Category Archives: Visual Thinking

School of Visual Arts Conference Handout

Next week about this time, I’ll be in New York City at the National Conference on Liberal Arts and the Education of Artists.  This conference is sponsored by the School of Visual Arts on the topic of Collaboration in the Arts.  Thursday morning on the 17th, I’ll be in a panel titled “Convergences: Art and Liberal Arts.”  And on Friday afternoon the 18th, I’ll be giving a 2 hour workshop on handmade thinking called “Drawing Out Reading: The Back of the Napkin Goes to School.”

Instead of employing slides to accompany my argument, I decided to provide the attendees a handout to hold and to make notes upon as I present my talk.  I designed it at 11 X 17 to be folded as a four page 8.5 X 11 handout:

Slide1

 back                                                                         front

Slide2

inside left                                                           inside right

This SVA conference will be at the Roosevelt Hotel, 45 East 45th at Madison Avenue,  October 16-18.  Come by and say hello if you happen to be in the neighborhood.

Visual Lesson Plan on Whiteboard

Visual lesson plan on whiteboard 10-04-2013

Here is a shot from today’s 2pm English 1301 class with the visual lesson plan for the day on the whiteboard.  Before each class, I map out the lesson plan on a large plain index card, like the one below, and upon entering class, copy it out on the whiteboard and explain the plan for the day to my students.  The icons serve as a reminders to me and to them of the progress of our work together during the 50 minute class session.

Visual Lesson Plan index card429As you can see from the photo, we are now reading Craig Thompson’s illustrated novel, Blankets.

It’s one of the best memoirs in graphic format available.

Today’s Visual Lesson Plan for First-Year Comp

Visual Lesson Plan ENG 1301 10-2-2013

Here is the visual lesson plan I’ve mapped out on a large index card for today’s class.  We will start with in-class freewriting in our composition notebooks, and today I’ll be asking students to write about the times in their lives when they felt most free.  Next, I’ll ask students for any questions they may have about the class and assignments coming due.  Then I’ll review the homework for Friday, which will include a handmade response to the 3rd chapter of Craig Thompson’s graphic novel Blankets.  Next I’ll give a brief overview of 9 strategies for responding to literary texts (see below).  Then, a review of complex sentence strategies via sentence combining.  Next, students will share their written responses to Chapter 2 in Blankets, and we will conclude with a focus on the ways Thompson uses form by way of panel, line, and setting to highlight the themes of freedom and oppression in Blankets.

9 Reading Response Strategies copy

 

 

First Year College Readers Draw The Glass Castle

This morning, Carol Becker at Columbia University School of the Arts referred me to a recent piece in the New York Times titled “Writers as Architects” in which the author Matteo Pericoli, an architect and teacher, describes a class he taught recently at the M.F.A. writing program there at Columbia, wherein he asked writing students to reconstruct, with the assistance of architecture students, three dimensional models of an essay, short story, or novel they felt they knew well.

Here is an example response to Raymond Carver’s “What We Talk About When We Talk About Love.”

When I assign my students to draw their responses to essays, stories, poems, and novels, I provide them with 21 visual formats as “thinking guides” so that they have some options for how they might depict their responses in two dimensional color drawings.

Here below are some recent examples from a first-year writing class in response to pages 9-47 in Jeannette Walls’ The Glass Castle.  These drawings are students’ first attempts of the semester at what I’ve termed “handmade thinking.”  Some are simple portraits, and some are more complex depictions of ideas in relationship.

Walls 9-47-09092013081912Walls 9-47-09092013082251Walls 9-47-09092013082519Walls 9-47-09092013082714 Walls 9-47-09092013082800 Walls 9-47-09092013082939 Walls 9-47-09092013083052

Walls 9-47-2pm-09092013130059

Walls 9-47-2pm-09092013130214

Walls 9-47-2pm-09092013131009

While my first-year writing students probably did not expect to practice drawing as a reading strategy in my class, they are performing a very similar kind of visual thinking exercise introduced by Pericoli.  They are being asked to translate textual information into visual information, to re-see and create images that reflect and re-imagine a scene, characters, journeys, or the overall structure of a text.  In my classes, however, I am providing students with guided practice and choice among common visual formats for critical thinking.  Still, in both cases, it is through that making that students are prompted into fuller engagement and comprehension and memory, developing more intimate visual, emotional, physical, and cognitive relationships with texts.

Picturing a First-Year Comp Agenda

Preparing agenda Day 2Here is a photo of my open three-ring binder for the two sections of first-year composition I’ll be teaching this fall term..

From left to right:

  • two post-its with the agenda I’ll draw and a sentence I’ll write on the whiteboard for tomorrow’s classes
  • my composition notebook for freewriting at the beginning of each class with photos of William Stafford and Peter Elbow
  • the first text we’ll be reading in class, Jeanette Walls‘ memoir The Glass Castle, sitting on top of the Grammar Diagnostic Exam I’ll also be giving students tomorrow

Here below is a detail photo of the two post-its.  Beginning this semester, I will draw the course agenda for students on the whiteboard prior to each class session.  In the past, I projected numbered or bulleted slides to walk students through the class agenda, but I’ve decided to illustrate the agenda with simple icons to lead me and my students through the class tasks.  (More here on how I began developing this strategy during a visual thinking course I taught this last summer.)

Detail Preparing agenda Day 2

The pencil = We will free-write together at the beginning of each class to focus our energies on writing and on the topics of the class.

?s  = I will ask students if they have questions about the assignments, our schedule, or any aspect of the class.  I will repeat that questions are always good things.

The house = Homework for the next class period.

The line with period = Students will take a Grammar Diagnostic Exam to draw their attention to one aspect of the class: improving their confidence and versatility on composing sentences.

The key and ukulele = I will preview some key terms of the course (Reading, Writing, Drawing Leads to Improved Thinking) and demonstrate how the four strings of the ukulele serve as another reminder of how these four abilities work together to enable us to achieve other purposes.

The line with period again = I will briefly introduce a basic vocabulary of sentences.  I believe “less is more” when it comes to learning sentence grammar.

APA = Students will submit the course Academic Performance Agreement — a signed agreement demonstrating their understanding and acceptance of the course requirements.

?s  = An opportunity at the end of the class for students to ask questions about anything related to the class or work coming due.

 

Writing and the Body

This weekend, I’m preparing for a summer grad course on composition studies I’ll begin teaching in a couple of days, and I sketched out the chart below.

Developmental Writing

As an introduction to the course, I want to share with my students some ideas about how writing can be seen as an integrated performance dependent upon one’s ability to orchestrate other performances in the language arts, intellect, emotions, and the body.   In the teaching of writing, we tend to leap into a focus on grammar or process or grading or rhetoric or selecting the right textbook without acknowledging the foundational structures that influence and build upon one another to make possible our development as writers.  I take these to be universal and local conditions.  There are other conditions of course, such as social, political, and economic conditions that influence our abilities and desires to write, but here I wanted to focus on what we share and how the physical and sensing self is at bottom rarely recognized as the literal stage and apparatus of all writing.

A Visual Final

Cade Final

What would happen if you had students draw their final exam?

In lieu of a traditional final exam or paper, I asked students in my course “Visual Thinking, Narration, and Explanation” to create a comic, sketchnote, or infographic that represented the most significant things they learned in the class.  As you will see above and below, most chose the sketchnote format–which is logical given that they were drawing two sketchnotes daily in response to the reading assignments.  (For more on sketchnoting, see Mike Rohde’s book The Sketchnote Handbook here.)

Addison Final

Anokye Final Breedlove Final
Crenshaw Final Gardner Final Holly Final Hwang Final Sides Final Spratley Final

Connie Riddle Final

For more on what happened in this course, see here and here.  The syllabus is here.

 

 

Exam vs. Comic

Holland A Folk Tale Detail

OK, so I taught this course in the first summer session I called “Visual Thinking, Narration, and Explanation.”  It was a mashup English course focusing on visual thinking theory, infographics, sketchnoting, and comics.  (See the previous post here on the books I used and how the course changed the way I now think about presenting the class agenda.)

Anyway, I designed this short 4 1/2 week summer course with an exam about half way through just after we would have finished reading Scott McCloud’s Understanding Comics.  But as we were approaching the week of the exam and seeing how successful students were with sketchnoting their responses to McCloud’s ideas, I thought I’d offer them another choice.

“Rather than take an exam on Understanding Comics,” I asked, “would you rather draw a comic instead?”

I could see their minds working:  Well, let’s see, “take an exam or draw a comic?”  They chose the latter.

“But there’s one catch,” I said.  ”You have to draw the comic based on one of my recent poems.”

Even with this condition, they still wanted to draw the comic.  So here below are all of the amazing comics from my students on the poems “Only,” “A Folk Tale,” and ”Leaning.”

(One last thing: These are English majors and minors, not art students, with some training in the art of sketchnoting and reading in Understanding Comics–plus of course whatever training they brought to the class.  But I think these comics demonstrate the power of McCloud’s book, the dedication of these students to the course and the project, as well as the potential for such an assignment in a range of literature courses.)

“Only” by Yun Jin Hwang:

Only by Yun Jin Hwang

“Only” by Chelsea Crenshaw:

chelsea only comic

“Only” (24X48 in) by Bobby Gardner

Only by Bobby Gardner

“A Folk Tale” by Kim Sides:

Kim Sides A Folk Tale

“A Folk Tale” by Kwabena Ayoke:

Anokye A Folk Tale

“A Folk Tale” by Holland Vanden Bossche

Holland A Folk Tale

“A Folk Tale” by Morgan Brooke Addison:

“A Folk Tale” (25X30 in) by Cade Tatsch:

Tatsch A Folk Tale

“A Folk Tale” by Ashley Spratley

Spratley A Folk Tale

“A Folk Tale” by Connie Riddle

Riddle A Folk Tale

“Leaning” by Maxine Breedlove

Breedlove Leaning

Now that I think about it more, maybe I should have titled this blog entry “Taking vs. Making.”