Thematische Bibliographien / Drawing

Auswahl der wissenschaftlichen Literatur zum Thema „Drawing“

Autor: Grafiati
Veröffentlicht am 4. Juni 2021
Zuletzt aktualisiert am 22. Juni 2024

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Inhaltsverzeichnis

  1. Zeitschriftenartikel
  2. Dissertationen
  3. Bücher
  4. Buchteile
  5. Konferenzberichte
  6. Berichte der Organisationen

Zeitschriftenartikel zum Thema "Drawing":

1

Bauer, Angelika, und Gudrun Kaiser. „Drawing on drawings“. Aphasiology 9, Nr. 1 (Januar 1995): 68–78. http://dx.doi.org/10.1080/02687039508248692.

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2

Braine, Lila Ghent. „Drawing Conclusions About Children's Drawings“. Contemporary Psychology: A Journal of Reviews 33, Nr. 10 (Oktober 1988): 899–900. http://dx.doi.org/10.1037/026126.

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3

Spiller, Neil. „The Magical Architecture in Drawing Drawings“. Journal of Architectural Education 67, Nr. 2 (03.07.2013): 264–69. http://dx.doi.org/10.1080/10464883.2013.817173.

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4

Joiner Jr., Thomas E., und Kristen L. Schmidt. „Drawing Conclusions--Or Not-From Drawings“. Journal of Personality Assessment 69, Nr. 3 (Dezember 1997): 476–81. http://dx.doi.org/10.1207/s15327752jpa6903_2.

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5

Farthing, Stephen. „Drawing Drawn (A Taxonomy)“. Visual Communication 12, Nr. 4 (November 2013): 423–36. http://dx.doi.org/10.1177/1470357212460798.

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6

Carpenter, Patricia A. „Drawn in by Drawing“. Contemporary Psychology: A Journal of Reviews 37, Nr. 4 (April 1992): 289–90. http://dx.doi.org/10.1037/031967.

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7

SUDERMAN, MATTHEW. „PATHWIDTH AND LAYERED DRAWINGS OF TREES“. International Journal of Computational Geometry & Applications 14, Nr. 03 (Juni 2004): 203–25. http://dx.doi.org/10.1142/s0218195904001433.

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An h-layer drawing of a graph G is a planar drawing of G in which each vertex is placed on one of h parallel lines and each edge is drawn as a straight line between its end-vertices. In such a drawing, we say that an edge is proper if its endpoints lie on adjacent layers, flat if they lie on the same layer and long otherwise. Thus, a proper h-layer drawing contains only proper edges, a short h-layer drawing contains no long edges, an upright h-layer drawing contains no flat edges, and an unconstrained h-layer drawing contains any type of edge. In this paper, we derive upper and lower bounds on the number of layers required by proper, short, upright, and unconstrained layered drawings of trees. We prove that these bounds are optimal with respect to the pathwidth of the tree being drawn. Finally, we give linear-time algorithms for obtaining layered drawings that match these upper bounds.
8

Koutsoumpos, Leonidas. „Drawings of sections and drawing with sections1“. Drawing: Research, Theory, Practice 9, Nr. 1 (01.04.2024): 19–34. http://dx.doi.org/10.1386/drtp_00126_1.

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Our era has been described as an age of divided representation, where the instrumental, rationalistic and commodifiable aspects of life have overthrown the ethical, creative and communicative ones that used to give meaning to human existence. This schism has led to the fact that representations have lost their power to re-present things meaningfully and have become mere ghosts of reality – often by rejecting it overall. This paper discusses the role that the drawings of sections can play in the way that we come to know, understand and interpret space. Although the paper uses architecture as its main entry point, it relates to various other design-oriented spatial disciplines (landscape architecture, urbanism, engineering, product design, geography, etc.). Methodologically, the paper cuts the discourse about sections in two distinct parts. The first one has to do with drawings of sections that come to describe an already existing structure (drawings of sections). The second highlights the role that sections play during the designing of new things – things that do not yet exist – in order to bring them into being (drawing with sections). With the proposed distinction the paper calls us to rethink sections, from a mere outcome of the design process, to the design process per se.
9

Geerts, Bart. „UNDRAWING: A GLOSSARY OF DAILY DRAWING“. Culture Crossroads 22 (13.09.2023): 161–71. http://dx.doi.org/10.55877/cc.vol22.445.

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Since June 2021 I have been working on the Daily Drawing project. I draw on a daily basis and make one drawing public every day. Although I have always been drawing in (private) sketchbooks, the public format of the Daily Drawings has revitalised my practice. It forces me to reach out and to let go of control. It is the drawings that are in control and that guide me through their visual tracings. The glossary presented here is an ongoing project that aims to build an understanding of a drawing practice and of drawing in general by interacting with the Daily Drawings in a word-based language. The glossary will not analyse the drawings, but interact with them, learn from them and reach out to them. It is a speech act of undrawing in the double meaning of that word: rendering something visible (as in the undrawing of a curtain), and erasing or undoing what one has just drawn. Drawing, thus, not only as a process of learning and knowing, but also as a process of unlearning and unknowing. The glossary will engage in dialectical research of drawing as an exploratory research method complementary to writing and thinking.
10

Antoniu, Manuela. „Drawing Without Drawing“. Architectural Theory Review 14, Nr. 3 (Dezember 2009): 213–33. http://dx.doi.org/10.1080/13264820903341613.

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Zeitschriftenartikel Dissertationen Bücher

Dissertationen zum Thema "Drawing":

1

Chard, N. J. „Drawing indeterminate architecture, indeterminate drawings of architecture“. Thesis, University College London (University of London), 2012. http://discovery.ucl.ac.uk/1344187/.

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Architecture is made to support certain activities. This thesis asks how architecture might also nurture the uncertain. The program and the conventions of architectural drawing encourage ideas of certainty. The architectural drawing is a rehearsal of the architecture it represents. This thesis searches for ways of drawing to rehearse the sorts of engagement we might have with architecture that could nurture an indeterminate condition. This is studied through the invention of seven types of drawing instrument. The early versions represent an indeterminate relationship with architecture while the later instruments nurture an indeterminate engagement through the act of drawing. Indeterminacy is a condition of uncertainty. At first the instruments concentrate on working with the sublime, an existential uncertainty. In order to understand the spatial potential of picturing there is extended research into the natural history diorama. In parallel to lessons on projective geometry, the dioramas provide a convincing case for the power of the uncanny, an intellectual uncertainty. The lessons from these studies, embodied in Instruments Two and Three, achieved what had been set out in the initial question but also provided new questions, especially about the experience of making the drawing. The later instruments project paint rather than light and provide an engagement with the person who is drawing that is analogous to the condition that is being drawn. The process of drawing becomes a rehearsal for inhabiting the architecture. The instruments are informed by a number of parallel studies: one that asks questions about ways of appropriating the city (as an indeterminate reception of the world as it is given); another into an opening up of the program, studied through a house, and the discovery of a way to disturb our certainty in the shadow and the invention of an instrument to understand the potential of that discovery.
2

Kauffman, Jordan Scott. „Drawing on architecture : the socioaesthetics of architectural drawings, 1970-1990“. Thesis, Massachusetts Institute of Technology, 2014. http://hdl.handle.net/1721.1/97376.

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Thesis: Ph. D., Massachusetts Institute of Technology, Department of Architecture, February 2015.
Cataloged from PDF version of thesis.
Includes bibliographical references (pages 391-422).
This dissertation examines a period in the late twentieth century when architectural drawings provoked a profound re-evaluation of architecture. It does so through novel research of the individuals, galleries, institutions, and events-and the networks that originated therefrom-that drove this reappraisal by shifting the perception of architectural drawings. During the 1970s and 1980s, for the first time, architectural drawings became more than an instrument for building. Prior to this period, except for scattered instances, buildings were considered to be the goal of architectural practice; architectural drawings were viewed simply as a means to an end. However, through a confluence of factors architectural drawings emerged from this marginal role. Drawings attained autonomy from the architectural process and were ultimately perceived as aesthetic artifacts in and of themselves. No attention has been given to this shift, and recovering this period's forgotten history reveals a rich and complex tapestry. Research unearths interrelated individuals, galleries, institutions, and events outside of practice that impacted the perception of architectural drawings during this period. This reveals the uniqueness of this period, for at no other time was debate generated in the same way, since at no other time did the necessary structures exist to support this change. During this period, architectural drawings became the driving force of architectural debate, not for what architects put in them, but for what others asked them to be and saw in them. Through exhibitions that emphasized drawings in and of themselves, through collectors and galleries, through the development of a market for architectural drawings, and through the interrelation of these, all of which this work reconstructs for the first time, the role and perception of drawings fell between and among aesthetic, artistic, architectural, commercial, conceptual, cultural, and historical understandings. It was this shifting that drove questioning during this period of nearly all facets of architecture.
by Jordan Scott Kauffman.
Ph. D.
3

Spankie, Rosemary. „Drawing out the interior : thinking through drawing“. Thesis, University College London (University of London), 2018. http://discovery.ucl.ac.uk/10052519/.

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The study of the interior, or the practice of Interior Design,1 is often described as a new discipline2 and in its present form this is true, even the use of the word interior to describe the inside of a building only coming into common parlance at the beginning of the nineteenth century. The idea of interiors as a profession developed in the late nineteenth century and it was as recently as the 1970s that it was felt necessary to provide a degree style of education. Because of its apparent youth Interior Design has been seen as part of the discipline of architecture and as such has operated literally and conceptually ‘within’ architecture, borrowing its means of practice, ways of thinking and methods of representation. The purpose of this thesis is two fold: Firstly to question the validity of this position suggesting the practice of interiors is neither young, nor is it an inevitable result of architectural production. Rather it should be understood as a discipline in its own right o"ering an alternative knowledge base to that of its host. Secondly the thesis attempts to describe what that knowledge base might be. The title Drawing Out the Interior refers to discussion of the Italian word ‘disegno’ meaning drawing but also drawing out of an idea.3 Using drawing as a method of investigation, as an analytical and critical tool, I have literally ‘drawn out’ three case study interiors. These interiors are: The Censors’ Room at the Royal College of Physicians, St Andrews Place, NW1, previously of Pall Mall East, SW1 and Warwick Lane, EC4. / Sigmund Freud’s Consulting Room and Study, both in Berggasse 19, Vienna IX and 20 Mares!eld Gardens, NW3. / and The Old Cinema at 307 Regent Street, W1B.
4

Mouton, Jacques P. „Drawing the building and building the drawing“. Diss., University of Pretoria, 2014. http://hdl.handle.net/2263/45292.

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The way we build is inherently bound to methods implemented when representing any proposed intervention. Superficially, it would seem that the techniques used for representing architecture have rapidly progressed, especially with regard to the influence technology has on the depiction of architectural form in a graphically accessible manner. However, when critically examining the consequential products that arise from either method, it becomes evident that very little has been gained through employing these new methods of creation and depiction. Through accepting, wholeheartedly, drawing conventions adapted from generation to generation- combined with the digitisation of methods used for depicting architectural intent and/or instruction, a schism emerged. There exists a divide between the act of drawing, and the primal meaning represented through the product. To escape the doldrums created by the aforementioned condition, this dissertation presents a fourfold investigation on ‘architectural drawing’ as entity. The four individual chapters should be understood as reflections on the methodological approaches employed in the formation of the resulting intervention. The summarised topics are as follows: It is important to note that all the drawings presented in this document were done by hand, and drawn with considerable love and precision. As such, The drawings are intended to be carefully studied and contemplated - with specific regard to the preceding text - in order to create a holistic view of the project. The resulting intervention is informed by, and thus a direct product of, investigative sketches that act as research- and mapping devices. This process enables the communication of internalised ideas, both to oneself and to others. Since communication is fully dependent on the clear translation of ideas, drawings become the embodiment of the formulated approach, instead of a representation of internalised ideas. The programme housed by the resulting architecture aims to further strengthen the proposed theoretical premise through emphasising the impact that drawing has on spatial hierarchy. The act of drawing possesses the power to define or alter perceptions of hierarchal value contained within artefacts. through manipulating the emphasis placed on an object within a drawing it becomes possible to manipulate it’s perceived importance.
Dissertation (MArch(Prof))--University of Pretoria, 2014.
Architecture
MArch(Prof)
Unrestricted
5

Williamson, Naomi, und naomiruthwilliamson@mac com. „The Drawn Subject: Meaning and the Moving Drawing“. RMIT University. Art, 2007. http://adt.lib.rmit.edu.au/adt/public/adt-VIT20080617.142838.

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Using the vehicle of hand drawn animation, this is an ongoing reflection of instances that repeat themselves to a point beyond the humorous and back. The Myth of Sisyphus 'The Gods had condemned Sisyphus to ceaselessly rolling a rock to the top of a mountain, whence the stone would fall back on its own weight. They had thought with some reason that there was no more dreadful punishment than futile and hopeless labour.' Albert Camus- The Myth of Sisyphus By observing and illustrating assiduous daily gestures and events our absurd hero is revealed: this protagonist, be it object or human consciously and often unconsciously lives within a relentless finite experience. As the same moment is duplicated, the
6

Sammis, Kim. „Drawing/s“. Thesis, Massachusetts Institute of Technology, 1986. http://hdl.handle.net/1721.1/88806.

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Thesis (M. Arch.)--Massachusetts Institute of Technology, Dept. of Architecture, 1986.
MICROFICHE COPY AVAILABLE IN ARCHIVES AND ROTCH.
Includes bibliographical references (p. 175-179).
Drawing has become essential to the making of architecture. Though some of the most magnificent structures were created without documentation, testified by The Pyramids, the Parthenon, primitive dwellings, treehouses and many other "spontaneous" constructions, the contemporary profession of making buildings demands countless representations. From sketchy initial concepts to persuasive presentations to detailed construction documents, the making of images for a design sometimes takes longer than the construction process. Images must be read by many diverse people involved in the formation of buildings, therefore architectural notation systems demand consistency. Despite the accepted language of representation, images are abstractions of real objects. They are limited in their scope of information and allow us to bring our own perceptions to them. Architectural drawings stand between us and an object Due to their two dimensional nature, they must present information with symbols and conventions that we take for granted, just as we accept the structure of language. Many contemporary drawings are created not to serve the making of buildings, but to make a visual or ideological statement They are illustrative of ideas, and their resultant physical forms would express the manipulations of drawings, rather than the reverse. This aspect of representation has led me to question the substance of architectural images, their functions and the use of traditional notation systems specific to architecture and its allied crafts. Herbert Spenser said. "language must truly be regarded as a hindrance to thought" We think in images, though the mandatory learning of verbal formations may well befuddle our visions. Notation systems in architecture are similar to language. They too are abstractions of concepts and require training for understanding and manipulation. An investigation of their implications may offer more effective utilization.
by Kim Sammis.
M.Arch.
7

Coppage, Mary. „Drawing Conclusions“. VCU Scholars Compass, 2009. http://scholarscompass.vcu.edu/etd/1886.

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My book arts explore the creative process. I am interested in what drives an artist to create and what can paralyze that creative action by blocking the process. I examine such issues as finding one’s personal muse and overcoming procrastination and self-doubt. Implements of exploration such as maps, compasses, and globes are materials included in this series of sculptural books. I also offer meticulous renderings of cacti, a personal symbol of resilience and power, as an illustration of finding and accepting my muse as “The Everyday.” Drawn in pencil on gessoed wooden panels, these detailed drawings are examples of discoveries and conclusions made in my exploration.
8

Donarski, Vincent. „Drawing tools“. College Park, Md. : University of Maryland, 2006. http://hdl.handle.net/1903/3615.

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Thesis (M.F.A.) -- University of Maryland, College Park, 2006.
Thesis research directed by: Dept. of Art. Title from t.p. of PDF. Includes bibliographical references. Published by UMI Dissertation Services, Ann Arbor, Mich. Also available in paper.
9

Himebaugh, Keith. „Mythic Drawing| An archetypal approach to drawing with dreams“. Thesis, Pacifica Graduate Institute, 2013. http://pqdtopen.proquest.com/#viewpdf?dispub=3565655.

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This production-style dissertation explores the psychological aspect of drawing with dream images. It introduces a practical method, called Mythic Drawing, which can help artists work with dream images in an authentic way. For James Hillman, the founder of Archetypal Psychology, dreams do not reflect the outer world of empirical reality. Rather, they express the inner world of psychic reality through mythological resemblances. Therefore, to draw adequately with images, the artist must give up the rational approach of step-by-step formulas and abstract concepts, and instead, sensitize these methods to the metaphorical style of the dream.

The essence of Mythic Drawing is play. The artist engages the dream image as an active participant, like an actor playing a part. The role of "artist" is relativized and seen through to the many archetypal figures one embodies while drawing, such as a child, a dancer, an architect, or a shaman. The artist accepts the dream images as alive, intelligent and capable of asserting a will of their own. In this way, drawing becomes a collaborative activity that fosters a dynamic relationship between the artist and the creative figures of his or her imagination.

Using a hermeneutic method, the dissertation outlines the theoretical basis of Mythic Drawing, while at the same time examining traditional assumptions and biases in art education. It then tests the efficacy of the ideas discussed through two intensive drawing projects. A heuristic method is applied throughout the production of drawings which helps provide reflection upon and analysis of the creative process.

10

Kalin, Nadine. „Conversations on teaching and learning drawing : drawn toward transformation“. Thesis, University of British Columbia, 2007. http://hdl.handle.net/2429/31358.

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This dissertation delves into the shifting perceptions, practices, and contradictions inherent in teaching and learning related to drawing within elementary schooling. In particular, it shares how a group of non-art specialist teachers who teach their own art and the author come to know drawing within the context of an action research group. Non-art specialist elementary teachers are increasingly responsible for teaching art to their students, a task for which few feel adequately prepared. Moreover, this group of teachers often identifies the inability to draw as a decisive factor in their lack of confidence in teaching art. The teacher-researchers reported on in this study recognized the need to return to where they had left off in their own learning of drawing as a basis for their artistic and classroom-based inquiries. Through a re-framing and demystification of our inter-relationships with pictorial realism in drawing and teaching we were able to renegotiate previous encounters that had caused stagnation and become opened up to alternative ways of understanding drawing. This dissertation articulates our research processes as an unfolding, complex, and ongoing conversation. Placing teachers at the centre of their own learning in a critically reflective and social context contributed to the transformation of perception, practice, and curricular possibility related to drawing. In this research I have not only guided, but also been guided through the contours of the roots and routes of possible change for these teachers and myself. The research experiences of the teacher-participants have resulted in a newfound and ongoing commitment to teaching art and drawing that is reasonable and risky, as well as practical and responsive to the evolving circumstances of their teaching. This seems a worthwhile (re)starting point for non-specialist teachers of art at the beginning of their careers and for those in the midst of their profession. Consequently, the dissertation is of relevance to tertiary educators and researchers seeking insights related to non-specialist teachers of art, their preparation as teachers, professional development in art, and post-modern, visual cultural approaches to art education. Furthermore, this study generates understandings that contribute to existing articulations of action research and a/r/tography.
Education, Faculty of
Curriculum and Pedagogy (EDCP), Department of
Graduate
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Bücher zum Thema "Drawing":

1

Murray, John Philip. Demiurge - drawing words: New drawings. Macroom, Co. Cork: Vangard Gallery, 1994.

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Hashmi, Imtiaz. Fundamentals of engineering drawing: Basics concepts of engineering drawing. Saarbrücken, Germany: Lap Lambert Academic Publishing, 2010.

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Rhodes, R. S. Basic engineering drawing. Harlow: Longman Scientific & Technical, 1986.

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Robson, Colin. Drawing. New York: Watson-Guptill Publications, 1998.

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Eileen, Adams, Hrsg. Start drawing: Power drawing. London: Drawing Power, 2002.

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Brooks, Julian. 'Graceful and true': Drawings in Florence c.1600. Oxford: Ashmolean Museum, 2003.

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7

Ostrowsky, O. Engineering drawing: With CAD applications. London: Edward Arnold, 1989.

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Ostrowsky, O. Engineering drawing: With CAD applications. London: Edward Arnold, 1989.

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Ostrowsky, O. Engineering drawing: With CAD applications. London: Edward Arnold, 1995.

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10

Chard, Nat. Drawing indeterminate architecture, indeterminate drawings of architecture. Wien: Springer, 2005.

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Buchteile zum Thema "Drawing":

1

Agudo-Martínez, María Josefa. „Drawing Without Drawing“. In Architectural Draughtsmanship, 1099–107. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-58856-8_87.

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2

Gooch, Jan W. „Drawing“. In Encyclopedic Dictionary of Polymers, 243. New York, NY: Springer New York, 2011. http://dx.doi.org/10.1007/978-1-4419-6247-8_4005.

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Gooch, Jan W. „Drawing“. In Encyclopedic Dictionary of Polymers, 243. New York, NY: Springer New York, 2011. http://dx.doi.org/10.1007/978-1-4419-6247-8_4006.

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Calì, Carmelo. „Drawing“. In Lecture Notes in Morphogenesis, 129–31. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-51324-5_27.

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Tyers, Ben. „Drawing“. In Practical GameMaker: Studio, 19–28. Berkeley, CA: Apress, 2016. http://dx.doi.org/10.1007/978-1-4842-2373-4_3.

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Gummert, Hermann-J. „Drawing“. In Encyclopedia of Lubricants and Lubrication, 392–420. Berlin, Heidelberg: Springer Berlin Heidelberg, 2014. http://dx.doi.org/10.1007/978-3-642-22647-2_24.

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Ward, Jenna, und Harriet Shortt. „Drawing“. In The SAGE Handbook of Qualitative Business and Management Research Methods: Methods and Challenges, 262–81. 1 Oliver's Yard, 55 City Road London EC1Y 1SP: SAGE Publications Ltd, 2018. http://dx.doi.org/10.4135/9781526430236.n16.

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Weik, Martin H. „drawing“. In Computer Science and Communications Dictionary, 461. Boston, MA: Springer US, 2000. http://dx.doi.org/10.1007/1-4020-0613-6_5600.

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9

Richter-Gebert, Jürgen, und Ulrich H. Kortenkamp. „Drawing“. In The Cinderella.2 Manual, 281–347. Berlin, Heidelberg: Springer Berlin Heidelberg, 2011. http://dx.doi.org/10.1007/978-3-540-34926-6_11.

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10

Edwards, Jean, Helen Caldwell und Rebecca Heaton. „Drawing“. In Art in the Primary School, 157–85. 2. Aufl. New York, NY: Routledge, 2021. |: Routledge, 2021. http://dx.doi.org/10.4324/9780429296208-7.

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Konferenzberichte zum Thema "Drawing":

1

Zhang, Lvmin, Jinyue Jiang, Yi Ji und Chunping Liu. „SmartShadow: Artistic Shadow Drawing Tool for Line Drawings“. In 2021 IEEE/CVF International Conference on Computer Vision (ICCV). IEEE, 2021. http://dx.doi.org/10.1109/iccv48922.2021.00534.

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2

Penman, Scott. „Drawing to See / Drawn to Seeing: Multimodal Reinterpretation in an Autonomous Drawing Machine“. In Design Research Society Conference 2018. Design Research Society, 2018. http://dx.doi.org/10.21606/drs.2018.687.

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Looi, Lydia, und Richard Green. „Estimating Drawing Guidelines for Portrait Drawing“. In 2021 36th International Conference on Image and Vision Computing New Zealand (IVCNZ). IEEE, 2021. http://dx.doi.org/10.1109/ivcnz54163.2021.9653407.

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Schkolne, Steven, Michael Pruett und Peter Schröder. „Surface drawing“. In the SIGCHI conference. New York, New York, USA: ACM Press, 2001. http://dx.doi.org/10.1145/365024.365114.

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Brunvand, Erik, Jennifer (Ginger) Reynolds Alford und Paul Stout. „Drawing machines“. In Proceeding of the 44th ACM technical symposium. New York, New York, USA: ACM Press, 2013. http://dx.doi.org/10.1145/2445196.2445530.

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6

Fitzgerald, Jeannie, und Conor Ryan. „Drawing boundaries“. In the 13th annual conference. New York, New York, USA: ACM Press, 2011. http://dx.doi.org/10.1145/2001576.2001758.

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7

Shirali-Shahreza, M., und S. Shirali-Shahreza. „Drawing CAPTCHA“. In 28th International Conference on Information Technology Interfaces, 2006. IEEE, 2006. http://dx.doi.org/10.1109/iti.2006.1708527.

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8

Leigh, Sang-won, Harshit Agrawal und Pattie Maes. „Z-drawing“. In SIGGRAPH '15: Special Interest Group on Computer Graphics and Interactive Techniques Conference. New York, NY, USA: ACM, 2015. http://dx.doi.org/10.1145/2787626.2787652.

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9

Zaks, Shahar. „Drawing Tool“. In TEI'12: Sixth International Conference on Tangible, Embedded, and Embodied Interaction. New York, NY, USA: ACM, 2012. http://dx.doi.org/10.1145/2148131.2148210.

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10

Davis, Nicholas, Chih-PIn Hsiao, Kunwar Yashraj Singh, Lisa Li, Sanat Moningi und Brian Magerko. „Drawing Apprentice“. In C&C '15: Creativity and Cognition. New York, NY, USA: ACM, 2015. http://dx.doi.org/10.1145/2757226.2764555.

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Berichte der Organisationen zum Thema "Drawing":

1

WILSON, G. W. Drawing evaluation report for sampling equipment drawings. Office of Scientific and Technical Information (OSTI), Mai 1999. http://dx.doi.org/10.2172/782256.

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2

Jaramillo, George Steve. Drawing Waters. University of Limerick, 2020. http://dx.doi.org/10.31880/10344/8360.

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3

Smith, W. L. Automated glass fiber drawing. Office of Scientific and Technical Information (OSTI), September 1989. http://dx.doi.org/10.2172/5524774.

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4

Leon, Ryan Francis. Personal Drawing Portfolio Sample. Office of Scientific and Technical Information (OSTI), Mai 2016. http://dx.doi.org/10.2172/1253516.

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5

Domnoske-Rauch, L. A. Tank farms essential drawing plan. Office of Scientific and Technical Information (OSTI), August 1998. http://dx.doi.org/10.2172/362550.

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6

Olds, Daniel P. CAD drawing of tensile rig. Office of Scientific and Technical Information (OSTI), Juni 2014. http://dx.doi.org/10.2172/1134794.

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7

WILSON, G. W. Characterization equipment essential drawing plan. Office of Scientific and Technical Information (OSTI), Mai 1999. http://dx.doi.org/10.2172/782268.

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8

WILSON, G. W. Characterization equipment essential drawing plan. Office of Scientific and Technical Information (OSTI), Mai 1999. http://dx.doi.org/10.2172/782269.

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9

Henderson, Thomas C., und Lavanya Swaminathan. Agent-Based Engineering Drawing Analysis. Fort Belvoir, VA: Defense Technical Information Center, Februar 2002. http://dx.doi.org/10.21236/ada453890.

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10

Laura Leddy, Laura Leddy. Drawing Archaeology in Byzantine Athens. Experiment, Mai 2014. http://dx.doi.org/10.18258/2591.

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