The 2012 Thinking through Drawing symposium Drawing in
STEAM was held at Wimbledon College of Art on the 12th to
14th September, in association with Loughborough University
and Teachers College, Columbia University.
This book compiles drawings made during the event in
response to the presentations and workshops.
Published by 123Draw: Michelle Fava, Angela Brew & Andrea Kantrowitz.
In association with Loughborough University, Teachers College, Columbia
University and University of the Arts London.
Cover Image and photos by Sergio Fava and Daniel Pope, book design by
Simon Downs.
All material is copyright of the artists and 123Draw. All rights are retained.
Thinking Through Drawing Seminar 2012 Drawing in STEAM
Held at the Wimbeldon College of Art,
12th to 14th of September 2012
Contents
Yoon Bahk – Notes on Scribing
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Shaun Belcher and Moogee the Art Dog at Thinking
Through Drawing 2012
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How is drawing used within and between STEM disciplines
(science, technology, engineering and maths)? What is the
relationship between drawing practices in the Arts and in STEM
subjects? What is our current understanding of drawing, cognition
and learning, and how is it contributing to curriculum
development in instructional design in these areas? These were
the questions posed at the 2012 symposium, Thinking through
Drawing 2012: Drawing in STEAM, in October 2012.
These drawings are the result of four artists attending the symposium, they respond to presentations given addressing the role of
drawing practice in STEM disciplines, our growing understanding
of drawing and cognition, and the potential for pedagogic and
curriculum development. Certain themes emerged, such as the
use of drawing in medicinal contexts, both as an aid in surgical
training, and as an aid to recovery and personal understanding of
illness. The use of drawing as a tool for thinking and visualisation
was also a strong theme, with presentations addressing this from
numerous disciplinary perspectives. We saw that a drawing can
be used as proof, and that it can (literally) make us more capable
of learning, problem solving and creativity.
Yoon Bahk, Robert Shadbolt, Shaun Belcher and Sarah Blake
drew tirelessly throughout the event, offering illustrations, questions and personal takes on the event and its contributions. This
publication accompanies the online special edition of TRACEY:
Drawing in STEAM. The original papers can be downloaded and
read there.
Follow Thinking through Drawing at:
twitter.com/DrawCogs
www.facebook.com/drawingandcognition
drawingandcognition.blogspot.com
Special thanks should be extended to Simon Betts and Stephen
Farthing of University of the Arts London, to Simon Downs and
Russ Marshall from Loughborough University and to Judith Burton
and Barbara Tversky, Columbia University for their ongoing
support and encouragement.
Yoon Bahk – Notes on Scribing
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As a designer who works with people from a lot of disciplines, part of my
role in a multidisciplinary team is to act as the translator within the group and
I do this most of the times by telling stories through drawings. As a visual
scribe, my role is similar that I act as a translator who puts whatever is being
said into a visual format.
The images you see here are the result of my live documentation of the Thinking Through Drawing Symposium 2012. For the event, I was asked to record
the event through drawing. This type of task is commonly known as visual
scribing or graphic facilitation. I see the goal of scribing to make ideas more
broadly accessible to people of different disciplines and backgrounds who
might speak a different language either due to their nationality or area of
professional expertise. Having scribed at other events before this symposium
was particularly interesting as the theme of the symposium involved drawing
as communication itself, featuring Drawing in STEAM (Science, Technology,
Engineering, Arts and Maths).
At such events I often draw somewhere where the audience or most of the
people present can see what I’m doing. This is by definition closer to graphic
Yoon Bahk
A native of South Korea,
Yoon spent a good portion of her formative years
in the USA and UK. She
was trained as an industrial designer at KAIST
(2006) in South Korea
and then she moved to
London where she was
awarded a double Masters
from the Royal College
of Art and Imperial College London in Innovation Design Engineering
(2008). Her background
and education has given
her a bilingual, multicultural and interdisciplinary
outlook, enabling her to
weave between the social
spaces between cultures,
disciplines
including
design and engineering,
and commercial and academic worlds.
Since finishing her studies, Yoon has worked
as a design consultant,
developing innovation
strategies using design
thinking and methods to
tackle problems. She has
also developed toys with
Laughing Onions Ltd.,
a UK-based toy inventor, since 2009. She has
worked for companies
including Unilever, Pepsico, Barry Callebaut and
LG. In 2011, Yoon set up
Studio Jammo Ltd. Yoon
has always been passionate
about doodling and this
had led to graphic facilitation forming a central
role in Studio Jammo’s
activities.
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facilitation than scribing, as I’m more involved in what’s going on as it happens. In contrast, for talks and lectures, I’m more often located the back or
side of the auditorium where people can’t see my drawings until the talk is
finished, which was the case of the TTD symposium.
As was the case at the TTD symposium, people at these events often ask
how I can remember everything that’s been said? The answer is, I don’t! The
information from the speaker is being filtered through me to be drawn, and
I can only draw what I can understand. Transcribing what is being said into
a written language is hard enough to keep up with someone talking, but to
put this into a drawing, you have to go through an added step of translating
it into another language: a visual one. So the truth is, what’s going on in my
brain is not frantically trying to keep a record of everything but rather boiling
down what’s important or interesting to me, while chucking out the minor
details and things I can’t comprehend.
Simultaneous translators like to get as much information about the talks or
speeches they will be translating so that they can make sure they know all the
words in the language to be translated and to understand the subject matter.
It’s the same with scribing. Prior to events, I like to be prepared with the right
visual vocabulary that will represent what’s being said as much as possible. At
the TTD symposium I didn’t get so much information in advance other than
that the common theme for all the talks was drawing which luckily was somewhat of my own territory so I didn’t need so much prep work beforehand.
Due to the theme of the symposium being on drawings, oftentimes, the
speaker presented a drawing. Thus, not only was I simplifying what was
being said verbally, but a lot of the times I was simplifying the drawings being
presented into small, recognisable icons.
In summation, live scribing helps create a lasting memory of a lecture for an
audience through imagery. These images are partially open to misinterpretation, which is also what makes them particularly interesting. People try and
understand what I have drawn, they scratch their brains trying to remember
what was said that triggered me to draw that, which in turn initiates an interesting inner discourse and sometimes with others. As a result, these drawings
prove to be more inviting for people and they tend to revisit them more then
their own, more ‘verbatim’ written notes of the event.
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Shaun Belcher and Moogee the
Art Dog at Thinking Through
Drawing 2012
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Shaun Belcher
Shaun Belcher is a prolific artist whose practice
encompasses photography, painting, drawing,
poetry and song writing.
Belcher frequently posts
his doodles on his blog,
which functions like a
diary. They retrace his
mood, his frustrations
with the arts scene or his
views on the art world
with a deadpan humour.
His drawings are a mixture between comics,
scribbles and caricatures
and are made with an
unhesitating black pen.
The message is straightforward and clear. In
some of his cartoons such as
“Give me the Turner
Prize, I am as shit as
anyone”, his slang vocabulary as well his definitive
statements can have something moving and aggressive at the same time – as if
distant remnants of teenage hood.
His ironic and shameless
comments on the art scene
are indeed serious and
make him at times sound
desperately ambitious and
direct. For instance “I am
a pretentious 25 year old
with no fucking skills but
by networking, crawling,
by doing voluntary
works in a gallery I now
have a small foothold on
the art world…” By
talking about his
experience, he brings up
questions that any artist
might ask himself:
The STEAM conference was the first time I have drawn in public and I
found myself analysing my drawings as I participated as well as finding myself
drawn into the fascinating series of presentations. For that reason the style
changes through the three days.
Early on I drew as I listened and pretty quickly found myself falling behind
as not being used to live ‘scribing’. By midway in the proceedings I was starting to draw single cartoon equivalences of the lectures or actually attempting
interactive drawings as part of lectures e.g. self-portrait by touch.
By the end I was drawing so much some off-subject jokes and doodles crept
Thinking Through Drawing Symposium 2012
in and finally I ended up drawing a complete cartoon booklet using the free
blank booklet given out at beginning of conference. I thoroughly enjoyed the
whole event even though I was a bit drawn-out by the end! I look forward to
further opportunities to wear out my collection of Sharpies!
How can I be visible as
an artist in a saturated art
scene? Can I make a living
from my work? How can I
network
even
more
than I currently do? Even
though his works refer a
lot to very English contemporary art events such
as the Turner Prize or the
Nottingham art scene,
they can apply to every
artist striving to succeed
and to be recognized.
Shaun Belcher was born
in Oxford in 1959. He is
currently living in Nottingham and is now a
mul-timedia lecturer at
Trent
University,
freelance web designer
and practicing digital
artist. To see more of his
work
registered
on
Saatchi
Online
visit
http://www.
shaunbelcher.com
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Sarah Blake:
Artist’s Statement
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These drawings are an attempt to think about the connections between the
drawn mark, the written word and the space that surrounds them. They are
composite images – part note, doodle, scribble, and sketch. The drawings
were made in response to what I heard and saw. They function as reminders
of some of the talks I listened to that day – the drawings are made up of words
and phrases, fragments of diagrams and symbols, often woven together in an
intricate surface of pencil and ink marks.
The words become marks, and the marks turn into text. It is this relationship
between drawing and writing – that I aimed to explore. Making work and
then immediately putting it on display was a freeing process.
As the day went on I became less and less self-conscious and the drawings,
I think, became more playful.
For more examples of my work visit sarahblakeartist.tumblr.com.
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Robert Shadbolt
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The Symposium
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The Symposium
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'The Articulate Hand' performance. Image courtesy of Andrew Dawson
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