This art therapy exercise is great for someone who wants to do something more expressive with their iPad and it's good for beginners, kids and adults alike, and especially those who worry about making mistakes.
I’m Youhjung and I have been helping people through art therapy for years and I am sharing this with you so that you can make art for your own self-care.
Make sure you're in safe, quiet place where you will not be disturbed during the creative process. Also, keep your phone on silent or turn off your notifications.
What Is Digital Art?
If want to watch the step by step video tutorial where I share the exercise in detail you can see it here:
There are many options for drawing apps. I use Adobe Photoshop Sketch, which I believe is free on both Google Playstore and Apple Store.
Many people associate drawing or painting as art therapy, but art therapy can be done with digital mediums as well. These days, there are many different ways to use digital technologies - like digital storytelling, filmmaking, animation, and even virtual reality.
Illustrations Vectors & Illustrations For Free Download
Digital art therapy can be easier for people who already have a tablet or iPad and the neat part is that it's easy to erase and start over.
You can also make it simple or complex with many layers; you can work on a piece as much as you want.
The benefit of using digital medium is increased concentration, focus, and higher self-esteem, especially for children. And drawing on tablets can be especially satisfying for children with Autism.
Artificial Intelligence: A Powerful Paradigm For Scientific Research
After you have finished the work bring a pen and a journal/notebook to write with. (If not, write/type in your iPad or tablet). To reflect on our art-making process and the artwork, let’s do some writing.
I hope you enjoyed this exercise. Make sure to pin this or bookmark it for whenever you need to come back to it in the future. Also, share this post with a friend or family.
If you want more therapeutic art-making, customized to you personally, I highly recommend working with the art therapists and therapeutic art facilitators in my Visionary Hall! Members in this Hall have went through and completed the Visionary Art Therapists program and are open to taking new clients like you. See the Visionary Hall here.
Color By Number: Coloring Game
* This post may contain affiliate links. If you buy something through one of those links, you won’t pay anything more, but I’ll receive a small commission, which helps me keep making videos & writing blogs for free. Thank you!Considering the latest advances and developments in the arena of digital media, this book explores current materials, methods and applications of digital technology in art therapy.
It looks thoroughly at the many potential uses and benefits of digital technology in art therapy practice, including the use of stop motion animation and therapeutic light painting photography. A worked example of how digital art therapy can be used in the treatment of traumatic brain injury is also included. The book explores innovative therapeutic uses of digital technologies such as gaming and virtual worlds. Contributions from experienced art therapists address professional and ethical issues, from the sensory qualities of digital media and their effects in practice, to identifying and using developmentally appropriate technologies. As art therapy programs increasingly recognize the importance of using digital media, this cutting-edge guide provides all the necessary knowledge to incorporate this emerging field into practice.
Part 1 Considerations for Digital Technologies in Art Therapy Chapter 1 Grid + Pattern The Sensory Qualities of Digital Media Natalie Rae Carlton1 It was thrilling when I got my first cassette deck with recording level dials and backlit arrow buttons that indicated the movement of the tape forward, backwards, or stopped. On blank Maxell cassettes I recorded my best Kermit the Frog voice as I pretend-interviewed my sister, friends, and cats. Elaborate music mixes, voice dialogues, and on-the-scene news accounts of “Humpty Dumpty Takes his Big Fall” were some imaginal spaces enacted into form by the humble tape machine and child operator. I deeply loved the sounds of life playing back through speakers or in my headphones and the technology engaged me as much as my beloved three-speed bike. The recordings were moments of time captured and voices and sounds mixed through multiple “takes” recorded over one another for an excellent amorphous cacophony of overdub bleeds. Fast-forward from the analogue technology play of my childhood afternoons in 1976 to 2015 and I am still accessing a machine to materialize creativity, contemplate, and synthesize narratives in the world around me, and engage my spectrum of chaotic to ordered sensory drives. Rather than the battery-operated tape technology of before, I am employing a 13-inch MacBook Pro and its digital conduits and modern detachable electrical cord to charge my reflective and creative act of writing this essay. “Form shapes thought” (McNiff 2014, p.92) but machines and media do not create the work themselves without active participants (Austin 2009). Essentially I drive my creativity through whatever choices of materials I employ. The media of our work and play do transmit meaning in their physical manifestations because the aesthetic features of things inform the messages we mean to convey (McLuhan 1966). The visual, aural, and tactile qualities of technological artifacts from yesteryear and the digitized, computer-mediated machines of our modern era all share great appeal. Their ‘inner workings’ drive operations, channel and capture energies, and form their own distinctive outputs or dissemination while their ‘outer skin’ elements invite manipulations of seeing, listening, and touching sensory states. Moreover, we are not simply remediating previous tools for newer ones when we upgrade from tape cassettes to laptop computers but, in fact, we are taking apart and putting back together the very foundations of social culture, visual and aural languages, and communication dissemination networks. There has always been an ongoing future with technology unseen and unfolding and it seems important to assume curiosity, responsibility, and awareness for our greater immersions with it. Some characterizations of computer communications and related device “overuse” depict media effects as de-evolving humankind into overly rational, socially inept, and “Asperger-like” states of being. Mass media have popularly shown computers, and the people who run them, to revere reason and eschew emotion. However, it was only through the tenacity, reasoning, and “otherworldly” intelligence of such characters as Dr. Spock from Star Trek, or the wise and careful being who is not home with earthlings or his Vulcan race, that our human existence was protected to prosper in fiction. In literature and film, technology has been imagined as saving humankind from its own excesses, shortsightedness, and idiocracies whereas other versions predict a bleak future of mechanized, apocalyptic worlds inhabited by cyborgs or machine-fused humans. “Some of the greatest fears and highest hopes are aroused by visions of a thoroughly computerized future” (Binkley 1997, p.116) because many of us are experiencing growing symbiosis with evolving technologies through more daily ubiquity with computers in our work, leisure, and relational lives. Our stories about technology are both fact and fiction and they illustrate and predict vital spectrums between the qualities of “deadness” to opportunity within the complexities of digitally mediated spaces and tools. Our computer-reorganized communication and interactive spaces have inherently changed us due to interactions with and incorporations of the new media. One overall effect for the newly initiated, casual to savvy, or over-saturated user is that digital media technologies have shifted value to the representational over real objects of reference and experience (Lapenta 2011, p.15). This transfer of physical realism for perceptual approximations is often defined as virtual reality. To complicate this discussion, digital media were not the first mediums to excite, manipulate, or approximate real objects in virtual perceptual fields. Art historians have cited overlaid cave drawings animated with firelight, early film and photography, and drawing machines used by 18th-century artists as some origins of virtual experience (Garcia 2014). Garcia discussed how “virtuality” has a long history in human experience and remains inherent to our abilities to depict a variety of 3D, real-world forms and experiences through techniques of representational imagery and form originated and dynamically crafted on 2D surfaces. Modernizing digital media have similarly isolated and separated physical and visual inputs through our interactions with flat-screen surface technologies approximating our greater physical and 3D worlds. For the casual observer of constant “upgrades” in materials and perceptual to organizational shifts, it may be a challenge to comprehend how computer media are fusing and impacting physical world sensory experiences with digital ones. Sensory qualities of digital media My interest for digital media use in art therapy has grown from lived experiences with computer technology and my dissertation research, or, its current uses with art therapists and clients (Carlton 2015). Creative experiences with computer-mediated materials have included my imaginative explorations and sensual employment of their dynamic and varied tools and processes (see Color plate 1). Moreover, I have witnessed how computer technologies and related software development have invigorated new languages, tools, networks, and meanings into things that respond in novel ways to the circumstances around and between us (Lòpez 2012). Within this
Art In A Pandemic: A Digital Gallery
After you have finished the work bring a pen and a journal/notebook to write with. (If not, write/type in your iPad or tablet). To reflect on our art-making process and the artwork, let’s do some writing.
I hope you enjoyed this exercise. Make sure to pin this or bookmark it for whenever you need to come back to it in the future. Also, share this post with a friend or family.
If you want more therapeutic art-making, customized to you personally, I highly recommend working with the art therapists and therapeutic art facilitators in my Visionary Hall! Members in this Hall have went through and completed the Visionary Art Therapists program and are open to taking new clients like you. See the Visionary Hall here.
Color By Number: Coloring Game
* This post may contain affiliate links. If you buy something through one of those links, you won’t pay anything more, but I’ll receive a small commission, which helps me keep making videos & writing blogs for free. Thank you!Considering the latest advances and developments in the arena of digital media, this book explores current materials, methods and applications of digital technology in art therapy.
It looks thoroughly at the many potential uses and benefits of digital technology in art therapy practice, including the use of stop motion animation and therapeutic light painting photography. A worked example of how digital art therapy can be used in the treatment of traumatic brain injury is also included. The book explores innovative therapeutic uses of digital technologies such as gaming and virtual worlds. Contributions from experienced art therapists address professional and ethical issues, from the sensory qualities of digital media and their effects in practice, to identifying and using developmentally appropriate technologies. As art therapy programs increasingly recognize the importance of using digital media, this cutting-edge guide provides all the necessary knowledge to incorporate this emerging field into practice.
Part 1 Considerations for Digital Technologies in Art Therapy Chapter 1 Grid + Pattern The Sensory Qualities of Digital Media Natalie Rae Carlton1 It was thrilling when I got my first cassette deck with recording level dials and backlit arrow buttons that indicated the movement of the tape forward, backwards, or stopped. On blank Maxell cassettes I recorded my best Kermit the Frog voice as I pretend-interviewed my sister, friends, and cats. Elaborate music mixes, voice dialogues, and on-the-scene news accounts of “Humpty Dumpty Takes his Big Fall” were some imaginal spaces enacted into form by the humble tape machine and child operator. I deeply loved the sounds of life playing back through speakers or in my headphones and the technology engaged me as much as my beloved three-speed bike. The recordings were moments of time captured and voices and sounds mixed through multiple “takes” recorded over one another for an excellent amorphous cacophony of overdub bleeds. Fast-forward from the analogue technology play of my childhood afternoons in 1976 to 2015 and I am still accessing a machine to materialize creativity, contemplate, and synthesize narratives in the world around me, and engage my spectrum of chaotic to ordered sensory drives. Rather than the battery-operated tape technology of before, I am employing a 13-inch MacBook Pro and its digital conduits and modern detachable electrical cord to charge my reflective and creative act of writing this essay. “Form shapes thought” (McNiff 2014, p.92) but machines and media do not create the work themselves without active participants (Austin 2009). Essentially I drive my creativity through whatever choices of materials I employ. The media of our work and play do transmit meaning in their physical manifestations because the aesthetic features of things inform the messages we mean to convey (McLuhan 1966). The visual, aural, and tactile qualities of technological artifacts from yesteryear and the digitized, computer-mediated machines of our modern era all share great appeal. Their ‘inner workings’ drive operations, channel and capture energies, and form their own distinctive outputs or dissemination while their ‘outer skin’ elements invite manipulations of seeing, listening, and touching sensory states. Moreover, we are not simply remediating previous tools for newer ones when we upgrade from tape cassettes to laptop computers but, in fact, we are taking apart and putting back together the very foundations of social culture, visual and aural languages, and communication dissemination networks. There has always been an ongoing future with technology unseen and unfolding and it seems important to assume curiosity, responsibility, and awareness for our greater immersions with it. Some characterizations of computer communications and related device “overuse” depict media effects as de-evolving humankind into overly rational, socially inept, and “Asperger-like” states of being. Mass media have popularly shown computers, and the people who run them, to revere reason and eschew emotion. However, it was only through the tenacity, reasoning, and “otherworldly” intelligence of such characters as Dr. Spock from Star Trek, or the wise and careful being who is not home with earthlings or his Vulcan race, that our human existence was protected to prosper in fiction. In literature and film, technology has been imagined as saving humankind from its own excesses, shortsightedness, and idiocracies whereas other versions predict a bleak future of mechanized, apocalyptic worlds inhabited by cyborgs or machine-fused humans. “Some of the greatest fears and highest hopes are aroused by visions of a thoroughly computerized future” (Binkley 1997, p.116) because many of us are experiencing growing symbiosis with evolving technologies through more daily ubiquity with computers in our work, leisure, and relational lives. Our stories about technology are both fact and fiction and they illustrate and predict vital spectrums between the qualities of “deadness” to opportunity within the complexities of digitally mediated spaces and tools. Our computer-reorganized communication and interactive spaces have inherently changed us due to interactions with and incorporations of the new media. One overall effect for the newly initiated, casual to savvy, or over-saturated user is that digital media technologies have shifted value to the representational over real objects of reference and experience (Lapenta 2011, p.15). This transfer of physical realism for perceptual approximations is often defined as virtual reality. To complicate this discussion, digital media were not the first mediums to excite, manipulate, or approximate real objects in virtual perceptual fields. Art historians have cited overlaid cave drawings animated with firelight, early film and photography, and drawing machines used by 18th-century artists as some origins of virtual experience (Garcia 2014). Garcia discussed how “virtuality” has a long history in human experience and remains inherent to our abilities to depict a variety of 3D, real-world forms and experiences through techniques of representational imagery and form originated and dynamically crafted on 2D surfaces. Modernizing digital media have similarly isolated and separated physical and visual inputs through our interactions with flat-screen surface technologies approximating our greater physical and 3D worlds. For the casual observer of constant “upgrades” in materials and perceptual to organizational shifts, it may be a challenge to comprehend how computer media are fusing and impacting physical world sensory experiences with digital ones. Sensory qualities of digital media My interest for digital media use in art therapy has grown from lived experiences with computer technology and my dissertation research, or, its current uses with art therapists and clients (Carlton 2015). Creative experiences with computer-mediated materials have included my imaginative explorations and sensual employment of their dynamic and varied tools and processes (see Color plate 1). Moreover, I have witnessed how computer technologies and related software development have invigorated new languages, tools, networks, and meanings into things that respond in novel ways to the circumstances around and between us (Lòpez 2012). Within this
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