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Observational Drawing for Students with Dyslexia

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Abstract

This hands-on practical guide provides dyslexic young people with techniques to improve their observational drawing skills, showing them how they can work around the issues commonly reported by students with SLDs. Many creative and talented individuals with neurological differences report difficulties with short-term memory, co-ordination and planning ahead within a project, and a lack of specialised teaching may even dissuade them from pursuing art at school. This book addresses those challenges. The authors, who have many years' experience of teaching art to dyslexic and dyspraxic students, also include examples not just of the techniques described, but also of the creative ideas other neurodiverse students have come up with. Fully illustrated, with clear explanations, and space to draw and sketch, this much needed book will provide dyslexic art students with the tools and confidence to achieve their goals and become the creative professionals of the future.
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... Here is such a plan, tested in a series of drawing workshops held at the RCA, 2012-2016. The workshops were inclusive, specifically designed for both dyslexic and non-dyslexic students by the author and Qona Rankin, coordinator for dyslexic students at the RCA (Rankin et al. 2017;Rankin and Riley 2021). The workshops are based upon post-doctoral research reported in Riley (2014) and Chamberlain et al. (2015), which indicates a correlation between the ability to draw objectively and the development of intelligence of seeing, explained to students as an awareness of the inter-relationships between ways of seeing, social belief-systems and ways of drawing. ...
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This article reviews 20 years of attitudes to drawing pedagogy and looks forward with a studioful of post-pandemic optimism. It reiterates the importance of drawing in art schools as the most direct and economic means of nurturing our intelligence of seeing. Throughout the period, neoliberal policies directing the UK higher education curricula towards market-oriented criteria of success have eroded the foundation of a visual arts pedagogy: the exploration of the perceptual and its communication through visual language; educative activities of wider import than market concerns. An articulacy in drawing – visualcy – is fundamental to human culture, let alone preparation for professional practice in the visual arts and design disciplines. A remedial pedagogy is proposed, structured upon the two fundamental theoretical bases of visual perception and visual communication, illustrated with students’ drawings and the author’s efforts to practise what he preaches.
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