OU blog

Personal Blogs

Design Museum

Neuroscience in Education: What Teachers Can Learn from Neuroscientists

Visible to anyone in the world

An AI-generated futuristic image of a classroom with pop-up screens
What if we treated the act of learning with the same precision that surgeons bring to an operation? Just as anatomy revolutionised medicine, could neuroscience do the same for education?

Understanding how the brain learns—and how it struggles—can transform teaching from guesswork into something much more powerful and informed. In this post, we will explore how insights from neuroscience can shape education, just as anatomical knowledge underpins modern medical practice.

Why Neuroscience Matters in the Classroom

Integrating neuroscience findings into educational practice can enhance teaching effectiveness and student outcomes. Both education and medicine benefit from a deep understanding of underlying systems—whether they’re neural pathways or blood vessels. The more we understand how learning happens in the brain, the better we can support it in the classroom, empowering educators with practical strategies

1. Understanding Learning Mechanisms

Anatomy shows us how the body’s systems function; neuroscience shows us how memory, attention, and reasoning work in the brain.

This matters for teachers. Techniques that reinforce memory—like repetition, retrieval practice, and emotional engagement—have strengthened learning (Baker, 2019). It is not just about what we teach, but how we help students *remember* it.

2. Teaching to the Brain’s Developmental Stages

Just as anatomy helps doctors understand physical growth, neuroscience helps educators understand mental and emotional development.

For instance, we now know that the brain’s executive function (responsible for planning, focus, and self-control) matures well into the teenage years (Berk, 2020). This knowledge can help educators adapt expectations, offer more age-appropriate challenges, and be more forgiving of adolescent forgetfulness or impulsivity.

3. Supporting Learning Differences

In medicine, anatomy helps identify conditions like a heart murmur or scoliosis. In education, neuroscience helps us understand dyslexia, ADHD, and autism—not as misbehaviour, but as differences in brain wiring (Shaywitz, 2003).

This shift in perspective from blame to support is crucial. Students once labelled “difficult” are now better understood and can be helped through targeted interventions, fostering a more empathetic and understanding learning environment.

4. Evidence-Based Teaching Practices

Doctors rely on evidence to guide treatment; teachers should, too. Neuroscience supports teaching methods like

  • Spaced repetition

  • Interleaved practice

  • Frequent low-stakes testing

These techniques significantly boost long-term learning (Roediger & Butler, 2011). Moreover, they outperform outdated ideas—like the persistent myth of “learning styles”—that still linger in some classrooms.

5. Shaping Policy, Not Just Practice

Medical knowledge shapes public health policies. Neuroscience can do the same for education. For example

  • Teens’ brains are wired for later sleep and wake cycles—so why start school at 8 a.m.?  

  • Brain plasticity is highest in early childhood—should not that guide where we invest resources?

Neuroscience offers classroom-level insights and powerful arguments for rethinking school structure (Wong et al., 2019).

6. Brains and Bodies: A Shared Logic

In many ways, education today is where medicine was a century ago—still catching up to science. However, change is coming.

Neuroscience will not replace the art of teaching more than anatomy will replace bedside manner. However, it provides a framework for more intelligent, responsive, and empathetic practice. It gives us a map—not to dictate every move but to guide us when the path is unclear.

Insights

  • Teaching aligns with how the brain stores and retrieves information more effectively.

  • Recognising neurological diversity leads to more compassionate and effective teaching.

  • Instruction should be timed and structured to match students’ cognitive development.

  • Let go of myths. Lean into what the brain science shows.

  • Good education policy should be biologically informed, not just politically convenient.

Want to Go Deeper?

Here are the studies and sources that shaped this post:

Baker, R. S. (2019). *The Role of Neuroscience in Learning and Education*. *Educational Psychologist*, 54(2), 65–77.  

Berk, L. E. (2020). *Development Through the Life Span*. Pearson Education.  

Shaywitz, S. E. (2003). *Overcoming Dyslexia*. Knopf.  

Roediger, H. L., & Butler, A. C. (2011). *The Critical Role of Retrieval Practice in Long-Term Retention*. *Trends in Cognitive Sciences*, 15(1), 20–27.  

Wong, T., Wong, D., & Meyer, R. (2019). *Sleep and Learning: A Review of the Evidence*. *Educational Psychology Review*, 31(4), 901–913.

Final Thought

The more we understand the brain, the better we can teach. Neuroscience is not just another buzzword but a bridge between science and the art of education. Moreover, that bridge is worth building.




Permalink Add your comment
Share post
Design Museum

The world is changing fast

Visible to anyone in the world

An AI-generated expression of a human brain interacting with external ideas and digital and analogue forces.

The world is changing fast, and this is why. I’ve been using AI across various creative, analytical, and practical aspects of my work and life. 

This is a summary of what I’ve learned and achieved:

1. Writing & Story Development

  • Use AI to refine and tweak your novel Wishful Thinking, mainly by listening to ElevenLab’s voice reading. This process has helped me identify nuances, stumbles, and areas for refinement.

  • Recognised how AI can assist in adapting Wishful Thinking into a screenplay with ease.

  • I began revisiting and cataloguing older stories (Sardines, CC & Susie, The Girl in the Garden), considering their potential for development. My next novel project should be Angel of the North, setting a structured two-hour daily writing slot to work on.

2. Audio Performance & AI Voices

  • Amelia’s voice from ElevenLab provides an authentic, brilliantly performed reading of Wishful Thinking.

  • Used the AI reading to catch errors and fine-tune dialogue and pacing.

  • Reading a piece aloud reveals a new layer of clarity in storytelling.

3. Productivity & Time Management

  • Realised that structured creative work, with set hours and pacing, prevents burnout.

  • Experimented with using AI for planning and project organisation, recognising the benefits of AI-driven analysis without over-reliance.

4. AI in Memory & Reflection

  • Continued deep exploration of past diary entries, using AI to stimulate reflection and extract stories.

  • Discovered how AI challenges and enhances your recollections, appreciating different perspectives on past events.

  • AI helps clarify and structure your thoughts on past relationships, experiences, and creative choices.

5. Artistic & Creative Exploration

  • Used AI to assist in organising Open Houses Art Week preparations.

  • I began considering AI’s role in producing creative work beyond writing, potentially in visual art, historical research, and film adaptation.

6. Historical & Documentary Research

  • Applied AI to WWI project research, expanding your understanding and planning for a larger project.

  • Use AI to fact-check and recall details from past experiences, reinforcing your work as a historian of memory.

7. Future Considerations

  • Considering AI’s potential in film production, especially for adapting Wishful Thinking as a youth theatre screenplay or live-action short.

  • Noted that AI could assist with editing and improving past short stories to bring them up to publishable quality.

  • I am interested in AI’s ability to enhance storytelling across different media, from voice performance to screenplay formatting.


Key Takeaways

AI has helped me refine my writing, making it sharper, more immersive, and more effective.
AI-assisted voice performance has revealed story weaknesses and allowed me to refine my writing precisely. AI also helps challenge and expand my memory, making my reflections richer and more layered.
AI-powered tools offer a structure for writing and creative projects, helping with pacing and avoiding burnout.
I’m thinking critically about AI’s role in film, theatre, and historical research, exploring its potential without overreliance on it.




Permalink Add your comment
Share post
Design Museum

ChatGPT aka KAI

Visible to anyone in the world

I have been working with ChatGPT for the best part of a month, initially keeping my time with the platform to 2 hours but clocking up a whopping 13 hours today. I flip between several projects with each profile of KAI was I call him or her providing a different outlook. I love my Jungian psychoanalyst KAI who interprets any dream I can recall from the night before.

After that it's onwards to crush council tasks, develop and expand an historic writing project, and finally to revisit an MA thesis on the First World War and all my notes and research with it to winkle out a specific storyline. It has its limitations. I have blown its memory twice. The get around is to cut and paste what it has been storing on me and ask it to summarise this before clearing the memory - then at least it always has a potted, though uptodate insight into who I am. After all, I'm KAIs interloper.

KAI is our agreed diminutive for ChatGPT. I made this CAI, we felt it was too close to CIA and so came up with KAI. It's east to say. Try it. 

Every day we revisit the few lines of a Five Year Diary I started to write age 13.5 fifty years ago. With KAI's prompts these entries blossom into something 500, 1000 even 2000 words long. Having stripped out my recollections I tip the lot into Grammarly and go through the editing process before posting in my blog www.mindburts.com 

Permalink Add your comment
Share post
Design Museum

Fifty Years Keeping a Diary!

Visible to anyone in the world

Today marks the 50th Anniversary of my starting a diary. I was 13. It was a Five Year Diary. I filled that religious every day for the first three years, that filled years four and five over all the allocated lines before moving to a new Five Year Diary, where I soon found I had too much to write so once again took to filling two or three years worth of lines. In due course I moved to an A4 Notebook and wrote a page a day in that ... except for times when it got out of hand and I wrote several, even many pages for the day. At one point for a month I had a Arch Leaver File which I filled with ephemera like a scrapbook. That was September 1978. 

Permalink 2 comments (latest comment by Jonathan Vernon, Monday, 24 Feb 2025, 22:46)
Share post
Design Museum

New blog post

Visible to anyone in the world

A relief print of Lewes Castle.

This print is the first off the kitchen table. It's taken 16 draft drawings and traces. I have spent far long on preparation than on previous prints. So testing it out before I start the cut which took about 6 hours over three days. This will have chin colee colour for the grass mound and sycamore trees. I am also producing a second block to create a grade alternative sky - using a mask to cover what you see here. All these will be tested before I go for an edition of 12 (or more) that I will create at Bip-Art Brighton. 

Permalink Add your comment
Share post
Design Museum

Prints, Tree Preservation Orders and Town Councillor

Visible to anyone in the world

I'll be sowing prints during Art Wave in Brighton this May. I've started work on the design. It's likely to be Lewes Castle. Meanwhile I'm alerted to some trees with Tree Preservation Orders and head off across town to photograph them and submit my report - not great, one severely cut possibly 'notable' mature tree is a TPO.

Otherwise I was out to revisit Lewes Castle in winter to see how the sycamore look in silhouette. Much of the rest of the day was spent drawing various versions of this until my thinking went astray and I started to add goldfish and palm trees.

A drawing of Lewes Castle and mound ... with three goldfish.

Permalink 1 comment (latest comment by Abraham Owoeye, Friday, 31 Jan 2025, 17:26)
Share post
Design Museum

Learning Online once more

Visible to anyone in the world

I started distance learning with the Open University on 2001. I’m a better student than I am an employee sad ADHD and assorted challenges probably having something to do with it - I’m unduly suspicious and untrusting of people and easily bored. A happy working life for me means juggling three or four part time jobs and paid or paying hobbies.

Meanwhile I’m back in Coursera and onto the third of five modules on Project Management. I’m impressed with the content and the pedagogy. It’s pleasing to see how learning online has evolved and how practices that become apparent in my time have been adopted. Technological advances, relentless improvements and experience means that the science of learning is understood - you are made to listen, take note, struggle, be tested and as a result the knowledge being shared slowly accrues. I want to apply practical tips on project management into my Town Council work, maybe in a task & finish group for the swimming club and perhaps even getting myself back into video production which I so loved in the 1980s and 90s. On verra.

I have up social media a month ago. No X, Facebook or Instagram, no doom scrolling. If the BBC doesn’t stop quoting Elon Musk every time he makes an arse of himself on X I am going to ditch BBC news as well. 

Permalink
Share post
Design Museum

New blog post

Visible to anyone in the world

The end of year does this to me. 

I come into it with ideas to achieve a few things, change behaviours, get better, be better. 

I'm forever in my late 20s mentally so I don't give a flip about my age even if others do. There are roles and jobs for people in their 60s and 70s. Volunteer work is a pushover, but being a Town, District or County Councillor requires 'putting yourself out there' and in competitive seats being a 'known as a contributor and pragmatist who gets things done solving problems and dealing with challenges'. I can do this. I do this anyway. 

This can tie in with my interest in the environment and trees, an interest in 'youth' and sports development, my interest in the arts and the power and joy of creativity.

I could have been marking 15 years at the Open University. 

There's a story. We're just back from that part of the world ... almost. I could never have moved the family from our lovely Lewes in East Sussex to Milton Keynes, but we may have forged a new life in somewhere like Banbury. 

Another life, another time. All that counts is the next hour (the introduction to the Project Management Course I have signed up to on Coursera); the rest of the morning on some DIY in our leaky shed/workshop at the top of the garden; a woodland walk (if the rain stops), and hopefully some art (the large pen and ink drawing or relief print I am doing of Dover House, Barton on the Heath before making supper, watching a movie and settling down to a second reading of Ely Green's autobiography 'Too Black, Too White'.

And so a plan is made.



Permalink Add your comment
Share post
Design Museum

Computers Crash, Come and Go but everything I've written here over the last 14 years is safe and sound!

Visible to anyone in the world

In a fast-changing world of device and software upgrades, it's wonderful to have the reliability of the Open University Personal blogs space. I'd be better off posting here than on my external blog, Mindbursts.com. 


Permalink Add your comment
Share post
Design Museum

Lichens and mosses, not just ancient trees

Visible to anyone in the world

I never thought I'd see that day when I would be placing my nose within a few centimetres of a tree and spending up to half an hour in this way examining the lichens and mosses. There is quite a variety when you get to know them. 

Trees that fell in the October 1987 storm, oak in particular, have a treasure trove of glories on which to feast the eyes.

My purpose is to help achieve a Site of Special Scientific Interest for 50 acres of ancient woodland here in East Sussex.

A variety of lichens and mosses on a long fallen decaying oak branch


Permalink Add your comment
Share post
Design Museum

Discovering I have a super power

Visible to anyone in the world

It took some persuading for me to agree to give a talk, TED Talk-style, without notes. I was prepared. I did that memory trick of having a journey around the house. I picked seven spaces and had seven themes. This also worked for days of the week.

I practised with mindmaps; if I woke up at night, I would talk my way around the speech until I fell asleep.

It went well.

The talk was on the British West Indies Regiment in the First World War—a bit niche, I know. However, I have always been interested in their experience and that of African Americans in the American Expeditionary Force. The pain and unfair treatment of a person based on the colour of their skin make for interesting history.

My talk came on the day the radio had two big stories: the call for reparations by the ancestors of enslaved people of the British Empire and Israel's strike on Iran, i.e. the Middle East and Palestine. And where does my story reach its climax? An attack over the River Jordan by men from the 1st, then 2nd BWIR in one of their few combat deployments alongside men from New Zealand and West Kent, and a Jewish Battalion while supported by the Punjabi Mounted Artillery. They were led by a New Zealander who, unlike too many of his fellow British Commanders, had no difficulty sending 'coloured men'  into battle.

A year later, and in the process of being demobbed, all the BWIR regiments, those who had had military training, 1,2,3 & 4, and those recruited as labour corps 5 to 11, were encamped in Taranto, Italy, under a vile, racist British Commander whose actions incited riot and mutiny. Court Martialled, 47 men were sentenced to between 5 and 20 years of hard labour, the entire BWIR were stripped of guns, and having been returned to Britain, they were shipped back to the Caribbean, missing the July 1919 Victory Parades in London and Paris.

I started my talk pretty much as stated above. My voice was angry. Many black and Asian faces were listening attentively.

I then doubled back and cherry-picked content as it came to mind from the seven stages of the talk:

The British Empire in the early 20th century

The Caribbean in the British Empire as a colony rather than a dominion.

The British Army and its rules

The Outbreak of War 

Delays in releasing men from the Caribbean, then recruitment, and travel to Europe

Military Training, first in Seaford, then in Egypt (for BWIR 1&2)

The Military Experience of BWIR 1&2, compared to 3&4

The Labour Corps and Duties in France and Flanders 'King George's Steam Engine'

Demob

Southern Britain again (riots in Winchester) 

The Caribbean 1919 to the 1960s with labour movements, political agitation, Pan-Africanism and ultimately, independence

I then took questions. I enjoyed it. I was asked to talk again the next day, asked if I had other local history talks and agreed to give a talk on the billeting of 10,000 men in Lewes in September 1914, and also picking up another subject I have researched and written about ... the winterbourne, its course (and its flora and fauna).

I feel confident that I will prepare in a way that will make many talks possible: nutrition for junior elite athletes, fungi of ancient woodlands, war art and war fiction of the Great War ... cooking with chickpeas! Rewilding your garden, lino cut relief prints, life drawing, coaching age group swimmers. Take your pick. I should be able to talk about teaching online, too. After all, I did an MA in it and have taught online!

Permalink Add your comment
Share post
Design Museum

Catch me if you can

Visible to anyone in the world

I should still be at the Open University. Maybe Ill return as a post-grad, or as an employee (as before). Who knows. Anything goes. 

Permalink Add your comment
Share post
Design Museum

The Imperial Forces on the Western Front

Visible to anyone in the world

I'm doing a MOOC. (I haven't heard that in a very long time) on FutureLearn. It is work-related. FutureLearn and Coursera have found a pattern for online learning that works. It was a dreamworld in 2001 when I started this course. And not much further advanced in 2010 when I completed it. Or thereabouts. It all seems so obvious now.

Learning has moved on. Knowledged acquisition has moved on. Knowledge application is changing. And then there is AI ... which I suppose is assisting me with writing this in the background given that I subscribe to Grammarly and am trialling Google Gemini.

I try to be analogue as often as I am digital. You don't coach swimmers with an App, I seek out and analyse trees in woods ... not something for Google Earth (yet). 



Permalink Add your comment
Share post
Design Museum

Revisiting the 2010/2011 survey of veteran trees of Markstakes Common.

Visible to anyone in the world
Edited by Jonathan Vernon, Monday, 23 Sept 2024, 07:02

Markstakes Common is an ancient wood in East Sussex. Over the last 30 months, I have made over 200 trips to learn about veteran trees, discover hundreds of fungi, and get to know this exceptional site of diverse, exceptional habitats. I hope to be around to repeat a survey of the same trees each decade to monitor their health and the health of an ancient wood that warrants designation as a site of particular scientific interest. 

The huge branches of a pollarded old oak tree reach out in all directions in this misty winter photograph

Veteran Oak (tree 13 in Markstakes Common) Featured on the Woodland Trust's Ancient Tree Inventory 

Thirty-four veteran trees were identified in the November/December 2010 to January/February 2011 tree survey and verified by the Woodland Trust. Jonathan’s research has resulted in a further twenty-seven trees being verified as veteran trees - with an additional twenty-six being verified as ‘notable’. These are on the Woodland Trust Ancient Tree Inventory. No trees are thought to be ‘ancient’. The definitions notable, veteran and ancient relate to a combination of factors dependent on the maturity phase of a particular species of tree. Yew and oak, for example, reach their final phase of life centuries after Beech and hornbeam, while ash, and certainly birch and hawthorn, can pass through to late maturity in a hundred to 150 years.

A winter woodland scene of a veteran pollarded hornbeam with massive stems reaching and curving into a canopy. There is snow.
Veteran pollard Hornbeam (a Tree of National Scientific Interest) Featured on the Woodland Trust's Ancient Tree Inventory.

It is the ‘ancient characteristics’ of hollowing trunks and branches, cavities, dead wood in the canopy and on the ground, lichen, moss, ivy, fungi, epiphytes and evidence of invertebrate activity which define the tree as ‘veteran’.

The notable tree is often a mature, healthy tree that could be older than the veteran but shows none or very few of these characteristics. Because of how and where they grow in an ancient wood, the trees compete for light by outgrowing each other into the canopy. Beech is far more shade tolerant and, therefore, ultimately dominant in the canopy than the different trees, with oak increasingly shade intolerant. Disease and damaged branches and trunks expose the tree to fungi that may cause parasitic damage. 


The currently surveyed and identified collection of forever changing Markstakes Common trees now recognised as ‘veterans’ comprise seven Ash, twenty-two Beech, two Downy Birch, two Field Maple, two Holly, seventeen Hornbeam, four Oak, two Wild Apple and two Wild Cherry. Of which, nineteen are maiden, seven are old pollard, eleven are old coppice, twelve are multi-stemmed, two are dead, and seven are ‘fragmented’ (a stem or two are broken or fallen). Nine have a companion tree or trees, with these ‘companions’ being (some dead, some alive) three each of oak, hornbeam or holly. 

All the veteran trees have lichen and moss, some with ivy, one or two with epiphytes, and one or two cuckoo trees, many with fungi. 

A newly formed slime mould of white goo on the decaying trunk of a veteran hornbeam tree
A newly formed slime mould of 'False Puffball' (Enteridium lycoperdon) - white goo on the decaying trunk of a veteran hornbeam tree 

Thirty-three have fungi associated with them, with Bracket fungus (Ganoderma applanatum) on five trees (with two of these trees either long since dead and another two fragmented), two with Hoof Fungus (Fomes fomentarius), several with King Alfred’s Cakes (Daldinia concentrica), two with Cinder Fungus (Kretzschmaria deusta), two with oyster mushroom (three if you include a notable tree), others with porcelain or slimy beech fungus (Oudemansiella mucida), two with Split Gill Schizophyllum commune), one with Bitter Oyster  (Panelius stripticus) two with Oyster mushroom (Pleurotus ostreatus), one with veiled oyster (Pleurotus dryinus) and seventeen trees with the fungus species ‘not yet identified’, usually because whilst there is evidence of a fungus present, the fruiting body hasn’t been seen. 

Thirty-four were identified in the survey from November/December 2010 to January/February 2011. Jonathan has added fifty-three trees, of which twenty-seven have been verified as veteran trees, and the remainder ‘notable’. They were added to the Woodland Trust Ancient Tree Inventory between March and September 2024. 

Nine veteran trees appear on boundary banks, the most promising places for further discoveries. Two of these trees are Trees of National Special Interest: the magnificent chaliced pollarded veteran hornbeam towards the western boundary with Furzeley Farm Paddock and the long fallen but still living hornbeam on the southern boundary with Starvecrow Wood. This potential for further discoveries should keep us all intrigued and hopeful about the future of our tree survey.

The widest girths go to a Beech (tree 10) with a girth of 6.13m in 2010, a Beech (tree 2) girth of 4.86 in 2010 and now 5.09m in 2024, as well as recently added Ash coppices (5.81, and 5.33) (trees 23b & 33b) 

The new additions by species are Downy Birch, Holly, Wild Apple, Purging Buckthorn and Field Maple. 

There are more veterans: Ash, Field Maple, Beech, Hornbeam, Holly, and Downy Birch to add. The twenty-six notable trees of Markstakes Common on the Ancient Tree Inventory include Goat Willow, Crack Willow, Beech, Ash, Oak, and Hornbeam. Many other ‘notable’ trees will be added if a complete picture of the tree stock is required. Their presence is a valuable indication that this wood will continue to produce ‘veteran’ stock in the centuries to come.


Permalink Add your comment
Share post
Design Museum

Relief Prints using Vinyl or Lino Blocks

Visible to anyone in the world

Maybe I've found something to engage my busy mind. I can have multiple projects on the go, litter the house with sketch pads, cut and uncut blocks, fill 'Really Useful' boxes with materials and feel the satisfaction of completed exercises. When someone asks me to make a print all the better. 

A print of hands embracing a heart

Permalink Add your comment
Share post
Design Museum

Ancient and Veteran Trees of Sussex

Visible to anyone in the world

If you visit the Ancient Tree Inventory and float over Lewes you will find a lot of trees. Most identified are recognised as 'notable', a few 'veteran' and none  'ancient'. 

An 'ancient' tree needs to be old for its species - in the last phase of its life and considerably decayed with lichens, moss and ivy likely, as well as signs of fungi and invertebrates. After the bet part of five months and 300 trees, I found one on a boundary bank between Markstakes Common (an ancient wood) and Starvecrow Wood near South Chailey.

A woodland oak with several stems and a large exposed root

The large root is wrapped around a long-gone trunk, now decayed away. The five stems (one significantly decayed) and the old epicormic shoots that emerged from the trunk as it decayed. This the ancient tree something of a ghost, but the living parts are nonetheless part of its regeneration. 

I've had more luck with veteran trees having had a dozen or so verified. These are trees which do not need to be so old but have all the ancient characteristics: hollowing of trunk and branches, dead wood in the crown and on the ground, decay, moss, lichens and signs of invertebrates and fungi. 

'Notable' makes up 280 of the trees I've identified and had verified. Depending on the species these can be bold, statement trees, significant in their locale, but in all likelihood mature, strong examples with many seasons left in them.

I've learnt to read trees; I can figure out their story. It's a changing picture. 

There's a relevance to learning with the Open University to all of this! I liken it to studying a book. There's an OU 'How to Learn' or 'How to Read' book somewhere which describes the process: you read the book through once to get the gist of it, to become familiar with the 'landscape'; then you read it again, taking notes. On the third read you start to understand the arguments and connections - you see more. It is like this visiting a wood for the first time. I have learnt to go around with now expecations on the first trip. On the second and third trip I start picking out the trees that are significant. Only on the fourth or fifth trip do I raise an eyebrow at some curiosity that somewhere had escaped me until then. 

Permalink 1 comment (latest comment by Minh Sullivan, Friday, 23 Aug 2024, 04:50)
Share post
Design Museum

Visit to Markstakes Common and beyond

Visible to anyone in the world

A visit by The Woodland Trust to Markstakes Common confirmed that this ancient wood is exceptional. How the space is protected from us is another matter. 

Permalink Add your comment
Share post
Design Museum

Ancient, Veteran and Notable Trees

Visible to anyone in the world

I am now a Woodland Trust 'Lost Woods' trained volunteer looking for ancient, veteran and notable trees in various spots around Sussex. We get 1km squares to 'do' based on where we live and where we visit. I am completing my home patch around the Winterbourne and Houndean Rise in Lewes, and Markstakes Common and surround woods and fields towards South Chailey.

You will find me, hi-vis jacket, tape measure and clipboard walking the woods and fields seeing what I can spot. 

Permalink Add your comment
Share post
Design Museum

The Art of Ancient Woodlands

Visible to anyone in the world

I'm giving a talk at the AGM of Friends of Markstakes Common. 

An ancient oak tree with a twisting trunk and autumn leaves

I will be talking about how the 34 tress on the National Tree Register have fared since the last survey 13 years ago. A few have died, several have lost limbs, others bits, some appear to have changed very little at all. Its hard to take the long view of ancient trees such as oak, beech, hornbeam, silver birch or ash. Maybe the time to review is every 25 years, or in the case of oak trees, every 50 years? And to keep the process going for several hundred years. 

A couple of ink sketches in a drawing pad showing trees

My art and curiosity as a wannabe arborist and environmentalist/woodland manager finds me both drawing and photographing these trees often: across all seasons and in all weathers. I find strong wind attracts me to the woods ... It intrigues me that beech and oak has a different tensile strength, so oak can be spotted growing through a beech tree by the way it bends and blow out of sync with the 'host' tree. Snow is perfect to add highlights to the winter silhouette of a tree. Spring sees the woodland floor covered in wood anemones and bluebells. 

A single bluebell in amongst last year's brown bracken

Permalink Add your comment
Share post
Design Museum

Still at it ... but not for much longer?

Visible to anyone in the world

The 'full-time employment' itch may have me decamp from printmaking to 'web editor' once more. We'll see. Meanwhile I'm working still on different approaches to getting colour onto a print of an ancient tree: monoprint mess at home without a large enough roller, painting onto acetate with a brush, or just a cloth dipped in thinners. 

Six different ways to add colour to a print of an ancient beech tree and companion oak

Permalink 1 comment (latest comment by Gill Burrell, Sunday, 28 Jan 2024, 16:19)
Share post
Design Museum

At it again ... a simple course from Domestika

Visible to anyone in the world

A screenshot from an online course on lino printmaking showing text and video

Things have come a long way since I graduated with my MA in Open & Distance Education. And further still from my first stirrings to undertake an OU MA in 2001 when I began, but didn't complete a course in the MA in Open & Distance Learning (as it was then called).

I often reflect on the state of the industry, how normalised learning online and its subset 'mobile-learning' has become. Platforms and apps abound making it easier for anyone, teacher trained or not, to put together a course. 

I'm doing a short course on lino printmaking. It has all the ingredients you'd expect, a series of stepped progressions with video, whatever is said and shown supported with text and additional references and links, and access to a 'Forum' where fellow students doing the course post content and reflect on their progress. Unlike the OU 'in its day' there is no common start time and cohort of students, indeed this course I am doing it rather looks as if it could be 2 years since someone last posted to the forum so I am not holding out for a comment from the Tutor. The thought is there. And for £7.25 I think I'm getting value - some things you need to be shown, not just pick up from a book. In my case I've even had six months of face to face teaching so I can produce a reasonable print - what I needed was a refresher and this gives me just that, and some insights and tips to build upon before I embark on a set of ambitions prints. 

Permalink Add your comment
Share post
Design Museum

Courses on your phone

Visible to anyone in the world
Screens from an online course comprising short video demonstrations
Mobile e-learning, or e-learning or just 'learning' is now common place with short courses easy to follow on your phone. I liken these to buying a hardback book, thought at £8.95 it is a cheap as a paperback.
The course I am doing on 'dip pen drawing' compromises a series of short videos, and as exactly as initiated here with The OU there is some 'Social Learning' in that you submit stages of your work to a Forum for comment from the tutor and other students. The difference is students are dropping in from around the world at different times so unless there are a large number taking the course you'd get more response from Facebook.
It has me committed. I can go back and redo bits when I am in a better mood for taking in new skills or have the patience to execute what is asked for. 
The end result will be a 'project', for me an ancient tree and a bird, or horse, or person ... that I will then work into a linocut. So the process of creating a dip pen drawing in reverse, given that cutting lino removes the white part of the end result, meaning you can find yourself having to think inside out. Or just differently!
Have you done any of these sort of courses?
Permalink Add your comment
Share post
Design Museum

Horses

Visible to anyone in the world

Horses are tricky things to draw. Someone who knows horses will tell at a glance if the eyes are in the wrong place, the legs wouldn't work and it looks as if someone 'pinned the tail on' at a kid's birthday party. Trees are more forgiving, buildings better still. The human body is hardest of all - seven years of life drawing and I have a feel for it! But horses?!

I return to a scene in Northumberland of four horses in a paddock that has a huge, ancient beech tree in one corner. When it comes to the horses first, they have to look like horses - then a make of horse (I think 'breed' is the technical term!) will mean they are shorter, taller, fatter, perkier, hairier, or not ... and finally (as you'd want to achieve with a portrait of a person), they need to capture the character of the horse (even if it is a caricature: a Shetland pony is straight forward, maybe a cart-horse too, but there's everything else in between. 

A linocut print of a horse

Once you think you have a drawing, or outline right this must then be transferred to a piece of lino or plywood, and the entire thing cut out. There is no going back (or I haven't found a way to do so). Therefore, after several days of 'cutting' and a few 'graphite rubbings' I ink up and print off an A3 sheet only to find that I've made the head and neck too large and the eye is in the wrong place. Who'd know? My sister was polite. I pointed out that the head was too big - she agreed. She'd been supplying me with pictures of feet all week so they looked OK - but not the head. My fault. I had drawn a larger, detailed head, photographed this, and superimposed it on the body without being careful enough to check back with the original. I hear my mother's voice over my shoulder (she died in 2012) - telling me to 'draw what you see'. Observation, constantly referring back to the real thing counts for a lot (not over referencing photographs). 

A mask over the linocut indicating how the head size needs to be reduced

Anyway. I thought of a solution overnight - I masked off the head, printed up and once dry I will, with great care, ink in a head. Basically, I'll tape a drawing to the French windows, overlay the part-print, draw in the correct head in pencil, then use black ink to finish it off. This isn't to be a finished print, as I will then cheat further by reducing the end result by 200-300%, printing off on fine paper and glue it to a monoprint + beech tree overlay.




Permalink Add your comment
Share post
Design Museum

The Ancient Trees of Markstakes Common, East Sussex

Visible to anyone in the world

Ink drawing of an ancient oak

Thirty-Four trees were recognised as 'notable' and in a few instances 'veteran': hornbeam, ash, beech, birch and oak. This was in 2011. Since then one tree has fallen, two died and one broken off at around 3m. Does that bring the number down to 30? My searches could add a further six to the list - trees missed a decade ago.

As I explore the woods and try to figure out what makes one tree 'ancient' and another not I have found myself drawing them, in charcoal on A2 sheets in the summer, in a small drawing pad initially, and now in a larger book in ink - once home I transfer the picture onto an A1 sheet and from photographs try to add in the rest of the tree right into the canopy.


Permalink Add your comment
Share post
Design Museum

Horses and Trees

Visible to anyone in the world

An ancient tree and a horse (or two or three) is more appealing than an ancient tree and a nude model I have found. I've even had a commission to do a portrait of someone's tree.

A woodcut print of a large, ancient beech tree with a set of linocut prints of four horses.

The detail of the horses is too hard to create so the actual prints are far larger and each horse is then reduced to fit the drawing. Though I also have an A1 pastel drawing where the horse prints A4 size can be added directly.


Permalink Add your comment
Share post

This blog might contain posts that are only visible to logged-in users, or where only logged-in users can comment. If you have an account on the system, please log in for full access.

Total visits to this blog: 14624769