DrawingDrawing

Art Educator’s Guide toArt Educator’s Guide to

Why Draw? Who’s Victor Lowenfeld? Why Draw? Who’s Victor Lowenfeld? Who’s Betty Edwards? Who’s Betty Edwards?

"Why teach drawing to "Why teach drawing to accountants? Because drawing accountants? Because drawing class doesn't just teach people to class doesn't just teach people to draw. It teaches them to be more draw. It teaches them to be more observant. There's no company observant. There's no company on earth that wouldn't benefit on earth that wouldn't benefit from having people become more from having people become more observant." observant."

Randy S. Nelson (dean of Pixar Randy S. Nelson (dean of Pixar University)University)

Of all the art skills one Of all the art skills one might find useful to nurture might find useful to nurture and to develop in children, and to develop in children, drawing has always been drawing has always been the most important. In its the most important. In its simplest form, drawing simplest form, drawing consists of making a mark consists of making a mark or leaving a trail on a or leaving a trail on a surface. In this respect, surface. In this respect, drawing is a basic human drawing is a basic human activity rooted in our activity rooted in our collective psyche and collective psyche and history as a species here on history as a species here on earth. Some of the earliest earth. Some of the earliest evidence we have of this evidence we have of this type of human activity are type of human activity are the marks and symbols left the marks and symbols left by our forbearers on cave by our forbearers on cave walls, rock formations, walls, rock formations, tools, and eating utensils.tools, and eating utensils.

“ “Drawing is not Drawing is not just a medium or just a medium or a technique: it is a technique: it is a human activity a human activity with a rich and with a rich and complicated complicated history.”history.”

Tony GodfreyTony Godfrey

Child Age 3

Drawing with Crayon

As infants we begin to As infants we begin to draw before we learn draw before we learn to write. In fact, one to write. In fact, one could argue that could argue that writing is just a special writing is just a special form of drawing. form of drawing. Although we all Although we all experienced great joy experienced great joy and satisfaction when and satisfaction when we engaged in mark-we engaged in mark-making as youngsters, making as youngsters, for many of us the for many of us the psychological benefits psychological benefits of drawing soon of drawing soon dissipated as we dissipated as we learned that in our learned that in our culture drawings are culture drawings are suppose to look suppose to look 'realistic' and that 'realistic' and that those which don't are those which don't are viewed as little more viewed as little more than "scribbles."than "scribbles."

Drawing can serve as a Drawing can serve as a powerful means for powerful means for developing children's developing children's perception and thought; and, perception and thought; and, yet, few adults view drawing yet, few adults view drawing as a skill that can be as a skill that can be improved through practice improved through practice and instruction. Rather, and instruction. Rather, there is a common there is a common misconception that the misconception that the ability to draw is more a ability to draw is more a "gift" or a talent than it is a "gift" or a talent than it is a basic human necessity. basic human necessity. Moreover, since many adults Moreover, since many adults feel that they "can't draw" feel that they "can't draw" themselves, they don’t themselves, they don’t usually teach drawing to usually teach drawing to children. Given the lack of children. Given the lack of encouragement from adults encouragement from adults in this area, it is not in this area, it is not surprising that many surprising that many children stop drawing children stop drawing around the age of eight or around the age of eight or so.so.

These 4th graders filled pages of their sketchbooks with drawings of objects placed before them. Here the challenge was to draw animal skulls.

WHY IS IT IMPORTANT TO WHY IS IT IMPORTANT TO LEARN TO DRAW? LEARN TO DRAW?

Since drawing is so much a part of Since drawing is so much a part of creative work and creative idea creative work and creative idea development, our educational culture is development, our educational culture is short changing our creative potential. short changing our creative potential. Just as reading is important for survival in Just as reading is important for survival in our culture, drawing is important for our culture, drawing is important for creative idea development in our rapidly creative idea development in our rapidly changing times. Survival and success is changing times. Survival and success is being forfeited by our casual and being forfeited by our casual and accidental approach to teaching accidental approach to teaching observation drawing in our culture.observation drawing in our culture.

Japan is probably the only Japan is probably the only country with a universally country with a universally prescribed national art prescribed national art curriculum that requires curriculum that requires working from observation working from observation from a very young age from a very young age (grade one and (grade one and kindergarten). From what kindergarten). From what Japanese college students Japanese college students tell researchers in art tell researchers in art education, they spend about education, they spend about three times as much time three times as much time learning art during the first learning art during the first three grades in school as we three grades in school as we do the the US. Theirs is not a do the the US. Theirs is not a one-sided curriculum. They one-sided curriculum. They also have lessons and also have lessons and activities based on the activities based on the imagination and as well imagination and as well works produced from works produced from remembered experiences. All remembered experiences. All three sources of inspiration three sources of inspiration for art are learned. for art are learned.

A COMMON DRAWING A COMMON DRAWING MISTAKE OVERHEARDMISTAKE OVERHEARD

When children ask for help with When children ask for help with drawing, many adults are heard drawing, many adults are heard to say, "That's okay, I can't draw to say, "That's okay, I can't draw either." Yet what adult would either." Yet what adult would say? "That's okay, I can't read say? "That's okay, I can't read and write either." We need to and write either." We need to realize that, like other skills, if realize that, like other skills, if the skill of observation is not the skill of observation is not taught, only a few discover how taught, only a few discover how to learn it on their own. to learn it on their own.

How many would learn to read How many would learn to read and write if it were totally left up and write if it were totally left up to children's own discoveries? to children's own discoveries?

Children can begin practicing Children can begin practicing observation drawing very young. observation drawing very young. This is not to say observational This is not to say observational drawing needs to replace their drawing needs to replace their drawing from memory and drawing from memory and imagination. These are also useful imagination. These are also useful in developing parts of the brain in developing parts of the brain through regular vigorous practice through regular vigorous practice requiring memory and/or requiring memory and/or imagination. However, if young imagination. However, if young children are not helped with children are not helped with observational drawing, many observational drawing, many children mistakenly grow up children mistakenly grow up believing they can't draw because believing they can't draw because they lack talent. It is true that they they lack talent. It is true that they lack ability, and because no teacher lack ability, and because no teacher ever helped them develop, they ever helped them develop, they generally end up without talent. generally end up without talent. Talent needs nurture in order to Talent needs nurture in order to flower.flower.

► If they do not have observational drawing practice If they do not have observational drawing practice when they are young, most children at about third when they are young, most children at about third grade realize the inadequacy of their childlike images. grade realize the inadequacy of their childlike images. They inevitably see the work of a few peers who have They inevitably see the work of a few peers who have practiced more enlightened and careful observation. practiced more enlightened and careful observation.

► Some of these "self-taught" 'talents' have learned to Some of these "self-taught" 'talents' have learned to copy rather than to observe from real objects. For copy rather than to observe from real objects. For them, even though they can copy precociously, they them, even though they can copy precociously, they can find it very threatening to draw from actual objects can find it very threatening to draw from actual objects unless they are given sound observational methods. unless they are given sound observational methods. Often, because of their learned dependence on Often, because of their learned dependence on copying, they are totally unaware of methodology by copying, they are totally unaware of methodology by which to develop real observational skill. They too which to develop real observational skill. They too experience a crisis of confidence to the extent that experience a crisis of confidence to the extent that their lack of ability becomes a self-fulfilling inevitability.their lack of ability becomes a self-fulfilling inevitability.

► All teachers, whether they themselves were lucky All teachers, whether they themselves were lucky enough to develop their brains for observational enough to develop their brains for observational drawing, can teach drawing. Teachers should not show drawing, can teach drawing. Teachers should not show children how to draw by drawing for them. Teachers children how to draw by drawing for them. Teachers should not use "how to draw" books that prescribe should not use "how to draw" books that prescribe patterns and formulas for making various animals and patterns and formulas for making various animals and other objects. These methods perpetuate false ideas other objects. These methods perpetuate false ideas about the way drawing is learned. When you learn a about the way drawing is learned. When you learn a formula for drawing a fish, you haven't learned to allow formula for drawing a fish, you haven't learned to allow various fish to tell what they look like. You simply know various fish to tell what they look like. You simply know one fish symbol. While symbolic language may function one fish symbol. While symbolic language may function for basic communication, real observation and for basic communication, real observation and expression is so much more empowering and effective.expression is so much more empowering and effective.

► Teachers should, at times, Teachers should, at times, encourage children to examine encourage children to examine things closely, slowly, and things closely, slowly, and carefully, compare sizes, study carefully, compare sizes, study the slant of a line, and compare the slant of a line, and compare everything with everything else everything with everything else in the subject being observed. in the subject being observed. Not only the objects are Not only the objects are observed, but the spaces observed, but the spaces between objects must be between objects must be carefully compared in size and carefully compared in size and character with the each other character with the each other and the objects (art teachers call and the objects (art teachers call these the negative spaces). these the negative spaces). Drawing becomes a perfect way Drawing becomes a perfect way to record this data. Drawing to record this data. Drawing becomes the perfect way to becomes the perfect way to encourage this learning by encourage this learning by examination. A beneficial self examination. A beneficial self perpetuating circle of learning is perpetuating circle of learning is initiated. Observation makes initiated. Observation makes better drawing and drawing better drawing and drawing motivates better observation . . . motivates better observation . . . . practice happens.. practice happens.

► Children only learn to see when they are free to Children only learn to see when they are free to stop looking at their paper as a mistake. They have stop looking at their paper as a mistake. They have to observe and totally become the thing being to observe and totally become the thing being drawn. Generally, when they look at the paper, drawn. Generally, when they look at the paper, they obsess about getting it "right". Children often they obsess about getting it "right". Children often need help to learn that observational drawing is need help to learn that observational drawing is much different than drawing from memory and much different than drawing from memory and drawings from imagination. Observational drawing drawings from imagination. Observational drawing is based on external data. The data must be is based on external data. The data must be allowed to come from the subject. In other types of allowed to come from the subject. In other types of drawing, the data comes from within. When data drawing, the data comes from within. When data comes from within, the information emerging on comes from within, the information emerging on the paper can also be an important source of the paper can also be an important source of additional ideas for development. This is less true additional ideas for development. This is less true in observational drawing. in observational drawing.

► In observation drawing, once the student is has In observation drawing, once the student is has become liberated from the misconceptions of become liberated from the misconceptions of infantile schema and symbolic representations, the infantile schema and symbolic representations, the student can rationally compare the created work student can rationally compare the created work with the source (compare the drawing with the with the source (compare the drawing with the object observed). When the student begins to see object observed). When the student begins to see creative ideas in the work instead of only mistakes, creative ideas in the work instead of only mistakes, the student has been set forth on a path of self the student has been set forth on a path of self learning and fulfillment. learning and fulfillment.

Learning to draw is Learning to draw is multifaceted. multifaceted.

Not every drawing lesson should be slow Not every drawing lesson should be slow and deliberate observation. For good and deliberate observation. For good drawing instruction, at times teachers drawing instruction, at times teachers should encourage children to make fast and should encourage children to make fast and impulsive expressionistic markings impulsive expressionistic markings representing their gut feelings. While this is representing their gut feelings. While this is also from observation, it is a more also from observation, it is a more immediate way to observe a subject (often immediate way to observe a subject (often a live person posed in an action pose). a live person posed in an action pose). Marks are made to represent stimuli from Marks are made to represent stimuli from within their inner selves. Drawing teachers within their inner selves. Drawing teachers often do this by requiring that observed often do this by requiring that observed impressions are forcefully recorded in a impressions are forcefully recorded in a matter seconds. Many teachers encourage matter seconds. Many teachers encourage beginners to make quick "air drawings". beginners to make quick "air drawings". Practicing fast drawing in the air builds Practicing fast drawing in the air builds confidence. In this type of drawing confidence. In this type of drawing students are asked to start from the center students are asked to start from the center and rapidly move outward. This is the and rapidly move outward. This is the opposite of contour line drawing that opposite of contour line drawing that carefully outlines the edge. carefully outlines the edge.

Rembrandt and Kathy Kollwitz Rembrandt and Kathy Kollwitz were two artists who mastered were two artists who mastered both modes of working, often both modes of working, often including both within the same including both within the same artworks. Picasso said he could artworks. Picasso said he could draw like and artist when he was draw like and artist when he was a child and it took a lifetime to a child and it took a lifetime to learn to draw like a child. Both learn to draw like a child. Both their contour lines and their their contour lines and their gestural lines spoke volumes gestural lines spoke volumes about their abilities to observe about their abilities to observe and express both their outer and and express both their outer and inner worlds. inner worlds.

LOWENFELD'SLOWENFELD'SSTAGES OF ARTISTIC STAGES OF ARTISTIC

DEVELOPMENTDEVELOPMENT

► 1. SCRIBBLE1. SCRIBBLE(2 to 4 years)(2 to 4 years)

The Scribble stage is made up of four sub-stages. (a) The Scribble stage is made up of four sub-stages. (a) Disordered - uncontrolled markings that could be bold or light Disordered - uncontrolled markings that could be bold or light depending upon the personality of the child. At this age the depending upon the personality of the child. At this age the child has little or no control over motor activity. child has little or no control over motor activity. (b)Longitudinal - controlled repetitions of motions. (b)Longitudinal - controlled repetitions of motions. Demonstrates visually an awareness and enjoyment of Demonstrates visually an awareness and enjoyment of kinesthetic movements. Circular - further exploring of kinesthetic movements. Circular - further exploring of controlled motions demonstrating the ability to do more controlled motions demonstrating the ability to do more complex forms. Naming - the child tells stories about the complex forms. Naming - the child tells stories about the scribble. There is a change from a kinesthetic thinking in scribble. There is a change from a kinesthetic thinking in terms of motion to imaginative thinking in terms of pictures. terms of motion to imaginative thinking in terms of pictures. This is one of the great occasions in the life of a human. It is This is one of the great occasions in the life of a human. It is the development of the ability to visualize in pictures.the development of the ability to visualize in pictures.

► 2. PRESCHEMATIC2. PRESCHEMATIC

(4 to 6 years)(4 to 6 years)

The preschematic stage is announced by The preschematic stage is announced by the appearance of circular images with the appearance of circular images with lines which seem to suggest a human or lines which seem to suggest a human or animal figure. During this stage the animal figure. During this stage the schema (the visual idea) is developed. The schema (the visual idea) is developed. The drawings show what the child perceives as drawings show what the child perceives as most important about the subject. There is most important about the subject. There is little understanding of space - objects are little understanding of space - objects are placed in a haphazard way throughout the placed in a haphazard way throughout the picture. The use of color is more emotional picture. The use of color is more emotional than logical. than logical.

First conscious creation of form occurs around First conscious creation of form occurs around age three and provides a tangible record of the age three and provides a tangible record of the child's thinking process. The first child's thinking process. The first representational attempt is a person, usually representational attempt is a person, usually with circle for head and two vertical lines for with circle for head and two vertical lines for legs. Later other forms develop, clearly legs. Later other forms develop, clearly recognizable and often quite complex. Children recognizable and often quite complex. Children continually search for new concepts so symbols continually search for new concepts so symbols constantly change.constantly change.

► 3. SCHEMATIC3. SCHEMATIC(7 to 9 years)(7 to 9 years)This stage is easily recognized by the demonstrated This stage is easily recognized by the demonstrated awareness of the concept of space. Objects in the awareness of the concept of space. Objects in the drawing have a relationship to what is up and what drawing have a relationship to what is up and what is down. A definite base and sky line is apparent. is down. A definite base and sky line is apparent. Items in the drawing are all spatially related. Colors Items in the drawing are all spatially related. Colors are reflected as they appear in nature. Shapes and are reflected as they appear in nature. Shapes and objects are easily definable. Exaggeration between objects are easily definable. Exaggeration between figures (humans taller than a house, flowers bigger figures (humans taller than a house, flowers bigger than humans, family members large and small) is than humans, family members large and small) is often used to express strong feelings about a often used to express strong feelings about a subject. Another technique sometimes used is called subject. Another technique sometimes used is called "folding over" this is demonstrated when objects are "folding over" this is demonstrated when objects are drawn perpendicular to the base line. Sometimes drawn perpendicular to the base line. Sometimes the objects appear to be drawn upside down. the objects appear to be drawn upside down. Another Phenomenon is called "X-ray". In an x-ray Another Phenomenon is called "X-ray". In an x-ray picture the subject is depicted as being seen form picture the subject is depicted as being seen form the inside as well as the outside.the inside as well as the outside.

The child arrives at a "schema," a definite way of The child arrives at a "schema," a definite way of portraying an object, although it will be modified portraying an object, although it will be modified when he needs to portray something important. The when he needs to portray something important. The schema represents the child's active knowledge of schema represents the child's active knowledge of the subject. At this stage, there is definite order in the subject. At this stage, there is definite order in space relationships: everything sits on the base line.space relationships: everything sits on the base line.

► 4. DAWNING REALISM4. DAWNING REALISM(9 to 11 years)(9 to 11 years)Dawining realism is also known as the gang age. Group Dawining realism is also known as the gang age. Group friendships of the same sex are most common. This is a friendships of the same sex are most common. This is a period of self awareness to the point of being extremely self period of self awareness to the point of being extremely self critical. The attempts at realism need to be looked at from critical. The attempts at realism need to be looked at from the child's point of view. Realism is not meant to be real in the child's point of view. Realism is not meant to be real in the photographic sense rather than an experience with a the photographic sense rather than an experience with a particular object. In this regard this stage is the first time particular object. In this regard this stage is the first time that the child becomes aware of a lack of ability to show that the child becomes aware of a lack of ability to show objects the way they appear in the surrounding objects the way they appear in the surrounding environment. The human is shown as girl, boy, woman, man environment. The human is shown as girl, boy, woman, man clearly defined with a feeling for details often resulting in a clearly defined with a feeling for details often resulting in a "stiffness" of representation. Perspective is another "stiffness" of representation. Perspective is another characteristic of this stage. There is an awareness of the characteristic of this stage. There is an awareness of the space between the base line and sky line. Overlapping of space between the base line and sky line. Overlapping of objects, types of point perspective and use of small to large objects, types of point perspective and use of small to large objects are evident in this stage. Objects no longer stand on objects are evident in this stage. Objects no longer stand on a base line. Three dimensional effects are achieved along a base line. Three dimensional effects are achieved along with shading and use of subtle color combinations. Because with shading and use of subtle color combinations. Because of an awareness of lack of ability drawings often appear less of an awareness of lack of ability drawings often appear less spontaneous than in previous stages.spontaneous than in previous stages.

► The child finds that schematic generalization no longer The child finds that schematic generalization no longer suffices to express reality. This dawning of how things really suffices to express reality. This dawning of how things really look is usually expressed with more detail for individual look is usually expressed with more detail for individual parts, but is far from naturalism in drawing. Space is parts, but is far from naturalism in drawing. Space is discovered and depicted with overlapping objects in discovered and depicted with overlapping objects in drawings and a horizon line rather than a base line. Children drawings and a horizon line rather than a base line. Children begin to compare their work and become more critical of it. begin to compare their work and become more critical of it. While they are more independent of adults, they are more While they are more independent of adults, they are more anxious to conform to their peers.anxious to conform to their peers.

THE Psuedo Realistic or THE Psuedo Realistic or Psuedo NaturalisticSTAGEPsuedo NaturalisticSTAGE

(11 to 13 years)(11 to 13 years)

In the previous stages the process in making the visual art In the previous stages the process in making the visual art was of great importance. In this stage the product becomes was of great importance. In this stage the product becomes most important to the child. This stage is marked by two most important to the child. This stage is marked by two psychological differences. In the first, called Visual, the psychological differences. In the first, called Visual, the individual's art work has the appearance of looking at a stage individual's art work has the appearance of looking at a stage presentation. The work is inspired by visual stimuli. The presentation. The work is inspired by visual stimuli. The second is based on subjective experiences. This type of second is based on subjective experiences. This type of Nonvisual individual's art work is based on subjective Nonvisual individual's art work is based on subjective interpretations emphasizing emotional relationships to the interpretations emphasizing emotional relationships to the external world as it relates to them. Visual types feel as external world as it relates to them. Visual types feel as spectators looking at their work form the outside. Nonvisually spectators looking at their work form the outside. Nonvisually minded individuals feel involved in their work as it relates to minded individuals feel involved in their work as it relates to them in a personal way. The visually minded child has a visual them in a personal way. The visually minded child has a visual concept of how color changes under different external concept of how color changes under different external conditions. The nonvisually minded child sees color as a tool conditions. The nonvisually minded child sees color as a tool to be used to reflect emotional reaction to the subject at to be used to reflect emotional reaction to the subject at hand.hand.

This stage marks the end of art as spontaneous This stage marks the end of art as spontaneous activity as children are increasingly critical of their activity as children are increasingly critical of their drawings. The focus is now on the end product as drawings. The focus is now on the end product as they strive to create "adult-like" naturalistic they strive to create "adult-like" naturalistic drawings. Light and shadow, folds, and motion are drawings. Light and shadow, folds, and motion are observed with mixed success, translated to paper. observed with mixed success, translated to paper. Space is depicted as three-dimensional by Space is depicted as three-dimensional by diminishing the size of objects that are further away.diminishing the size of objects that are further away.

The period of decisionThe period of decision

► Art at this stage of life is something to Art at this stage of life is something to be done or left alone. Natural be done or left alone. Natural development will cease unless a development will cease unless a conscious decision is made to improve conscious decision is made to improve drawing skills. Students are critically drawing skills. Students are critically aware of the immaturity of their drawing aware of the immaturity of their drawing and are easily discouraged. Lowenfeld's and are easily discouraged. Lowenfeld's solution is to enlarge their concept of solution is to enlarge their concept of adult art to include non-representational adult art to include non-representational art and art occupations besides painting art and art occupations besides painting (architecture, interior design, handcrafts, (architecture, interior design, handcrafts, etc.)etc.)

Betty EdwardsBetty EdwardsCreative and Mental GrowthCreative and Mental Growth

►The scribbling stageThe scribbling stage

►Random scribbles begin at age one-Random scribbles begin at age one-and-a-half, but quite quickly take on and-a-half, but quite quickly take on definite shapes. Circular movement is definite shapes. Circular movement is first because it is most natural first because it is most natural anatomically.anatomically.

► The stage of symbolsThe stage of symbols

► After weeks of scribbling, children make the After weeks of scribbling, children make the discovery of art: a drawn symbol can stand discovery of art: a drawn symbol can stand for a real thing in the environment. Circular for a real thing in the environment. Circular form becomes a universal symbol for almost form becomes a universal symbol for almost anything. Later symbols become more anything. Later symbols become more complex, reflecting child's observations on complex, reflecting child's observations on the world around him.the world around him.

►Pictures that tell storiesPictures that tell stories

►At four or five, the child begins to tell At four or five, the child begins to tell stories or work out problems with her stories or work out problems with her drawings, changing basic forms as drawings, changing basic forms as needed to express meaning. Often needed to express meaning. Often once the problem is expressed, the once the problem is expressed, the child feels better able to cope with it.child feels better able to cope with it.

► The LandscapeThe Landscape

► By five or six, children develop a set of By five or six, children develop a set of symbols to create a landscape that eventually symbols to create a landscape that eventually becomes a single variation repeated becomes a single variation repeated endlessly. A blue line and sun at the top of the endlessly. A blue line and sun at the top of the page and a green line at the bottom become page and a green line at the bottom become symbolic representations of the sky and symbolic representations of the sky and ground. Landscapes are compose carefully, ground. Landscapes are compose carefully, giving the impression that removing any giving the impression that removing any single form would throw off the balance of the single form would throw off the balance of the whole picture.whole picture.

► The stage of complexityThe stage of complexity

► At nine or ten years, children try for more At nine or ten years, children try for more detail, hoping to achieve greater realism, a detail, hoping to achieve greater realism, a prized goal. Concern for where things are in prized goal. Concern for where things are in their drawings is replaced by concern for their drawings is replaced by concern for how things look-- particularly tanks, how things look-- particularly tanks, dinosaurs, super heroes, etc. for boys; dinosaurs, super heroes, etc. for boys; models, horses, landscapes, etc. for girls.models, horses, landscapes, etc. for girls.

► The stage of realismThe stage of realism

► The passion for realism is in full bloom. The passion for realism is in full bloom. When drawings do not "come out right" When drawings do not "come out right" (look real) they seek help to resolve conflict (look real) they seek help to resolve conflict between how the subject looks and between how the subject looks and previously stored information that prevents previously stored information that prevents their seeing the object as it really looks. their seeing the object as it really looks. Struggle with perspective, foreshortening, Struggle with perspective, foreshortening, and similar spatial issues as they learn how and similar spatial issues as they learn how to see.to see.

► The crisis periodThe crisis period

► The beginning of adolescence marks the end The beginning of adolescence marks the end of artistic development among most of artistic development among most children, due to frustration at "getting things children, due to frustration at "getting things right." Those who do manage to weather the right." Those who do manage to weather the crisis and learn the "secret" of drawing will crisis and learn the "secret" of drawing will become absorbed in it. Edwards believes become absorbed in it. Edwards believes that proper teaching methods will help that proper teaching methods will help children learn to see and draw and prevent children learn to see and draw and prevent this crisis.this crisis.

http://www.goshen.edu/art/http://www.goshen.edu/art/ed/drawingisbasic.htmled/drawingisbasic.html