and the arm because there is a certain amount of perspective going on which makes the arm look shorter in 2 D but in 3 D not shorter, so to my eyes it makes sense it’s but to my hand it make sense. doesn’t An art tutor working in a secondary school remarked; how some dyslexic “I find students invert shapes whilst drawing fascinating.” Another student voiced her frustration with what she saw as a deficit in her visual motor integration processing. thinking how frustrating it is to see something so “I’m accurately and not be able to translate it with the hand.” (2001, pp.35-40) research also discovered that eye-hand Tchalenko’s Ocean’s patterns were more temporally consistent than those of novice artists. We have found, getting students to air draw, (this needs to be done with a straight arm,) a number of times before they make any marks on the paper followed by looking through a piece of Perspex or glass and literally tracing the image onto it, repeating the process several times, then shutting their eyes whilst continuing to make the movements can help in two ways. Firstly, they build up confidence in their eye-hand co-ordination without fear of any evidence found to be and secondly, ‘being wrong’ they bring their motor memory into play, which may go some way towards remediating the automaticity deficit, which we will return to. At the end of a workshop one student remarked; feel I now have better co-ordination between looking and “I drawing” A secondary school art teacher who main difficulty with my role is that wrote "…the many students have an aversion to a similarly effective project drawing…", devised where she reduced the stress by; an object or person onto a students’ “…projecting screen and getting the students to draw around it, we ended up drawing animals by torchlight which was magical." The central executive enables us to pay attention to certain aspects and prioritise select and define one element and filter out others. It is responsible for decisions, for example, it enables us to discriminate one object from a busy background, the shape of an object as opposed to the pattern on the surface, it enables choices to be made about whether to focus on structure, or tone, or how much pressure to put on the
and the arm because there is a certain amount of perspective going on which makes the arm look shorter in 2 D but in 3 D it’s not shorter, so to my eyes it makes sense but to my hand it doesn’t make sense. An art tutor working in a secondary school remarked; “I find how some dyslexic students invert shapes whilst drawing fascinating.” Another student voiced her frustration with what she saw as a deficit in her visual motor integration processing. “I’m thinking how frustrating it is to see something so accurately and not be able to translate it with the hand.” Tchalenko’s (2001, pp.35-40) research also discovered that Ocean’s eye-hand patterns were more temporally consistent than those of novice artists. We have found, getting students to air draw, (this needs to be done with a straight arm,) a number of times before they make any marks on the paper followed by looking through a piece of Perspex or glass and literally tracing the image onto it, repeating the process several times, then shutting their eyes whilst continuing to make the movements can help in two ways. Firstly, they build up confidence in their eye-hand co-ordination without fear of any evidence ‘being found to be wrong’ and secondly, they bring their motor memory into play, which may go some way towards remediating the automaticity deficit, which we will return to. At the end of a workshop one student remarked; “I feel I now have better co-ordination between looking and drawing” A secondary school art teacher who wrote "…the main difficulty with my role is that many students have an aversion to drawing…", devised a similarly effective project where she reduced the students’ stress by; “…projecting an object or person onto a screen and getting the students to draw around it, we ended up drawing animals by torchlight which was magical." The central executive enables us to pay attention to certain aspects and prioritise select and define one element and filter out others. It is responsible for decisions, for example, it enables us to discriminate one object from a busy background, the shape of an object as opposed to the pattern on the surface, it enables choices to be made about whether to focus on structure, or tone, or how much pressure to put on the
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