Compares drawings of English children with mild learning difficulties (M.L.D.) with those of children of the same chronological age and of the same mental age. Reports that drawings by M.L.D. children are similar to those of children at the same mental age. Suggests that M.L.D. children follow a normal rather than deviant developmental pattern.…

Explores the nature of images created by Paleolithic artists and autistic artists in regard to drawing techniques and image function. Explains the commonalities based on a discussion of the role of the early vision process and the construction of meaning. Notes the importance of this research for understanding autistic artists. (DSK)

The symbolic graphic life-line was used with clients (N=50) in short- or long-term group therapy programs. Information expressed through the life-lines helped to integrate the clients' feelings and thoughts in relation to past events, and aided therapists in devising treatment goals. (MKA)

Discusses a project focusing on icosahedrons that combines geometry, structure, graphic design, animation, motion, and mechanical and freehand drawing with ancient Greek catapult mechanics. Includes directions on how to both construct a template and develop the pattern for the icosahedrons. (CMK)

Describes how drawing can be used as a tool to help students develop and document more complex understandings not often used in science instruction. Explores how drawing can be used to learn about animals. Includes student illustrations. (SAH)

Describes a project in which ninth grade students sculpt gargoyles as part of a Gothic unit. Discusses the construction of the gargoyles from the initial sketches to sculpting methods and effects to finishes. Offers tips on what to avoid. (CMK)

Discusses an art project in which sixth grade students design alphabets by transforming the shapes of the letters into new designs that are still recognizable. Explains that students brainstorm ideas for their own lettering style. (CMK)

Describes a drawing assignment, using colored pencil, that explores color, texture, and relationships among drawn objects. Students use reference photographs to create a drawing in which one object is juxtaposed against a crowd of similar but different objects. (CMK)

Describes an assignment where students in an advanced art class created ten textured backgrounds for future artworks. Explains that there were different stations with tools and media for creating the backgrounds. Offers examples of what subject matter was used with the backgrounds. (CMK)

Describes an art project for second-grade students where in over five class periods, they create fired clay dinosaur sculptures with dioramas as the background. States that this project, the culminating activity for a sculpture unit, teaches students many art terms and uses of different media. (CMK)

Describes the sketch-to-stretch strategy, in which students show what a story means to them by sketching lines, colors, shapes, symbols, or pictures. Suggests the strategy is effective in encouraging a diversity of perspectives about a story, and in using it, many potential at-risk readers as well as stronger students become valued literary…

What are the main purposes of drawing in the secondary art and design curriculum? What are Scottish art teachers' views on the role and function of drawing? How is drawing taught in Scottish schools? These three broad questions formed the basis of the research reported in this article. The small-scale study, carried out between June 2002 and June…

Expressionistic textured paintings are intense and passionate for both the viewer and the artist. Regional subject matter can relate the artist's feelings with the period and location of the artwork. This article briefly describes one classroom's experience engaging in a lesson relating to combining Expressionism and Regionalism. The class was a…

This article describes how to use and valuate "thought bubble pictures" to uncover students' feelings about mathematics. (Contains 6 figures and 2 tables.)

During a visit to Williamsburg Elementary School (Williamsburg, Iowa), this author was introduced to J. C. Holz, a 10-year-old boy who had already exhibited the characteristics of a prolific artist. During one of the interviews with J. C., the author encouraged him to have a solo exhibition of his work at the University of Iowa. The exhibition was…