up from smaller visual impulses, so can writing be. In the same way that students with dyslexia are encouraged to learn through deconstruction and reconstruction so can art be produced and so can writing be achieved. A student struggling with her writing then follows some of the exercises that introduce visual language and formal writing as set out in Francis's (2009: 29) book and discovers:
“Oh I can do bits, oh I can do that. The relief was palpable. You can join up the bits later. You can work, re-adjust, later.”
An example from my own teaching is Catherine, a student in the 3rd year of her Fine Art degree course who was diagnosed with dyslexia in 2010. Catherine has been attending sessions with me for 3 years and has just completed an 8,000 word dissertation. Below are some pages from an earlier sketchbook where she has begun to break down both visually and in words the thought processes and design ideas that led her to produce, discuss and analyse her art work. It was she who provided me with one of the most memorable responses to my survey: “Writing carries on where the art leaves off.”
On this page, the student uses her sketchbook as a way of having a dialogue with herself. When writing becomes a conversation rather than a monologue, it can be part of the expressive, creative process.
Conclusion
The conclusion to this article is the beginning, for me, of a long process of research. It seems clear, however, that there is an exciting and fruitful collaboration to be achieved between visual and textual language, and that there are many positive ways for students with dyslexia to forge links between the opportunities offered by both words and images.
Here the student has used arrows, underlining, coloured fonts and overlapping images to emphasise her thought processes and illustrate the visuo-textual links she is making.
References
Francis, P. (2009) Inspiring Writing in Art and Design: Taking a Line for a Write. Bristol: Intellect.
Hall, S. (Ed.). (1997) Representation: Cultural Representations and Signifying Practices. London: SAGE/Open University.
Thanks to: Stephanie Bryant, Amy Connor, Steph Flynn, Catherine Ireland, Rebecca Iveson, Ed Kelly and Cecilia Tuvo
Sketchbook images: Catherine Ireland, BA Fine Art year 3
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