natural objects

recording observations

sensory looking

the suitcase

life near gjoa haven

plankton lab

plankton lab

experiences in the classroom

Drawing from collections was the first exercise in observation. Each class went through the same process. Slowing down and noticing edges and details was essential in discovering and recording the objects.

Using mark making as a means of describing our experience. Notations on paper - evidence of careful looking.

The line is bold and fluid. And permanent. Enlargements encourage detailed descriptions. Practicing noticing before taking our notebooks into the field.

experiences in the classroom

Drawing from collections was the first exercise in observation. Each class went through the same process. Slowing down and noticing edges and details was essential in discovering and recording the objects.

Using mark making as a means of describing our experience. Notations on paper - evidence of careful looking.

The line is bold and fluid. And permanent. Enlargements encourage detailed descriptions. Practicing noticing before taking our notebooks into the field.

seeing with our fingers

Feely bags help us hone our observation, memory and imagination. Each table received an object inside of a plain canvas bag. Using our fingers like our eyes, we took turns describing what we felt - engaging touch as the first point of contact - without the mediation of our vision.
Description before interpretation. As each person put their hand in the bag and began to explore and articulate their experience of the object, the rest of the group listened and then wrote down what their neighbour had said. Research notes to help us imagine the contents of the bag.
Once we had exhausted text based possibilities, the bag was set in the middle of the table, and we drew what we felt inside. If we need more information, we could touch it again and translating our impressions with lines of black ink.


When our drawings were finished, we finally revealed the object. Then we toured the room, and read each other's work.

seeing with our fingers

Feely bags help us hone our observation, memory and imagination. Each table received an object inside of a plain canvas bag. Using our fingers like our eyes, we took turns describing what we felt - engaging touch as the first point of contact - without the mediation of our vision.
Description before interpretation. As each person put their hand in the bag and began to explore and articulate their experience of the object, the rest of the group listened and then wrote down what their neighbour had said. Research notes to help us imagine the contents of the bag.
Once we had exhausted text based possibilities, the bag was set in the middle of the table, and we drew what we felt inside. If we need more information, we could touch it again and translating our impressions with lines of black ink.


When our drawings were finished, we finally revealed the object. Then we toured the room, and read each other's work.

Learning from each other

Towards the end of the session, we tucked in our chairs and went on a walk around the room to see what our friends and neighbours had discovered about their own objects - to examine the evidence of careful looking.

Learning from each other

Towards the end of the session, we tucked in our chairs and went on a walk around the room to see what our friends and neighbours had discovered about their own objects - to examine the evidence of careful looking.

Drawing from natural objects

The objects are small. They fit comfortably in one's hand. Information is gleened through touch first - an ancient and primary sense. The skin notes the texture, temperature, weight and fragility of the object and enhances what the eye can see. There is a certian intimacy that develops between the researcher and the subject; a relationship between the child and the object.

It was silent as we worked. I suggested 10 minutes of focused drawing and was surprised that we easily exceeded that framework. Everyone was engaged in a process of discovery that was made visible through line and shape. I put down my pen and toured the room, noticing their process and whispering a comment to each participant.

Drawing from natural objects

The objects are small. They fit comfortably in one's hand. Information is gleened through touch first - an ancient and primary sense. The skin notes the texture, temperature, weight and fragility of the object and enhances what the eye can see. There is a certian intimacy that develops between the researcher and the subject; a relationship between the child and the object.

It was silent as we worked. I suggested 10 minutes of focused drawing and was surprised that we easily exceeded that framework. Everyone was engaged in a process of discovery that was made visible through line and shape. I put down my pen and toured the room, noticing their process and whispering a comment to each participant.