The paper “Drawing Lab” by Michelle Salamon explores the association between drawing and human memory through a series of 5 workshops. The purpose of drawing is seen as a learning and encoding tool. Encoding is the process through which we modify information in order to make it storable, this could be either visual, semantic or auditory. Through a series of workshops, drawing is observed to help encoding, storage and retrieval of memories.
An interesting aspect of drawing explored in the paper is it can be seen as a physical activity for learning as we observe, memorize and transform information through a physical act. Kinesthetic learning is a style of development, understanding and retaining information through physical activity and hands-on experience (Oxford University Press, n.d.). Visual learning and visual communication help with meaning and memory and provide an extra or alternative method of understanding information. For example, infographics are an excellent tool for transforming large datasets into accessible, visually appealing formats. They simplify information by using visuals and hierarchies, making it easier to grasp key points at a glance. Infographics not only enhance comprehension but also make retaining information much more manageable, especially when dealing with overwhelming data. Adding visuals aspects, we make our work more accessible to a wider audience.
Another aspect of drawing is its transformative nature, it brings into consideration the aspect that drawing is not merely about reproducing what is seen but about engaging deeply with an experience, uncovering layers of meaning, and forging connections between observation and interpretation. Drawing is seen as ‘an autobiographical record of one’s discovery of an event- seen, remembered or imagined’ (Berger, 2012) which emphasises the personal and intimate nature of drawing.
Drawing is an unpredictable and exploratory process, allowing designers to innovate by embracing the unexpected. The lack of complete control often leads to surprising results, opening the door to new ideas and creative breakthroughs. This process of breaking down and reassembling information reflects how drawing fosters “constructive perception” (Tversky, 2011). The ambiguity of drawing, which involves analysis and transformation of information, can help designers innovate by embracing the personal and interpretive nature of the process. Even when an object or scene is clear to the eye, the act of drawing can alter it significantly, as the artist’s perception, focus, and emotional engagement shape the outcome. Similarly, drawing from memory often results in interpretations that differ from reality, as the ingestion and recall of information are deeply personal. This transformation can lead to unexpected and innovative results, as the final drawing reflects not just the subject but also the unique perspective and creative reinterpretation of the artist as Berger states “For the artist drawing is discovery” (Berger, 2012 p3).
In essence drawing is a form of memory training, it allows for processing information with a personal and emotional viewpoint which makes it an essential tool for personal evolution and cognitive growth.
Bibliography
Berger, J. (2012) Berger on Drawing. Edited by J. Savage. Aghabullogue, Ireland: Occasional Press.
Oxford University Press, n.d.Kinesthetic learning. In: Oxford English Dictionary Online. Available at: https://www.oed.com [Accessed 6 January 2025].
Salamon, M. (2018) ‘Drawing Laboratory: Research Workshops and Outcomes’, Spark: UAL Creative Teaching and Learning Journal, 3(2), pp. 131–141
Tversky, B. (2011) ‘Visualising thought’, Cognitive Science, 3(3), pp. 499–535