THINKING THROUGH DRAWING: PRACTICE INTO KNOWLEDGE

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THINKING THROUGH DRAWING: PRACTICE INTO KNOWLEDGE 79


Introduction
The aim of this research is to contribute to
understanding the underlying cognitive processes
involved in observational drawing, and further con-
sider the relationship between drawing and think-
ing. The model under development aims to both
elucidate and inform practice. It is proposed that
models of these processes can inform drawing ped-
agogy and curricula, by explicitly (if only partially)
acknowledging the role of drawing in apprehending
visual information, and the nature of the learning
entailed in developing observational skills.
A grounded theory framework is followed (and
briefly described here) in order to derive the model
from primary evidence. Case studies of five artists’
drawing process were used, excerpts from which
are given to illustrate examples. Behavioural analy-
sis of video footage is used alongside verbal proto-
col analysis, to elicit concurrent and retrospective
reports of drawing process and identify significant
behaviours.
The model is not intended as an exhaustive
description of cognitive process. An emotional
dimension might be added, for example, or a more
detailed consideration of the role of memory. The
model offered focuses on thought processes, rather
than knowledge, required for drawing skill. It sug-
gests a temporal dichotomy between strategic
thought and visual attention, as a framework in
which to consider learning.
The model can be used to describe artists’ draw-
ing behaviours and strategies. It is also intended as
a framework for considering existing theories of


drawing and cognition, and for considering the rela-
tionship between observational skill and broader
transferable skills and approaches to learning.
The study is ongoing, and the model is under
development. Therefore, this paper is also an invi-
tation for discussion regarding the consistency and
applicability of the model.

The need for a cognitive account of drawing
Drawing skill is essentially tacit, visual and
multi-faceted, and therefore complex to talk and
write about, in theoretical and teaching contexts.
Practitioners’ accounts of what they do, and how
they do it, differ on a number of levels: their prac-
tices differ, the terminology they use is idiosyncratic
or dependent on training, and their awareness of
their own thought processes also differs.
The extent of conscious awareness of one’s own
thought processes changes with practice. Skills
become proceduralized and working memory is
freed. Fewer details need present themselves to con-
sciousness. This phenomena is explained in Ander-
son’s (1982) “three stage” model of skill acquisition
(based on Fitts’ 1964 model), also in cognitive
load theory (Sweller 1994) and in Kahneman’s
dual process theory (2003). Cleeremans’ (1997)
description of implicit learning (incidental learn-
ing without explicit teaching) presents an absence
of consciously accessible knowledge throughout the
learning process.
Drawing process is therefore a problematic sub-
ject for discussion—not only is it essentially non-
verbal, but expert practitioners may not be aware

Developing a Cognitive Model of


Observational Drawing


Michelle Fava
Loughborough University, Drawing Research Group

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