I assume that every child's brain already has a picture of a flower ready to draw. This is an obstacle when teaching perception. The part of our brain that learns how to make careful observations does not develop if draw from what our brain thinks that it already knows about how things look. New observations are blocked or overlooked because of these preconceptions. I look for subject matter that the brain has not yet stereotyped and cataloged.
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Therefore, I often select the mundane, the trivial, the little details, from the child's ordinary experiences. When I talk about this to adults, I say that in order to learn to draw we have to see the world without prejudice - as God sees. That is why the root and not the flower was used. A familiar thing like a well loved toy animal can be made to look unfamiliar by turning it upside down, backwards, etc. When teaching perception it is important to select something that is easy enough to avoid frustration.
That is why only one root was selected in this story. Had Ella stopped after the one root, that would have been fine. It must be challenging enough require some detailed study and concentrated practice in the air. Using both touch and vision is more perceptual than using only vision. That is why a simple square thing, or a simple round thing like a ball, is not very useful. The thing observed has to be unexpected enough in some way so that careful looking is required. Avoid things for which the child's brain has already created and stored a stereotyped image.
When teaching perception it is helpful to select subjects that are emotionally important to the person doing the drawing. I explain the above principles to children so they can use the principles themselves when they practice. How to Draw. A Poem. First, grow one; fuss with the soil; search for ample light. Recall the one you watered to death. Learn the name of the crazy roots, besides crazy roots. Trace a single rhizome from node to soil. Then again. Forget Van Gogh. This is your flower, its curve, its day to bloom. Find the color then close your eyes Wait long enough. David Wright.
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As the teacher, I did no drawing in this drawing lesson. I draw the line on this. When the teacher begins to draw, the child will stop looking at the real source and begin looking at the adults replica of the source. This is not learning to see. This develops a common problem among children. We call it learned helplessness. Ella had no chance to copy my drawing.
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Ella had to get her visual data from the orchid root itself. She was learning to be self-sufficient - not dependent and helpless. I showed observation methods. I never corrected Ella and took every opportunity to affirm and encourage her efforts. Young children respond positively to positive motivation.
Negative motivation may work to stop something, but it does not work to promote something positive. In subsequent lessons I have shown Ella how to use a "blinder" on her pencil. A blinder is an 8 x 8 inch piece of heavy paper with a small hole in the middle. Her pencil is placed in the hole. The blinder hides her paper while she draws a new thing. This keeps her eyes on the subject instead of the paper. At age six when Ella wants to draw a new thing she puts the blinder on her pencil and makes practice drawings on her paper. Often this ends up to be a jumble of lines, but the individual lines are amazingly faithful to their sources.
After this "seeing practice" she takes the blinder off her pencil and makes another drawing while looking at her paper and at the subject. At age six, Ella reads well and enjoys leaning to add two digit numbers. Teachers are good at teaching reading, writing, math, and so on. However, most children have no art teachers that bother to teach them art. Too often their art is mainly offered as relaxation. Some teachers give them busywork projects. The busywork is made up of prescribed pictures, tracing, or craft projects that are largely pre designed.
Other teachers simply allow them play around and do whatever they wish. If I were to choose, I would rather see the 'play around' method than the 'cute craft project' busywork. While these activities are not immediately harmful, they do leave a gap in their education and mental development. In many schools art is taught so poorly in the younger years that most children feel totally incompetent by the time they reach grade three.
Only the few who have practiced more excel. Often the 'talented' ones have parents who are particularly generous with materials and encouragement. These children are called the 'talented artists' in the class. The remainder of the class suffer from what is called a "crisis of confidence". They stop practicing because nobody ever helped them learn how to trust their own perception and practice productively. Schools in Japan are faulted by some because their culture honors the group more than we do at the expense of the individual. Children that are particularly gifted and creative are discouraged from being different.
This has both positive and negative educational and societal outcomes. While individual creativity may suffer, the ability to create and produce high quality in groups may be stronger. Japanese schools include regular observation drawing along with work from memory and imagination in the early school years. Young children can often be seen in the school flower garden making observation watercolor paintings or out in a plaza painting a fire truck that is placed for their observation.
They all learn to draw as an expected part of the curriculum. While we tend to give about an hour per week to art instruction, they are apt to allow about three hours per week in the early grades. They develop extended attention spans and the ability to focus on a task that serves them well in other learning as well. On the following day after Ella did the pencil drawing at four and three-quarters, feeling confident in her ability and self-sufficient, Ella decided that she would try out a set of watercolors that her great grandmother, age 94, brought her from Japan.
In addition to direct observations, other good sources of content for children's drawings include, their imaginations another important area of brain development , their everyday experiences , their memories , and special events both good and bad in their lives important for emotional development. We motivate children to elaborate more more in their drawings by asking them open questions that bring to mind ideas from their own experiences - not by drawing for them.
We give positive feedback about their work. We provide unlimited paper or a white board with non-toxic markers. We treat the artwork as a gift no matter how it looks. When we fail to understand we do not say, "What is it?
If young children are corrected in their drawing, they will automatically move to a less beneficial activity such as watching cartoons on TV, or some other brain shrinking activity. Similarly beneficial activities include playing with simple blocks, Legos without patterns to follow , clay, Play-Doh, and so on.
Blank paper is better than coloring books even coloring books can promote learned helplessness. Coloring you own picture is better. Drawing your own maze is better than doing somebody else's maze in an activity book. After blooming, phalaenopsis orchids will enter a period of resting and revitalizing. The duration of this for potted indoor phalaenopsis orchids varies greatly, depending on factors such as plant health, growing conditions, and whether or not it has been adapted to an artificial schedule.
But ideally, this phase lasts for months. Continue fertilizing every other week during warmer months and every weeks during colder weather, making sure you always water your orchid without fertilizing at least once between each feeding. It may not look like much, but it serves as a nutrient store for your plant to draw from as it builds the energy to bloom again. Windows with lots of indirect sunlight are great options for orchids because they like to have warmth during the daytime and slightly cooler temperatures at night.
Your orchid will also benefit from more humidity during this period. So consider using a humidifier, or place the plant on a tray filled with pebbles and water. Phalaenopsis repotting. Or, you can simulate this temperature differential in your home by simply turning your thermostat down at night. Phalaenopsis needs this temperature differential for about weeks. Through the years, as your plant grows larger and stronger, it may even produce two flower spikes at the same time, one on either side of the central plant stem! Once you see a new flower spike emerge, place your phalaenopsis orchid in its previous location and stop fertilizing it.
The spike will grow and produce buds. Now, just water when needed and enjoy the show, satisfied that all your care and attention has paid off!
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Therefore, many of these troubleshooting issues have to do with providing good orchid care. A healthy moth orchid will have bright green leaves, while a dark green color indicates that it needs more light. Phalaenopsis orchids love lots of bright, filtered or indirect sunlight.
On the flip side, too much light can also inhibit orchid blooming. If this is the case, try moving the plant a little ways away from a window with direct sunlight, filtering direct sunlight with a sheer curtain, or relocating the plant to another window. Too much or too little water could prevent your orchid from reblooming, with over-watering being much more common than excessive dryness. You should allow it to become mostly but not completely dry between waterings.
If the potting material is not allowed to properly dry out, you risk root rot and disease that will weaken the plant and could eventually cause it to die.
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Signs of too much or too little water include brown patches as well as leaves that are limp, wilted, leathery, or wrinkled. They should always be plump and firm, with tips that remain green or magenta when they are actively growing. Although phalaenopsis orchids are light feeders, lack of food will prevent your orchid from reblooming.
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