What Does A Parent Expect From Drawing N Art Teacher

HOW TO TEACH Cartoon TO CHILDREN by Marvin Bartel

This essay was inspired by an Australian mother whose son, age eight, was feeling discouraged and wanted aid in learning to draw better. She wanted to know how to help him.  Ascertainment cartoon provides the method of choice.  Of course observation cartoon is non the only form of good drawing practise, but it is often the best fashion to develop drawing skills.  Drawing from remembered experiences and cartoon based on imagination are good to develop those aspects of thinking.  Copy work drawing is not encouraged, but only tolerated if it is self-initiated. Many self-taught artists have learned by copying because it was the only culling they knew about. Nevertheless, copywork is not the best way to learn to draw actual objects, animals, scenes, and people

For an attractively printed version of a previous version of this commodity with additional photographs, consider ordering a copy of the March, 2007 issue of Homeschooling Horizons Magazine.  See an online book with eight cartoon lessons.
See 7th course drawings from a course in Australia taught by a higher student using methods described here.

Drawing and CHILDREN

C hildren who know me sometimes ask me how to draw better.
Many children practice not know that artists have learned to draw by doing observation-drawing practice. They often assume that you can draw or you can't. Of course this is truthful, but it is too true that nearly anybody tin acquire to draw at any age. Many children feel junior most their own ability to describe.  Also frequently no teacher or adult has always helped them larn to make a proper observation.  Most teachers have not been educated about teaching drawing.  Some generalist teachers even say, "That'south okay, I can't describe either."  This is the opposite of expert motivation.  They would never dare say, "That'due south okay, I tin't read and write. I just don't have the talent for it."

I explicate that drawing ability comes from practice.  I call it "practice" then information technology isn't every bit intimidating as final products. This essay explains some do processes that lead to ameliorate drawing skills. Sometimes children want to develop their practice into more than elaborate finished work. I encourage their want to cease some works, but I also affirm the need to practice lots of practice that does not have to be finished work.  I explain it by using music analogies.  We practise piano a long time to learn some pieces.  We don't worry 2 much most mistakes while we are learning, but somewhen it is good to play a recital. And then I give them some proven ways to practise and encourage them to brand a many choices as possible equally they larn to draw.

I never draw to show a child how to draw do something.

If I would show a child how something is drawn, the child would get the thought that my drawing is the reply. The kid would think that her chore is to copy my cartoon. Looking at my drawing is a very poor way to learn to run across for yourself.

I go over to the thing beingness observed. I run my finger slowly along the edge of the matter.  While doing this, I encourage the child to brainstorm drawing in the air (by pointing a finger toward my finger) every bit preliminary practice following the edge profile slowly as my finger moves. After do in the air, the child practices on paper with a slow deliberate contour while Non looking at the paper.

I never draw on the child's paper. Learning to run into is done by studying the thing, animal, or person being drawn - non by getting the teacher to correct the work. The student should own the whole process and product.

I never ask a child to copy a picture show fabricated by me, past another artist, or by a camera. I have them practise from actual objects or models.  When children do copy piece of work for fun on their own, I do not condemn them for this, only I do withhold compliments for copied work, and I withhold all encouragement related to re-create piece of work.  I encourage them to do from actual objects - never working from pictures.

Eliciting a careful description from the student
We cannot depict what we do non notice. Before starting I take extra time to discuss some details of a small area where the pupil will get-go. This gives focus, familiarity, and conviction. Visual information is useless unless you notice information technology.

I requite didactics in the form of open questions rather than directions.  "How much of this edge is straight and how much is curved?"  "How much longer is this side than the top edge?"  "What are the different lengths you lot get when you extend your arm and measure by property the pencil across it in the air?"  "How exercise the lengths compare?"  "Isn't this a silly line? Tin can you encounter how it wiggles?"  If I use questions, information technology implies that the teacher will non exist needed in the future.  Once the educatee knows the questions, the student can practice alone.  If I give commands, the student might not experience empowered to work alone.

Simplify only never dumb it down
Sometimes we start with a small role of something that would otherwise seem much to as well complex and overwhelming.  Adding a bit at a time, I am often amazed at some of the elaborate drawings that a kid can make. Think about the amazing thinking habits that are beingness fostered past this approach.

Mistakes are normal
I ready them in accelerate for what to await so that they tin can be pleased with what works rather than disappointed by what does not work. In blind contour line (cartoon the outer edge of objects without looking at the newspaper) I let them know that I do not expect to get a ameliorate line, only I also wait that my line probably will not end up at the correct place when it comes around to where information technology started.  If it comes around and meets, it means that I just got lucky, or maybe I peeked at the newspaper (treat with humor).  "Bullheaded" contour cartoon means drawing without looking at the newspaper, simply merely looking at the object.

Blinders every bit drawing helpers
I utilise a large blinder carte du jour on our pencil so we cannot see what is existence drawn.  I generally permit looking at the paper just when the pencil is stopped (when it is placed to start a new line).  While the pencil moves, I do not allow looking downward at the newspaper, but but looking at the border of the object being observed and fatigued.  It is good to move the pencil very slowly and deliberately so that each picayune change of management, notch, bump, zigzag, etc. can be included (equally ho-hum as and pismire crawling). Not every drawing experience needs to be blind contour practice, but some regular practice using blind contour is a skilful way to discipline the heed to develop the skill of observation.

With young children I ofttimes encourage them to use a blinder helper while they practice all the lines of the edges without concern for making a film. This practice session is their grooming prior to drawing a picture on another paper or elsewhere on the aforementioned paper. This part is simply a jumble of practice lines. After this rehearsal, when they describe the picture, all the lines are already familiar and easier.

Viewfinders as framing helpers
A viewfinder, which can be a simple 2x2 inch empty slide frame, is useful to view the scene.  For cartoon, the viewfinder can be a piece of 8x10 inch cardboard with a rectangle cut out as a window about 3x4 inches.

This student is using a viewfinder taped on a stick placed to frame some sunflowers. In the second view she is adding tomatoes seen from her position every bit she looks through the viewfinder window.

This tin be held at artillery length or closer to help the student decide what to include in the drawing. We employ it the same way you would frame a picture with a photographic camera viewfinder. Information technology tin zoom closer (bending the arm) to give a wide angle. Information technology can zoom out to create a telephoto framing (holding it with an extended arm).  The window in the viewfinder (too called isolator) makes it easier for the student make up one's mind on what to include, how to adapt things, how to fit the paper, which way to turn the paper, and how big to make things in a drawing. A more avant-garde viewfinder might have black thread taped across the window to class a grid through which to view the scene, still life, animal, or person that is being observed.

Mistakes
Nearly of us need to get more than comfortable with mistakes. I practise not point out mistakes because the effect is non helpful. It works better to emphasize the things that are working well. However, children often find mistakes themselves. I believe it is helpful for children to learn that the mistakes they encounter in their drawing are useful for learning and for getting new ideas. I tell children it is okay to erase and fix major mistakes, only I make a point to explain that I like to learn new things from my mistakes. I tell them that I often leave my mistakes until I am well-nigh finished with the whole thing.  I first add the corrections until I figure it out. Sometimes the mistakes add together some interest and expressive qualities that are hard to appreciate at first.

Mistakes in drawing are oft very perplexing. The child tin see that something looks wrong, only does not know why. Information technology would be easy for me to explicate how I call back it should be drawn. It would be like shooting fish in a barrel for me to draw it for them. I must never do this. It is much more useful to use this every bit an opportunity to teach the child how to larn. When a child is puzzled is not the time to solve the puzzle for the child, it is the time to teach puzzle solving strategies. Learning how to build our own ability makes us much more capable than if nosotros are handed answers.

To make it easier, artists often practice with small sketches when they are planning the arrangement for a major work. In one case they have decided on the layout, artists often practice details by making sketches that are about the actual size needed. Preliminary practice makes the final drawing easier to practice. To solve a drawing fault, I might enquire a kid to practice a sure part of the drawing on another paper. Often it helps make a discovery if a blinder is used. If they volition repeat the practice 3 times they volition accept choices. I tin ask the student to look at the three results and option the idea that looks best to them (non to me).

Good Mistakes
Often mistakes are lucky gifts leading to creative ideas that nosotros would otherwise have missed.  When nosotros approach this like nosotros approach playing a game, we tin fifty-fifty learn to enjoy information technology. This principle works for drawing and it works for instruction virtually mistakes as well. Truth is often found past mistake when we are open and alert enough to consider new possibilities.

I did a web search for the discussion "serendipity". Yous can find a long list of extremely useful discoveries and inventions that nobody would take thought of had they not made a fault or had an blow. Nosotros take all benefited from antibiotics. Antibiotics were outset discovered because Alexander Fleming saw something unexpected but true in a careless mistake. He was a careful observer. Few things teach observation as well equally drawing. As a potter, a soft clay vase accidentally brutal on the flooring from a board every bit I was carrying it. I looked at it, and it led me to a new grade of work made to hang on the wall. Many mistakes in drawing can actually assist the drawings have on an expressive, mysterious, or spontaneous quality that tin can be very evocative.

How to reply to a kid'southward cartoon
I await for some places where the lines or shapes piece of work well. I enthusiastically affirm improvements and successes. I know that almost children will stop cartoon if I make any negative comments or tell them that they demand to brand corrections. Practice and learning but happens when at that place is a fair corporeality of satisfaction. I look for and betoken out improvement - non perfection. I apply positive comments and questions that remind them of things to notice - not judgment. Instead of judging, I acquire more than about the thinking of children when I ask them to verbally elaborate near an area in their work. It helps me understand where they are in their perception of what they are observing. With ascertainment questions I may be able to help them motion to the side by side level. I tin can use this data in the next lesson because I tin blueprint a practice session that is more than appropriate to their individual needs.

Fear of drawing makes things come up out smaller.  I accept whatever size they produce, simply I will encourage them to encounter if they can draw pocket-size things extra big.  A child's shoe might be drawn large enough for a grown human.  Sometimes I simply say, "How large do you need to draw information technology in lodge to fill up the paper with this?" or "How large practice you need it to fill up the framed area with this?"  When I run across that something is too pocket-sized, information technology lets me know how to programme the adjacent practice session.

MORE Avant-garde LEVELS?

Shading
From contour drawing, we oftentimes move to shading.   When doing this I make sure the lighting is adequately dramatic.  Information technology is important accept the kid take time practise some detailed accelerate planning earlier starting to exercise the shading. Otherwise, the human action of shading becomes automatic, and they forget to brand observations as they work.

I ask the child to observe several levels of shaded tone on the thing being observed.  I ask the student to place the lightest places. We proper noun these "highlights".  The highlights are very lightly framed with a pencil line. These areas are more often than not left totally white.  I inquire the student to find the darkest places.  In most cases the shadows at the base of objects. These become the darkest part of a shaded drawing.

This page has some detailed instructions to practice for shading.
https://www.goshen.edu/art/ed/shading.html

For variety and fun, I sometimes accept them start with a light pencil outline sketch and then shade past stippling the drawing with the points of small colored markers, intermixing colors.  When the stippling is dry we erase all the pencil to testify only pointillist form and color without line. Stippling is like shooting fish in a barrel and does not ruin the flick if the kid has a chance to practice information technology first in very small practise samples. I encourage them to practice by always combining several colors together making very shut dots for darker tones and less frequent dots for lighter tones.

What is shading about?
If yous want to meet ideas well-nigh shading, turn off the lights and set an egg or a grape on a piece of white paper on a table near a window (not in direct sunlight). Sit down and report it for several minutes to see the lite changing the tones of the object. You may meet calorie-free beingness reflected from the newspaper back into the shadow near the lesser of the object. Now look at the white paper under it and look for tone variations. Some people have never noticed these things. At a immature historic period most children take never washed this. We cannot wait to depict what nosotros accept non noticed.

Why do some people appear to accept cartoon talent?
A brain that learns to observe when it is immature grows visual neurons that other brains lack. This is why nosotros take a common misconception that drawing is an inborn talent. It is truthful that the cartoon brain is different, but the difference has been learned and the brain has adult in response to being needed in these detail ways. When this happens at a immature historic period, the child appears to have inherited talent. Nosotros now know that adult brains can also grow new neurons and foster new talents, but it can be to exist slower and more difficult. As adults many of u.s.a. have lost our love of learning for its own sake. Young children observe these simple tasks to be new and fascinating. Elizabeth Layton began to develop her drawing talent when she was 68 year old.

Gesture drawing
Gesture drawing is an reverse class of observation cartoon. While blind contour drawing begins with edges and requires slow deliberate cartoon, gesture drawing starts in the heart and the drawing tool very rapidly fills (coloring in) the torso of the object with no outline, but the drawing withal tries to follow the form of what is existence observed.

Gesture cartoon is fast, intuitive, and expressive. This is the opposite of bullheaded contour drawing (outline observation) that is very deliberate. Where blind profile drawing is deadening, gesture drawing needs to be very very fast. Alternate sessions of gesture drawing with sessions of bullheaded contour cartoon will add greatly to the expressive quality of a child's work. Eventually, both styles tin be combined to create some very effective, moving, expressive, and artistic outcomes.

More gesture cartoon details are described on this Portrait and Figure Drawing page in the section on Inside-Out Figure Gesture drawing.

Kathe Kollwitz combined outline, shading and gesture drawing very expressively in this cocky-portrait where her arm motion is expressed as gesture.
http://www.kunstikeskus.ee/info/pilt/uus_uudis_pilt/kollwitz.JPG

Hither she used pen and brush in her Mothers from 1921 (in the Boston Museum of Fine Arts) to raise expressiveness with gesture.
http://world wide web.mystudios.com/women/klmno/kollwitz-mothers-1921.html

WHAT TO DRAW?

Gesture drawing is good for drawing people, animals, and objects that are active and in motion, or for content that is charged with emotional quality. Models are posed equally though they are in activity, playing in sports, or doing something with emotional content. It practiced to testify joy, grief, dancing, sliding into first base, so on.

For all observation drawing, both profile drawing and gesture drawing, I desire things to draw that are non part of the kid's previously learned symbol set up.  A new observation requires more careful looking and should not permit for drawing a remembered shape or symbol that has been drawn many times before. A new observation employs a different part of the brain than drawing something that has been memorized. It helps to select something interesting to the child.  Children can exist encouraged to find toys, pets, and things around the business firm and garden that they have non used for drawings before. If it looks as well simple, turn it different or move to a different position to make it a little challenging to describe. Sometimes I turn a familiar matter upside downwards to make information technology new once more.

Nosotros beginning with things that are not very complex, simply also include a flake of uniqueness. As I write this I am having a snack. An apple with a bite removed is so much more than interesting than a plain apple.  You have to wait at it to draw it. An apple tree that still has a leafage on the stalk is more than unique.  However, if the leaf has a defect, information technology is even better. You lot have to look at information technology to describe information technology. An apple that is not however color is better.  A deformed apple from a neglected tree is wonderful to draw.

Some of the best subject thing comes from everyday common experiences such as the food nosotros eat, our homes, our toys, our families, the bang-up stuff we collect, our friends, our games, our work, our animals, our neighborhoods, a trip to a zoo, a trip to a farmyard, and so on. A half eaten snack is prove of life around information technology.

Drawings do more than stand for what is seen. They imply what is happening in a kid's life. Drawing is a diary. Taste, touch, sound, and smell are all bully multi sensory motivational enhancements. Eat some. Depict what is left. Eat what yous drew. Practice. Express. Grow. Be.

Not EVERY DRAWING IS FROM Ascertainment

Children also learn some great thinking skills by working from imagination , from inventing, from designing, and then on.  Children are often interested in creating persuasive piece of work related to social causes such as wild life protection, peace and justice, poverty, drug abuse, and and so on.  Some children love to blueprint houses, machines, boats, cars, etc. Many children love to illustrate imagined stories.  Imagined things are excellent for development of their artistic thinking ability.

Creative work is not all practical or utilitarian.  Arranging color in an abstract cute way is very enjoyable and expressive for children.  Musicians also apply the word "play" when they "perform" with an instrument.  We like the words "play around" when nosotros are exploring and making thumbnail sketches for an thought in drawing or when designing something.  Some people likewise brand word lists to get ideas.

Children often utilize drawings to tell stories from memories . With young children, I apply lots of questions to get them to think of more memories related to the subject.  If they are overly cocky-critical of their power to practise this, I tell them that I like to see their ain special way of drawing things. Equally they become a flake older, I encourage the use of mirrors, models, and objects to work from to practise the parts of the compositions needed to tell or illustrate the stories.  Artists often combine ascertainment, imagination, and invention.

Transfer of drawing skills
An important type of inventiveness is the ability to transfer what we have learned in 1 situation to an advisable awarding in another state of affairs. I do non expect what is learned in observation drawing to immediately and naturally transfer and be reflected while cartoon from imagination and experiences. Teachers are frequently disappointed to come across children who can do impressive observation studies revert to simplified stereotype representations when they do not have something there to find. What is accomplished in observation drawing takes time and practice to be remembered and called upwardly from memory when there is nothing to find. It is natural for children to revert to their old habits, not remembering that they have learned a new way to represent something.

A sensitive adult tin enquire them, "Do you retrieve when you drew that while y'all were looking at it? Do y'all remember the shape of it? Practise you lot remember how the lighting changed the way it looked?" In some cases, when remembering to remember, the child will show significant changes in how things are rendered. Transfer of learning from one kind of drawing (observation) to other kinds of cartoon (imagination and experience) is often improved past questions that create an expectation of transfer. Remembering new means to stand for while existence imaginative and expressive may seem like a lot to ask, simply many children are quite capable of multitasking when they bask learning, and if they are gently reminded of their own new skills. Developing habits of thinking that facilitate transfer of learning can be an important way to foster creative thinking. What better gift is there than to help a child learn that what is learned in one state of affairs is often useful in many new and unexpected situations? This is very likely another thinking talent that is adult by growing neurons for this purpose.

A iii-twelvemonth-old was drawing a picture of herself. When she was working on the fingers I noticed that she was typical in that she made multiple fingers without any business organisation for how many she drew. I knew that she was learning to count. Like most children of her age, she had never associated counting with drawing. I asked her: "Practise you like to count the fingers as you lot depict them?" Without answering my question she started counting the fingers on her existent manus, so after several attempts at counting the fingers in her dawning, she establish that she had fatigued six fingers on the hand. She reassuringly told herself, "Oh, that'southward okay." I told her that I agreed. I idea she had a wonderful attitude. When she drew the other mitt, she naturally counted and made five digits. This one simple question, asked in a neutral way, may have helped her transfer knowledge. She started to make a connection between counting and cartoon. Perchance now her drawings from imagination could help her develop greater awareness of numbers and math--making her more than talented at both of these things easier latter in school because of the new neurons that began to grow in her encephalon.

HOW TO RELATE TO THE WORK OF OTHER ARTISTS

Fifty-fifty though the work of other artists may be very inspirational and very educational, I avoid showing the work of other artists as an introduction to doing artwork.  I feel the suggestive power of the work may prevent them from doing every bit much of their own observing, thinking, imagining, remembering, etc.  I experience it may pb them to feel their own piece of work is non good enough to measure out upwardly.  I believe that nosotros as a species are programmed by instinct to imitate.  This is a powerful instinct in all children.  It is a skilful instinct for many things, but it runs counter to creativity. Children also have other skilful instincts such every bit imagination and curiosity. In my opinion, nosotros practice non need to encourage more than fake, but we do demand to nourish the instincts of imagination, marvel, and the natural instincts to search for truth.

To encourage children to learn innovation and original observation may be a claiming, but the life-long benefits are well worth the effort. They will still acquire many important things by imitation - but unless they are encouraged, many will not acquire the joy, thinking habits, and rewards they get past learning the methods of thinking used in innovation.

Art history shows the heights to which artists have aspired. It exemplifies high quality and it helps us learn almost other cultures nosotros can scarcely imagine. Art history reminds us of the many of import purposes for fine art. I teach fine art history, museum visits, and then on afterwards children have washed like piece of work, or we do these activities completely independent of creative work.  By studying the other artist's work as an contained activity or after doing the media work we practise not diminish the importance of their own feel as beingness foremost as content for their own art.

During the viewing of fine art history exemplars, I employ lots of open questions phrased to assist children wait for more than things in the historic work. If I want them to practice related work, they exercise their own related artwork first (based on their own observations, experiences, or imaginations). This provides an immediate and relevant frame of reference for the other creative person's work. Their own work makes them more interested in the work. They tin identify with the minds of the artists better. The same questions used during their work can be asked while viewing the historical piece of work. Even though they are doing media work prior to the report of art history, I often run into influences from other artists in their piece of work if they have had positive museum and fine art history experiences in the past.  This is no problem and then long as their primary thinking is based on their ain observations, imaginations, and experiences.

WHAT TO Exercise WITH YOUR Kid'S COMPLETED Work

I suggest saving a child's drawings in a binder in order to go along a record.  Periodically, await dorsum to see progress.  Point out and affirm progress to the child.  I attempt to brand specific points when using compliments or praise.  Connect it to some specific qualities that are explained to the student.  When children are very immature, I simply invite them to tell me about their drawings.  I experience that the story telling is very good practice for them.  Even children who are only two and are but scribbling are able to tell me a story about their drawings. I think this exercise in exact improvisation grows exact neurons that assist make them talented at reading, writing, and speaking.

Be sensitive about exhibiting the work.  In a school setting information technology is better to display all or none of the work of an consignment.  Teachers should put the lesson objectives with the displays.  Student artwork may accept some artistic merits, just learning is the master purpose of information technology.

So far as exhibiting things at home, some feel that exhibiting something that is particularly strong could create fear in the child.  The child might fearfulness that information technology is too difficult to always practice as well equally the one that was selected.  I would be sensitive to this, but I also think it is encouraging when children encounter the work beingness displayed.

Children who enjoy drawing may enjoy making their drawings into moving-picture show books of original drawings. You may wish to publish scans and photos of your child's artwork as a book. A number of online publishers tin can help with this (including Bob Books ). Children tin assist with much of the selection-making and acquire do other aspects of it as well. Software for digital photos and scans are great tools that help children learn framing, dissimilarity, tone, color residuum, imaginative image manipulation, and other choices.

On Becoming TALENTED

In my experience, most parents demand to exist more affirmative and less critical of their children'southward drawings.  Correcting a child'southward cartoon mistakes can easily stop their interest in drawing.  Children who get affirmation often continue to practice much more on their ain. In drawing, but as in most other aspects of discipline, didactics, and child rearing, nosotros need to stop saying no (unless at that place is an immediate chance). It has been found that parents that use a preponderance of prohibitions are more apt to have children who fail in schoolhouse. They lack attention bridge because they gave upwards on trying to imagine expert things to do. On the other hand, those with positive selection conditioning, seem to be meliorate prepared to make good for you choices as teens.

Learning to draw is just a small part of growing upwardly. There are many other important talents. In expert parenting, I believe we need to modify every negative behavior to a positive with choices. Nosotros need to provide sensation questions that suggest better alternatives from which children can learn to brand their own expert choices. When we say no or when we criticize, we discourage, we destroy motivation, we shorten the child's attention span, and we handicap their capacity for self-learning. Unless they are self-motivated, which happens well-nigh when they feel some balls that they are doing well, brain neurons for abilities and talents neglect to develop.

In expert parenting we try not to declare accented answers, just we use open ended questions to encourage good ideas. We offer positive alternatives and options. Children are encouraged to choose from between positive alternatives. Instead of existence discouraged by prohibitions, kids abound up enjoying wholesome participatory creative play alone and with friends. They brand things, they play games, they participate in sports, they engage in music, they invent recipes, and they spend lots of time in art activities condign talented way beyond their parents.

I know this works considering information technology happened in our habitation. It happened by chance because our kids had a mother who had an amazing parenting instinct. She never said, "Terminate it!" She did not say, "No!" unless they were in immediate danger. Whenever the kids were behaving badly she coached them with interesting and enjoyable ideas and asked them to select better positive alternatives. Some were suggested by her, but they also learned how to invent proficient activities on their own. They became better players. They became conditioned to imagine and self-initiate positive choices as a role of their personalities. I chose writing and the others chose science. They utilize their talents well as they search and express the truths they find. They have the ability to imagine ways to practice things better--making the globe a improve place for all.

All Rights Reserved: © 2002 to 2016 versions, Marvin Bartel.  Anyone may print one re-create of this essay for personal apply.  Those who wish to make copies or publish whatever part of this electronically or otherwise must get permission to do and then. Your responses are invited. You may make a link to this folio. Please do not asking a link exchange unless you take already created a link to this page. Any quotation or reference to this page must include a link to this page.

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THE Author

If you like this essay, send the URL to friend. Accept a discussion about it at the playground or over coffee. It's more fun to learn together and discuss positive alternatives with practiced friends. More on Observation Cartoon https://www.goshen.edu/~marvinpb/lessons/rabbit.html Teaching Shading in Cartoon https://www.goshen.edu/art/ed/shading.html Planning Fine art Lessons https://world wide web.goshen.edu/fine art/ed/artlsn.html first posted: March 29, 2002 This version was updated on May 2, 2016 Writer bio

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Marvin Bartel, Ed.D. in art education, Emeritus Professor of Fine art

Source: https://www.goshen.edu/art/ed/draw.html

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