8 TEACHERs COLLEGE COLUmbIA UNIvERsITy
perception, creativity and analogy in the drawing
This volume demonstrates how each discipline
has the potential both to inform and be informed
by the others. The work offered for discussion at
the symposium covered new ground in many direc-
tions, through the links made between people and
ideas. Theory connects with practice, in the sense of
individual drawing practice, in the broader area of
teaching practice, and finally in the very broad area
of the practice of living.
What is Drawing?
As Fitch reminds us, the term “drawing” appears
in many guises, and has a rich etymological past.
Authors in this volume use the term “drawing” in
many ways. Some inquire into specific practices,
such as observational drawing, while others take a
broader view of drawing, considering gesture, per-
formative forms of drawing, or drawing as visual
thinking and situated cognition.
Moffett sees drawing as “primarily a form of
moving”. This proved to be of interest, with discus-
sion of the micro-movements and synchronization
of eyes and hands (see Coen-Cagli, Brew, Tresset
and Fol Leymarie), and the cognitive significance of
these physical movements (see Kirsch and Tversky).
We saw inquiry into the cognitive processes under-
lying drawing skill, offering further analysis of the
components of perception and their roles in making
and reading drawings (see Ostrovsky, Fava, Cham-
berlain and Riley).
The definition of drawing, particularly in edu-
cational contexts, raised further questions regard-
ing contemporary notions of “skill” and “craft”. In
The Bigger Picture of Drawing Farthing argues for
expanding our definition of drawing, beyond the
boundaries of traditional artistic practices. This
classification is used by Betts as the foundation of
a new transdisciplinary drawing pedagogy and
curriculum. Farthing and Bett’s ideas resonated
strongly with the conception of drawing as a think-
ing tool and a way to develop cognitive skills and
processes, which surfaced in so many of these con-
tributions. This position was contextualized by Sim-
mons, who offered another kind of “bigger picture”,
situating our drawing and teaching practices in a
cultural, historical perspective, considering theoret-
ical and practical perspectives on drawing in rela-
tion to philosophical paradigms.
Is Drawing Useful?
Drawing Surgery: The collaboration of Shah and
Wright, surgeon and drawing practitioner, uncov-
ers new ground in the practice and teaching of
surgery, as well as in Wright’s own practice. Their
reflective analysis of the gestural and performative
nature of both surgery and drawing emphasises the