt,_Hendrickje_schlafend.jpg Rembrandt. (1659). Self-portrait with beret and turned-up collar [Painting]. Wikimedia Commons. https://commons.wikimedia.org/wiki/File:Rembrandt_-_Self-Portrait_-_Google_Art_Project.jpg Speed, H. (1917). The practice and science of drawing (Reprint ed.). Dover Publications. (Original work published 1917) Utah State Board of Education. (2016). Utah core state standards for the fine arts. https://schools.utah.gov/curr/finearts Utah State Board of Education. (2023). Utah science with engineering education (SEEd) standards. https://schools.utah.gov/curr/science Wikipedia contributors. (n.d.). *Rembrandt*. Wikipedia. https://en.wikipedia.org/wiki/Rembrandt DRAWING WITH THE HAND, EYE, MIND, & HEART A CURRICULUM PROJECT BY MIKE CALL TRIPARTITE MODEL OF DRAWING Drawing to Observe Drawing to Communicate Drawing to Understand DRAWING FOR OBSERVATION AND PERCEPTION DRAWING FOR EXPRESSION AND COMMUNICATION DRAWING FOR UNDERSTANDING AND METACOGNITION DRAWING WITH THE MIND Learning Outcomes • Outcome 1: Students will learn how to create the illusion of form in their drawings using light logic, value, and appropriate edges. • Outcome 2: Student will learn to recognize different lighting situations. • Outcome 3: Students will learn about and analyze work by Galileo Galilea. THINGS YOU CAN KNOW THAT WILL HELP YOUR DRAWINGS • Proportions • Anatomy • Perspective • Light Logic IMAGINE A WORLD WHERE….. • …there was no light. What would you see? Nothing …INTENSE LIGHT WAS EVERYWHERE. WHAT WOULD YOU SEE? IMAGINE A WORLD WHERE Also, Nothing FUNDAMENTAL IDEA: • We see because light travels from a source and is reflected off objects and into our eyes. DRAWING ACTIVITY • Imagine a primitive geometric form (cube, sphere, cylinder, cone, pyramid) • Imagine a light source • Now try to draw it. WHEN WE ARE TRYING TO CREATE THE ILLUSION OF FORM, WE HAVE TWO VISUAL TOOLS: Value Edges VALUE LIGHT TO DARK EDGES SOFT TO HARD PARTS OF LIGHT • Highlight • Halftone • Core • Reflected Light • Cast Shadow HIGHLIGHT • Direct Reflection of Light Source • Moves around as viewer moves • Harder on reflective surfaces, softer on dull surfaces. HALFTONE • All surfaces hit by direct light. • Harder or softer depending on form. CORE • Area on the form where object turns away from light into shadow • Harder or softer depending on form. REFLECTED LIGHT • Light that bounces off other surfaces and into shadow areas. • Never as bright as halftone! • Usually creates soft gradients. CAST SHADOW • Shadow created by shape of core on one object that blocks the light from hitting another object. • Usually harder edged, but tends to soften as distance between core and cast shadow increases. MENTOR ARTIST: GALILEO GALILEI • 1564-1642 • Italian Polymath MOON DRAWINGS DIFFERENT LIGHT SITUATIONS. • Front • Side • Rim • Ambient • Dappled FRONT LIGHTING SIDE LIGHTING RIM LIGHTING AMBIENT LIGHTING DAPPLED LIGHTING LET’S DRAW • Block-in same as last time-Size, Angle, Position • Look for Shadow Shapes • Remember value and edges. DRAWING WITH THE MIND Learning Outcomes • Outcome 1: Students will learn how to create the illusion of form in their drawings using light logic, value, and appropriate edges. • Outcome 2: Student will learn to recognize different lighting situations. • Outcome 3: Students will learn about and analyze work by Galileo Galilea. HOMEWORK FOR NEXT TIME… • Come prepared with a subject to draw that is appropriate for your class. • In this next drawing you will be communicating something beyond what your subject looks like. Consider what you would like to share about the subject. For example, in a biology class you might share information about how an animal interacts with its environment. In geology you might share about a process that formed your subject. • Put together a file of reference photos that will help you to create your final drawing. REFERENCES Aristides, J. (2011). Lessons in classical drawing: Essential techniques from inside the atelier. Random House. da Vinci, L. (c. 1489). The cranium sectioned [Drawing]. Royal Collection Trust. https://www.rct.uk/collection/search#/15/collection/919058/recto-the-cranium-sectionedverso-the-skull-sectioned da Vinci, L. (c. 1489–1490). Studies of proportions of face and eye (with notes) [Drawing]. Meisterdrucke. https://www.meisterdrucke.uk/fine-art-prints/Leonardo-daVinci/642231/Studies-of-proportions-of-face-and-eye-%28with-notes%29,-c.-1489-90.html da Vinci, L. (c. 1510–1511). The bones of the hand (verso) [Drawing]. Wikimedia Commons. https://commons.wikimedia.org/wiki/File:Leonardo_da_Vinci__RCIN_919009,_Verso_The_bones_of_the_hand_c.1510-11.jpg CONTINUED… da Vinci, L. (c. 1511–1513). The heart and coronary vessels (verso) [Drawing]. Wikimedia Commons. https://commons.wikimedia.org/wiki/File:Leonardo_da_Vinci__RCIN_919073,_Verso_The_heart_and_coronary_vessels_c.1511-13.jpg Galilei, G. (1609). Drawings of the Moon [Drawing]. NASA. https://science.nasa.gov/image-detail/galileo-moon-3/ GeoArtRef. (n.d.). Primitive shapes pack 1 [Reference photos]. Cubebrush. https://cubebrush.co/geoartref Goldstein, N. (1977). The art of responsive drawing. Prentice-Hall. Sustermans, J. (n.d.). Galileo Galilei (1564–1642) [Portrait]. Wikimedia Commons. https://en.wikipedia.org/w/index.php?title=File:Galileo_Galilei_(1564-1642)_RMG_BHC2700.tiff&page=1 Wikipedia contributors. (n.d.). Galileo Galilei. Wikipedia. https://en.wikipedia.org/wiki/Galileo_Galilei DRAWING WITH THE HAND, EYE, MIND, & HEART A CURRICULUM PROJECT BY MIKE CALL TRIPARTITE MODEL OF DRAWING Drawing to Observe Drawing to Communicate Drawing to Understand DRAWING FOR OBSERVATION AND PERCEPTION DRAWING FOR EXPRESSION AND COMMUNICATION DRAWING FOR UNDERSTANDING AND METACOGNITION YOUR HOMEWORK FROM LAST TIME • Have an idea about something that you want to share. • Have an idea of who your audience will be. • Gather reference material and resources. DRAWING WITH THE HEART Learning Outcomes • Outcome 1: Students will explore advantages that drawings can have over photography when communicating ideas. • Outcome 2: Students will learn how to craft clear ideas by considering the message they want to share and who their intended audience is. • Outcome 3: Students will learn about and analyze the work of exemplar artist, Maria Sibylla Merian. LETS REVIEW… • Draw • Draw what you see • Draw what you know DRAW WHAT YOU WANT TO SEE WHEN DRAWING TO COMMUNICATE YOU NEED TO….. Have an idea you want to share Have an idea with whom you want to share it EXEMPLAR ARTIST: MARIA SIBYLLA MERIAN • 1647-1717 • German entomologist, naturalist, scientific illustrator OTHER ART BY MARIA SIBYLLA MERIAN WHAT IS THE IDEA? WHO IS THE AUDIENCE? KNOW YOUR AUDIENCE • Abilities • Preferences • Experiences • Needs and Wants • Where will they see your image? Online, Book, poster, etc… KNOW YOUR MESSAGE “Finding your message is about confirming and prioritizing simple objectives for your explanation…. It often helps to jot down a simple message statement before sketching your explanation.” (Baskinger & Bardel, p. 180, 2013) WHAT GRAPHIC STRUCTURE WOULD HELP CONVEY YOUR MESSAGE? • Portray difficult to photograph or rarely witnessed events • Cut away views • Exploded views • Transparent views • Emphasize a priority • Time travel • Clarify and simplify distracting details IDEATION • Create a series of thumbnail sketches trying different approaches. (no judgement) • Consider which options well best fit your goals. TIME TO DRAW Once you have an idea of what you want to draw, we will use the remaining time to work on your final illustrations. DRAWING WITH THE HEART Learning Outcomes • Outcome 1: Students will explore advantages that drawings can have over photography when communicating ideas. • Outcome 2: Students will learn how to craft clear ideas by considering the message they want to share and who their intended audience is. • Outcome 3: Students will learn about and analyze the work of exemplar artist, Maria Sibylla Merian. JOBS IN SCIENCE AND THE ARTS • Wildlife or Botanical Illustrator • Science Animator • Technical Illustrator • Biomedical Device Designer • Medical or Scientific Illustrator • Forensic Artist • Cartographer REFERENCES Baskinger, M., & Bardel, W. (2016). Drawing ideas: A hand-drawn approach for better design. Watson-Guptill. Canfield, M. R. (Ed.). (2011). Field notes on science & nature. Harvard University Press. da Vinci, L. (c. 1489). The cranium sectioned [Drawing]. Royal Collection Trust. https://www.rct.uk/collection/search#/15/collection/919058/rectothe-cranium-sectioned-verso-the-skull-sectioned da Vinci, L. (c. 1489–1490). Studies of proportions of face and eye (with notes) [Drawing]. Meisterdrucke. https://www.meisterdrucke.uk/fine-artprints/Leonardo-da-Vinci/642231/Studies-of-proportions-of-face-and-eye-%28with-notes%29,-c.-1489-90.html da Vinci, L. (c. 1510–1511). The bones of the hand (verso) [Drawing]. Wikimedia Commons. https://commons.wikimedia.org/wiki/File:Leonardo_da_Vinci__RCIN_919009,_Verso_The_bones_of_the_hand_c.1510-11.jpg da Vinci, L. (c. 1511–1513). The heart and coronary vessels (verso) [Drawing]. Wikimedia Commons. https://commons.wikimedia.org/wiki/File:Leonardo_da_Vinci_-_RCIN_919073,_Verso_The_heart_and_coronary_vessels_c.1511-13.jpg Depositphotos. (n.d.). Shield volcano [Illustration]. https://depositphotos.com/illustrations/shield-volcano.html?qview=537958958 REFERENCES CONTINUED… Getty Museum. (2023, August 15). Maria Sibylla Merian's metamorphosis of a small emperor moth on a damson plum [Video]. YouTube. https://www.youtube.com/watch?v=GhII_vAZ4xg Kinsella, E. [@edwardkinsella]. (2023, March 14). [Sketchbook thumbnails and handwritten notes exploring visual elements and composition for illustration concepts] [Instagram post]. Instagram. https://www.instagram.com/p/Cpn3-lBjnYg/ Krosovskiy, S. (n.d.). Volcanic eruption destroys the hunting grounds of tyrannosaurus rex [Illustration]. Getty Images. https://www.gettyimages.com/detail/illustration/volcanic-eruption-destroys-the-hunting-royalty-free-illustration/495836425 Marrel, J. (1697). Portrait of a woman called Maria Sibylla Merian [Painting]. Wikimedia Commons. https://commons.wikimedia.org/wiki/File:Bildnis_der_Maria_Sibylla_Merian,_1679.jpg Merian, M. S. (1679). The caterpillars' marvelous transformation and strange floral food [Illustration of Calliteara fascellina and Taraxacum] [Illustration]. Wikimedia Commons. https://en.wikipedia.org/wiki/File:Danedlion_Maria_Sibylla_Merian.png Wikipedia contributors. (n.d.). Maria Sibylla Merian. Wikipedia. https://en.wikipedia.org/wiki/Maria_Sibylla_Merian Appendix C: Feedback Survey Drawing with the Hand, Eye, Mind, and Heart Curriculum Project Feedback Survey Thank you for taking the time to review my curriculum project. As an art teacher creating drawing lessons for science students, I highly value your perspective as science educators. Your insights are crucial to ensuring the curriculum is both engaging and effective for students in your field. Please share your thoughts by answering the questions below. 1. What, if anything, did you find in my curriculum that you feel would be useful to your students in understanding your curriculum? Enter your answer 2. How likely would you be to use all or part of this curriculum in your classes? Very likely Statement 1 Somewhat likely Neither likely nor unlikely Somewhat unlikely 3. What changes would you recommend to make the curriculum more useful to your students? Enter your answer 4. Which science standards do you think could be met with a project that involves drawing? Enter your answer 5. Please share your experience(s) with using drawing activities as a part of your teaching. Enter your answer 6. If you’ve incorporated drawing activities into your teaching, could you please elaborate on the academic goals behind using them? For example, are they meant to enhance student engagement, support the acquisition of new content, aid in assessment, or serve another purpose? Enter your answer 7. Did you watch the video of me teaching lesson one? Yes No This content is created by the owner of the form. The data you submit will be sent to the form owner. Microsoft is not responsible for the privacy or security practices of its customers, including those of this form owner. Never give out your password. 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