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By applying philosophical and historical perspectives to drawing instruction, this volume demonstrates how diverse teaching methods contribute to cognitive and holistic development applicable within and beyond the visual arts. Offering a new perspective on the art and science of drawing, this text reveals the often-unrecognized benefits that drawing can have on the human mind, and thus argues for the importance of drawing instruction despite, and even due to contemporary digitalization. Given the predominance of visual information and digital media, visual thinking in and through drawing may be an essential skill for the future. As such, the book counters recent declines in drawing instruction to propose five Paradigms for teaching drawing – as design, as seeing, as experience and experiment, as expression, and as a visual language – with exemplary curricula for pre-K12 art and general education, pre-professional programs across the visual arts, and continuing education. With the aid of instructional examples, this volume dispels the misconception of drawing as a talent reserved for the artistically gifted and posits it as a teachable skill that can be learned by all. This text will be of primary interest to researchers, scholars, and doctoral students with interests in drawing theory and practice, cognition in the arts, positive psychology, creativity theory, as well as the philosophy and history of arts education. Aligning with contemporary trends such as Design Thinking, STEAM, and Graphicacy, the text will also have appeal to visual arts educators at all levels, and other educators involved in arts integration.
"By applying philosophical perspectives to drawing instruction, this volume demonstrates how diverse teaching methods contribute to cognitive and holistic development applicable within and beyond the visual arts. This book offers a new perspective on the art of drawing to reveal its often-unrecognized impact on the human mind. Focusing on this emphasis, the book argues for the importance of the skill of drawing despite our contemporary age of digitalization. The book counters recent declines in drawing instruction to propose five Paradigms for teaching drawing - as design, as seeing, as experience and experiment, as expression, and as a visual language - with exemplary curricula for pre-K12 art and general education, pre-professional programs across the visual arts, and continuing education over the life-span. With the aid of instructional examples, this volume dispels the misconception of drawing as a talent reserved for the artistically gifted and posits it as a teachable skill that can be learned by all. Aligning with contemporary trends like Design Thinking, STEAM, and Graphicacy, this text will primarily be of interest to doctoral students, researchers, and scholars with an interest in drawing education, cognition, and research into visual arts education more broadly. Those interested in positive psychology and drawing theory, as well as creativity theory, will also benefit from the volume. Seymour Simmons is a Professor of Fine Arts at Winthrop University, USA"--
This collection of ideas and lesson plans will help classroom and homeschool teachers integrate art into their general curriculum. These inventive and effective methods use the visual arts to inspire creative writing and drama; explore math, music, science, and history; and cultivate critical thinking skills. Art instructors will learn strategies for incorporating other areas of study into the art classroom. Ranging from thought-provoking suggestions to concrete, hands-on lesson plans, these activities include an extensive resource list for classroom teachers without an art background.
Artist and teacher Liz Byron demonstrates how to design lessons and instruction in the visual arts using the inclusive principles of Universal Design for Learning (UDL). Readers learn to set meaningful goals, measure progress, customize instruction, and engage all learners across grades.
Offering a conceptual framework for teaching the visual arts (K-12 and higher education) from a cultural standpoint, the author discusses visual culture in a democracy.
"With Drawing: The Creative Process you learn both the mechanics of good drawing and the many ways of creative "seeing" that give form to your creative expression. Designed to let you learn by yourself and at your own pace, this book shows you how to choose and work with all types of materials - including charcoal, pencil, pen, and ink, pastels, and watercolors. The authors' step-by-step instructions show how to use these materials to create original landscapes, still lifes, and portraits, as well as figure and animal drawings. You also learn how to work with perspective, composition, and all the other elements that come together in a good drawing."--BOOK COVER.
2014 Outstanding Academic Title, Choice "What’s going on in this picture?" With this one question and a carefully chosen work of art, teachers can start their students down a path toward deeper learning and other skills now encouraged by the Common Core State Standards. The Visual Thinking Strategies (VTS) teaching method has been successfully implemented in schools, districts, and cultural institutions nationwide, including bilingual schools in California, West Orange Public Schools in New Jersey, and the San Francisco Museum of Modern Art. It provides for open-ended yet highly structured discussions of visual art, and significantly increases students’ critical thinking, language, and literacy skills along the way. Philip Yenawine, former education director of New York’s Museum of Modern Art and cocreator of the VTS curriculum, writes engagingly about his years of experience with elementary school students in the classroom. He reveals how VTS was developed and demonstrates how teachers are using art—as well as poems, primary documents, and other visual artifacts—to increase a variety of skills, including writing, listening, and speaking, across a range of subjects. The book shows how VTS can be easily and effectively integrated into elementary classroom lessons in just ten hours of a school year to create learner-centered environments where students at all levels are involved in rich, absorbing discussions.
The background to this book, first published in 1986, and its underlying concern lies with those aspects of education which relate to values. Amongst these, moral and social values are often thought of as central, and they are the title’s primary concerns. The study also deals with the value aspects and implications of the major areas of the sec
EDUCATION / Arts in Education