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A Course in Enhancing Creative Capacity for Children and Adults

Drawing with
Child ren
A Creative Teaching and Learning Method
That Works for Adults, Too

Mona Brookes
Drawing with Children
 Drawing with
Children
A Creative Teaching and Learning Method
That Works for Adults, Too

Mona Brookes

Foreword by Ann Lewin

3f
JEREMY P. TARCHER, INC.
Los Angeles
Distributed New
by St.York
Martin's Press
The following works of art are reprinted with permission of the
Los Angeles County Museum of Art:

Woman, 1952. Willem de Kooning, United States (b Holland)

1904- . Purchased with funds provided by the Estate of David E.
Bright, Paul Rosenberg & Co., and Lita A. Hazen. M.75.7.
Le Vestiaire, VOpera, Paris. Kees Van Dongen, Holland, 1877-1968.
The Mr and Mrs. William Preston Harrison Collection. 26.7.15.
Decorative Composition, 1914. Maurice Prendergast, United States,
1859-1924. Mr. and Mrs. William Preston Harrison Collection. 31.12.1.
The Accordion Player, 1940. Rico Lebrun, United States (b. Italy),
1900-1964. Gift of Miss Bella Mabury. M.45.1.11.

Library of Congress Cataloging in Publication Data

Brookes, Mona,
Drawing with children.
Bibliography.
Includes index.
1. Drawing — Study and teaching (Elementary)
2. Drawing ability in children. 3. Drawing —
Psychological aspects. 4. Drawing — Study and
teaching. 5. Interaction analysis in education
I. Title.
NC615.B7 1986 741.2 86-14342
ISBN 0-87477-395-4
ISBN 0-87477-396-2 (pbk.)

Copyright © 1986 by Mona Brookes

All rights reserved. No part of this work may be reproduced or transmitted

in any form by any means, electronic or mechanical, including
photocopying and recording, or by any information storage or retrieval
system, except as may be expressly permitted by the 1976 Copyright Act
or in writing by the publisher Requests for such permissions should be
addressed to:
Jeremy P. Tarcher, Inc.
9110 Sunset Blvd.
Los Angeles, CA 90069
Design by Mike Yazzolino
Illustrations by the author and her students

Manufactured in the United States of America

109 8 7
With gratitude to my friend and thinkmate, Elliott Day, for the
hours he talked with me about drawing and the process that would
help four-year-olds to understand it.
Thanks also to Gertrude Dietz, for inspiring me to provide her
Tocaloma Tots with her wonderful vision.
 Contents

FOREWORD xi
A NOTE TO SCIENTISTS, EDUCATORS, AND PARENTS xv
PREFACE: THE MONART METHOD xix
HOW TO USE THIS BOOK xxiii
Duplication of Drawing Samples xxiv
Drawing Instruction Format xxv

PRELIMINARIES 1
BEFORE YOU DRAW 3
How You Feel About Your Own Drawing Ability 3
Changing Your Attitudes and Abilities 7
Giving the Artist in You Permission to Unfold 11
SETTING THE STAGE 19
Preparing Your Work Space 19
Let's Go Shopping for Supplies 22
Ideas for Inspiration 24
CREATING A SUPPORTIVE CLIMATE 29
Communication Can Aid the Process 29
Troubleshooting 33
CHOOSING YOUR STARTING LEVEL 37
Starting-Level Exercises 38
General Guidelines for Different Age Groups 42
 LESSONS 47
LESSON 1: Learning the Basics 49
Conducive Relaxation 49
Experimenting with Your Supplies 52
Recognizing the Five Elements of Contour Shape 53
Warm-ups 59
Wow! I Can Draw! 69
LESSON 2: Drawing from Graphics 73
Drawing Tips 74
Level 1: Leo the Lion 86
Level 2: Tropical Birds 92
Level 3: Carousel Horse 98
Choosing Other Projects 104
LESSON 3: Drawing from a Still Life 109
Level 1 : The Teapot and the Vase 111
Level 2: Adding the Kitchen Utensils 121
Level 3: Adding the Abacus 125
Building Still Life Arrangements 128
LESSON 4: Volume Drawing 135
The Positive and the Negative of Space 136
Levels 1,2, and 3: Tiger Lilies 147
Choosing Other Projects 152
LESSON 5: Widening Your Horizons 153
Media Tips 154
Design 164
People 170
Faces 185
Environment 191
Infinite Possibilities 198
A NOTE TO TEACHERS 201
BIBLIOGRAPHY 205
INDEX 207
 Acknowledgments

J. hanks to so many:

To Mark Hall, for the endless ways he kept me and the

Monart School going while I wrote the book.
To Noah Purifoy, for the original support and encour-
agement.
To the Monart staff, for their patience and understand-
ing.
To Marilyn, Ray, Ruth, Paula G., Paula P., Ina, Alice,
Diana, Donna, Anita, Michael B., Michael N., Lucia, Carla,
Steve, and Opel for their input and energy toward comple-
tion.
To Janice Gallagher, Laurie Held, and the Tarcher staff,
for their great support to a beginning writer.
To the Monart students, for their wonderful illustra-
tions.
To my aunt, Beverly Bender, for spending time drawing
with me when I was a little girl.
To my mother, Mary Boles, for always inspiring me
toward a questioning mind.
 Foreword

I loved to draw. My first box with twenty-four Crayola

crayons was my most valued possession. The words azure,
mauve, and taupe made me tremble with anticipation. The
silver and gold crayons were especially precious; I used them
more sparingly than any other colors. I drew all the time —
colorful flowers, trees, houses, dancers curtsying on a stage,
abstract designs. Drawing was a favorite pastime — until I was
six. I have not drawn since.
In first grade, we painted at an easel in front of the class-
room. loved
I the paints: their texture was entirely different
from my crayons, and they flowed so smoothly. But I hated
painting in front of the class. One day when it was my turn, I
painted a park full of trees as they had looked last time I had
seen them in the rain, their tall trunks wet and black and
shiny. As I painted, I became conscious of snickers in the
classroom and fingers pointed at the easel. I paused and
noticed some drips, big black drips, which had rolled down
the page. "Drips," I thought to myself, "aren't so terrible.
Lots of their paintings have drips." My teacher, noticing that
I had stopped painting, came and whispered gently, "They're
laughing because you made the trees black." I looked at the
painting, but the leaves were green, there was nothing

XI
 DRAWING WITH CHILDREN

wrong. My teacher continued, addressing me softly, "Trees

have brown trunks." There was a muddy brown in one of the
paint jars and there was black. I had chosen the color that
looked the closest to the real trees. My teacher explained to
the class, "Ann makes her tree trunks black." There was an
outburst of laughter. I put the brush down and made myself
walk slowly to my seat, fighting back tears.
From that day I always managed to find an excuse not
to go to the easel when my turn came. My drawing at home
became confined to coloring books. Whether this happened
as a result of the painful incident in school or because of the
decline in drawing that often occurs in children as they ap-
proach eight or nine, I do not know. Today, if asked whether
I can draw, 1 shudder and reply, "Not even a straight line with
a ruler." In fact, I thought of myself as a person who both
cannot draw and could not learn if taught . . . until I met
Mona Brookes.
Mona presented her method of teaching drawing at a
conference for five hundred educators. She asked the audi-
ence, "Who can draw?" About twenty hands went up. She
asked, "Who can draw well?" About five hands stayed up.
She asked, "Who can't draw but thinks they could learn?"
About ten percent of the hands went up. Finally: "Who can't
draw and thinks they can't learn?" The rest of the hands went
up; mine was the first. Apparently, I was not alone in my
attitude toward drawing.
Mona proceeded with her presentation. She told us how
capable a drawer she had been in elementary school, how
confused she had felt when singled out time and again for her
ability, how she had become an art teacher (almost by
chance). She described how she teaches and guides her stu-
dents. She told us as much about child psychology, peda-
gogy, and overcoming learning handicaps as she told us about
drawing.
Then, she taught us to draw. First she showed us her
warm-up exercises. Next, she projected a still life, a teapot in
front of a small vase, and taught us how to copy it. "What
shape is this?" she asked, pointing to the small round handle
on top of the teapot. "Yes, it's a flattened circle. Draw it on
your paper with enough space to put the pot under it."
"Where does this line go?" she asked, pointing to the stubby
Foreword

left side of the handle. Step by careful step she talked us

through the shape of the teapot, guiding our eyes with her
words, shaping the image in our mind, bit by bit, until the
connection between the detail of the object, its registration in
our eyes, its interpretation in our mind, and its recreation by
our hand resulted in a drawing. She taught us how to gather
information visually, elaborate it mentally, and express it
manually. She taught us a thinking process, how to analyze
anything we saw so that we could draw it.
I loved my teapot. It was the first time in my life I had
drawn an object from the real world and made my drawing
look like the object. It was the first time I had not crumpled
my paper in embarrassment and quickly thrown it away. I
stole glances at the teapots of the people to my right and left.
I liked mine best. I was forty-six years old, and I had learned
to draw.

In the decade from 1975 to 1985 we learned more about

how our mind functions than in all previous years of our
species' existence. From that decade some general theories
of intelligence emerged — theories of mediated learning ex-
perience, theories of multiple intelligences, techniques to
enhance both serial (left brain) and holistic (right brain)
thinking. Mystic Eastern thought is now viewed by propo-
nents of rational Western thought not as a strange form of
religion but as a manifestation of a particular kind of intel-
ligence. Nonetheless, there is still a long way to go in under-
standing how the brain develops, how the mind is fashioned,
and how the kind of human potential manifest in a
Michelangelo, Bach, or Einstein can be nurtured. Further
understanding will most likely occur in small steps, in the
meticulous work of a brain surgeon, in the prolonged treat-
ment ofa learning disorder by a clinical psychologist, in the
detailed pedagogy of a new teaching method.
The 1980s is not a generous decade for our children.
The pervasive use of television as a baby-sitter has stolen
much of children's free time. Penurious local governments
have cut "frill" subjects like art and science from school
budgets. Toy manufacturers, pressured by market forces, suc-
cessfully promote toys that have more sales potential than
play potential. We have moved from extended family to nu-
xiv DRAWING WITH CHILDREN

clear family to single parent to latchkey child, stripping away

the nurturing adults who knew how to provide children with
activities that connect mind and body. Our lives are governed
by the convenience of shortcuts rather than the convergence
of experiences, like drawing, that encourage the growth of a
child's mind.
Today, child psychologists tell us that drawing is as spon-
taneous and innately human an activity as learning to walk
and talk, and that the stages children go through in learning
to draw are predictable. For children under age three, draw-
ing isan extension of their observation of how things move.
Young children are satisfied with scribbles that appear mean-
ingless toolder persons because they have not yet learned to
observe the differences between what they see and what they
draw. Drawing is a complex process that requires you to iso-
late discrete bits from a complex entity, with three dimen-
sions, to reproduce those bits accurately, in only two dimen-
sions, torelate them logically to each other, and all the while
to move your hand carefully. By age five or six many children
can connect these simultaneous processes rather well, and if
children of this age have been fortunate enough to have had
time and materials, their drawings are often imaginative,
inventive, and detailed. It must have been of this age that
Picasso is quoted as saying, "I used to draw like Raphael, but
it has taken me my whole life to learn to draw like a child."
But toward age eight or nine children often drop out, their
drawings become stiff, and they frequently stop drawing al-
together. The more astutely they observe the real world, the
less accepting they become of their attempts to reproduce it.
Mona Brookes's method turns off the critical voice that
says, "This looks wrong." It turns off the rational voice that
says, "This is a square, not a thick line." It turns off the ma-
ture voice that learned at a very young age to say, "I can't
draw." Mona Brookes's way to teach drawing enables anyone
to draw who is willing to try.

Ann White Lewin

Founder and Executive Director
The National Learning Center/
Capital Children's
Washington, DC. Museum
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