Art teachers have inherited unreconciled attitudes toward the teaching of drawing, which stem from an unresolved conflict between interventionists and non-interventionists. The resulting fragmentation of teaching practises is further confounded by consideration of the "crisis in confidence" period of drawing development that surfaces in grade four. In an effort to provide a clearer definition of the teacher's role in the drawing class, this study examined the practises of four exemplary art specialists^ Descriptive research techniques were employed in the observation of 27 drawing lessons, nine each at the grade two, four and six levels. Recorded dialogue was analyzed using Kakas' Peer Interaction Typology and Clements' Questioning Typology, and it was found that peers at all grades spoke most often about their own drawing experiences or artwork, and that teachers used mostly indirect questioning strategies when interacting with students. Data collected regarding initiators of interactions revealed that with increasing age came decreasing amounts of student initiated interaction, together with increasing amounts of teacher initiated interaction. It was also found that there was a paucity of peer interaction at the grade four level, and that in-process viewing of peers' artwork was an important component of the drawing lesson. Within a supportive environment, interaction generally ranged from neutral to positive.

There is no abstract available for this thesis.

This creative project explored and determined the visual characteristics of drawings and paintings of vegetables. The project consisted of a painting and a drawing of the following vegetables: a potato. a pea and pod, a tomato, a carrot, and an onion. The paintings were done in glazes of oil paint and the drawings in colored pencils. Fundamental to this creative investigation was the control of subject matter, composition and color variables. These variables were controlled in order to understand the way in which the media and techniques differentiated the visual appearance of the drawings and paintings.

Art teachers have inherited unreconciled attitudes toward the teaching of drawing, which stem from an unresolved conflict between interventionists and non-interventionists. The resulting fragmentation of teaching practises is further confounded by consideration of the "crisis in confidence" period of drawing development that surfaces in grade four. In an effort to provide a clearer definition of the teacher's role in the drawing class, this study examined the practises of four exemplary art specialists^ Descriptive research techniques were employed in the observation of 27 drawing lessons, nine each at the grade two, four and six levels. Recorded dialogue was analyzed using Kakas' Peer Interaction Typology and Clements' Questioning Typology, and it was found that peers at all grades spoke most often about their own drawing experiences or artwork, and that teachers used mostly indirect questioning strategies when interacting with students. Data collected regarding initiators of interactions revealed that with increasing age came decreasing amounts of student initiated interaction, together with increasing amounts of teacher initiated interaction. It was also found that there was a paucity of peer interaction at the grade four level, and that in-process viewing of peers' artwork was an important component of the drawing lesson. Within a supportive environment, interaction generally ranged from neutral to positive. / Education, Faculty of / Curriculum and Pedagogy (EDCP), Department of / Graduate

The purpose of the study was to find out more about verbal and visual aspects of teaching art and learning to draw in the classroom. It was to determine what influence language has on visual processes in drawing and to examine effects of talking and verbal thinking on the acquisition of drawing skills of pre-adolescent students in grade seven. The study consisted of a 10-week drawing course for four classes of grade seven students in an elementary school in Vancouver, British Columbia. Instruction was the same for all classes except that in two of the classes students were permitted to talk to each other while drawing and in two classes students were instructed not to talk while drawing. Data were collected and observations recorded using scores on drawing tests, student evaluations, drawing surveys and teacher logs. Although scores on drawing tests showed little difference between the two groups, consistent observations indicated that students did not talk and draw at the same time. Students who talked stopped drawing, completed fewer drawings, made less frequent reference to the model and followed fewer directions. When comparing the work of the two groups, teacher attitude toward the talking group reflected more dissatisfaction because of the higher incidence of incomplete work and the necessity of having to raise the voice in order to be heard. / Education, Faculty of / Curriculum and Pedagogy (EDCP), Department of / Graduate

This project has led to the development of a text "An Introduction to Mechanical Drawing" and slide series for this text, which will be used in combination to teach mechanical drawing to Junior High School students and a basic approach to drawing for any interested person.The text is written in a teachable sequence. That is, each chapter develops a particular segment of mechanical drawing, which is added to and built upon by each successive chapter.A preliminary stage setting to mechanical drawing for the students is developed through the use of the slide series.

The problem of the study was a comparison of the relative effectiveness of two approaches to the teaching of engineering drafting.

Typescript. / Digitized by Kansas Correctional Industries

With the advent of the computer, the world of design has been revolutionized. Many artists and designers have started to look to the computer to aid in their design processes. By using the computer, designers have been able to achieve a higher level of precision and design resolution. This project examines the processes involved in teaching the computer as a design tool to art students and faculty. By drawing on five years of computer application experience, the author has created and executed a plan for helping designers learn the advantages of incorporating the computer as a part of their design processes. This project deals with the difficulties of teaching designers the visualization and computer skills necessary for using the computer as a design tool. The project focuses upon two groups of students. The first group was comprised of advanced metals students learning MacintoshApplications. The second group was comprised of advance metals students working on Microstation, a CAD software application. / Department of Art

In the environmental design professions, many students and practitioners lack confidence in visual communication skills, especially in the case of quick perspective sketching. For many, sketching as a beneficial design tool is not fully learned or appreciated.This study explores sketching fundamentals and a teaching technique to promote perspective sketching as an effective design tool. Experimental workshops were conducted with various beginning environmental design students in three universities. Students responded to a post-workshop questionnaire which attempted to solicit feedback about the demonstrated sketching technique as to whether the technique 1) increased their ability, 2) increased their confidence, 3) increased their enjoyment, and 4) increased their willingness to pursue sketching in the future. Students were also evaluated on the degree of improvement according to simplicity, clarity and proper perspective setting of their sketches.The results suggested that the workshop, teaching methods and sketching techniques were successful. Students showed marked improvement and indicated in the questionnaire that they enjoyed the experience and were pleased with their new skills. They also indicated a positive feeling about the teaching methods and the sketching techniques. / Department of Landscape Architecture