Zeitschriftenartikel: „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.

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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.

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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.

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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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11

Maclagan, David. „Drawing/writing/drawing“. Drawing: Research, Theory, Practice 3, Nr. 2 (01.11.2018): 241–48. http://dx.doi.org/10.1386/drtp.3.2.241_1.

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12

Roach, John A. G., und Nancy M. Roach. „Use of Computer-Aided Design in the Preparation of Technical Manuscripts“. Journal of AOAC INTERNATIONAL 69, Nr. 5 (01.09.1986): 746–48. http://dx.doi.org/10.1093/jaoac/69.5.746.

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Abstract Decreased computing costs and constantly improving capability are transforming microcomputers into general rather than specialized productivity tools. This has made it possible to increase personal productivity in ways that were not previously cost-effective. We are using computer-aided design (CAD) to prepare technical illustrations for chemical and geochemical manuscripts. CAD offers several advantages over hand-drawn illustrations. Chemical structures are stored in a library of shapes and may be combined or modified to form other structures in subsequent drawings. An original drawing only has to be drawn once with a computer. The drawing may then be scaled to any size and placed in a draft of a manuscript. Revisions require a fraction of the time needed to revise a drawing by hand. All or part of the drawing may be plotted to provide a sequence of drawings without changing the original drawing.

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13

Murray, Shaun. „Drawing architecture“. Design Ecologies 11, Nr. 1 (01.06.2022): 11–33. http://dx.doi.org/10.1386/des_00014_1.

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Can we surpass the representational nature of architecture drawing to consider and discuss the agency of architectural drawing in process and result? Over the course of three years from 2019, a cohort of architect–drafters, architect–theoreticians and a curator are meeting every six months in a reflective exchange to discuss the production and exhibition of a collection of drawings and drawing-related artefacts. The varying cast of the bi-annual symposia are participants from the United States, Canada and Europe including Michael Webb, Perry Kulper, Laura Allen, Bryan Cantley, Nat Chard, Mark Dorrian, Arnaud Hendrickx, William Menking, Shaun Murray, Anthony Morey, Mark Smout, Neil Spiller, Natalija (Nada) Subotincic, Mark West, Michael Young and Riet Eeckhout. Surpassing the representational nature of architecture drawing, a group of architects and I consider and discuss the agency of architectural drawing in process and result. Drawing architecture implies materializing an architecture within the drawing, where it can be sought, found and experienced. This refers to an action in the present progressive, an action by the author in the process of bringing into the world through drawing – architectural research through drawing. The artefacts, as drawings, that we are looking at are an end in themselves and not a preparatory means to build an environment as in how drawings are used in architectural practices for buildings. These symposia aim to reveal and come closer to the individual agency of each practice within the drawn discipline of architecture, to establish a way in which we can show this agency in an Exhibition at Montreal Design Centre in August–December 2022. The bi-annual symposium days were structured by round-table conversations and discussions that take place based on drawings or drawing-related artefacts brought in by the participants. In ‘Drawing architecture’ Session 1 in New York, we had an in-depth introduction of each participant’s practice with Michael Webb, Perry Kulper, Bryan Cantley, Nat Chard, Arnaud Hendrickx, William Menking, Shaun Murray, Anthony Morey, Neil Spiller, Natalija (Nada) Subotincic, Mark West, Michael Young and Riet Eeckhout. Participants expanded on their bodies of work, tools and the nature of the drawing practice. For ‘Drawing architecture’ Session 2 in London, we sharpened the conversation between the participants by: (1) establishing an angle from which we talk through the artefact(s) (drawing or drawing practice-related artefact), each participant from the standpoint of their practice. Angle: Talking through the drawing or drawing practice-related artefact, can you expand on the agency of the drawing (practice) within the discipline of architecture? Questions that might be helpful: (a) How does the drawing work as a tool of investigation (technique of leveraging knowledge). (b) Where and what is the architecture within the resulting drawing/artefact? When is the architecture in the process? Is there architecture within the drawing? (2) By placing the drawing or artefact central during the symposium talk and organize a group conversation around it. It might be that you bring one or more current drawings/artefacts enabling you to expand on the specific drawing practice investigation. The artefact might be resolved or unresolved, finished, ongoing or just starting and in the thick of things. The presence of the drawing allows the group to come closer to and understand the agency of the artefact itself, supported by talking us through and unpacking the artefact.

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14

Taguchi, Masanori, und Yutaka Noma. „Relationship between Directionality and Orientation in Drawings by Young Children and Adults“. Perceptual and Motor Skills 101, Nr. 1 (August 2005): 90–94. http://dx.doi.org/10.2466/pms.101.1.90-94.

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The present study examined the relationship between directionality of drawing movements and the orientation of drawn products in right-handed adults and young children for 27 Japanese kindergartners and 29 Japanese university students who were asked to draw with each hand fishes in side view and circles from several starting points. Significant values of χ2 for distributions of frequencies of orientation of the fish drawings and the direction of circular drawing movement indicated that adult right-handers drawing the fish facing to the left tended to draw a circle clockwise when they drew with the dominant hand, while there was no such significant relationship in young children's drawings. This result may suggest that the reading and writing habits may be implicated in the direction of drawing movements with the dominant hand, and this directional bias of drawing movement in the dominant hand can appear in the orientation of finished drawings.

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15

GARG, ASHIM, und ADRIAN RUSU. „AREA-EFFICIENT ORDER-PRESERVING PLANAR STRAIGHT-LINE DRAWINGS OF ORDERED TREES“. International Journal of Computational Geometry & Applications 13, Nr. 06 (Dezember 2003): 487–505. http://dx.doi.org/10.1142/s021819590300130x.

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Ordered trees are generally drawn using order-preserving planar straight-line grid drawings. We investigate the area-requirements of such drawings and present several results. Let T be an ordered tree with n nodes. We show that: • T admits an order-preserving planar straight-line grid drawing with O(n log n) area. • If T is a binary tree, then T admits an order-preserving planar straight-line grid drawing with O(n log log n) area. • If T is a binary tree, then T admits an order-preserving upward planar straight-line grid drawing with optimalO(n log n) area. We also study the problem of drawing binary trees with user-specified aspect ratios. We show that an ordered binary tree T with n nodes admits an order-preserving planar straight-line grid drawing with area O(n log n), and any user-specified aspect ratio in the range [1,n/ log n]. All the drawings mentioned above can be constructed in O(n) time.

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16

Mulla, Sarosh, Aaron Paterson und Marian Macken. „Encountering drawing“. Drawing: Research, Theory, Practice 8, Nr. 1 (01.04.2023): 117–28. http://dx.doi.org/10.1386/drtp_00110_1.

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This project report outlines the research-led exhibition, Drawing Room – part of an ongoing collaborative design research project focusing on drawing – exhibited at Toi Moroki Centre of Contemporary Art Christchurch (CoCA), New Zealand. The research interrogates drawings that move – made by light, shadow and animation – and our encounters with drawings through the manipulations of scale and virtual reality (VR). The research investigates the relationship between scale, moveable drawings and bodily engagement in architectural drawing and the speculative nature of VR in architectural drawing. The research places architectural drawing within an expanded practice – shifting its generation from the architectural office – by way of critiquing the normative ways of representing the discipline of architecture. This project demonstrates that the making of architectural drawings and their encounter engages the entire body; in encountering these, we occupy and inhabit the spaces of these drawings. The project investigates the influence of speculative drawing practices on the conceiving and developing of developing architectural built work through the use of exhibition.

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17

Borde, Andréa de Lacerda Pessôa, und Alexandre Pessoa. „‘Pandemic drawings’: Are we still teaching conceptual drawing?“ Drawing: Research, Theory, Practice 6, Nr. 2 (01.12.2021): 377–90. http://dx.doi.org/10.1386/drtp_00072_1.

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In this paper we analyse the impact of the COVID-19 measures on teaching the conceptual drawing course at the Architecture and Urbanism Faculty of the Federal University of Rio de Janeiro (FAU/UFRJ). The remote model of teaching followed from July 2020 determined many changes in our methodology, these being essentially practical rather than theoretical. This adaptive process resulted in what we called ‘pandemic drawings’, proved to be a useful tool for expanding drawing skills and confined senses. The outcomes were surprisingly positive and pointed out that these ‘pandemic drawings’ could become a hybrid model of drawing in the following post-pandemic years.

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Christie, John, Mathew Reichertz, Bryan Maycock und Raymond M. Klein. „To erase or not to erase, that is not the question: Drawing from observation in an analogue or digital environment“. Art, Design & Communication in Higher Education 19, Nr. 2 (01.10.2020): 203–20. http://dx.doi.org/10.1386/adch_00023_1.

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Erasing when drawing occurs for a variety of reasons. While the most obvious may be correction of mistakes, at other times erasers are used to create such things as highlights or marks that introduce particular aesthetic elements. When a drawing is made on paper, partial erasure ‘marks’ can provide a useful record of a drawing’s evolution. For the teacher, this historical record can be a catalyst for helpful commentary and criticism. While programmed to simulate an analogue eraser, in a digital environment the erase function can eradicate a drawing’s history with a single click. We studied analogue and digital tool use behaviours (including erasing) to compare the frequency of erasure and the effect of erasing on observational accuracy in adults between the age of 17 and 64 with various levels of drawing experience from less than two years to more than ten years. The study involved participants making one drawing on paper with traditional drawing tools and one drawing on a digital drawing tablet. We then had the drawings rated for accuracy. Among other interesting results, we found that erasing occurs with greater frequency when participants work in a digital environment than in an analogue one and that, while there were significant tool use differences between the environments, those differences did not result in differences in the accuracy of final drawings indicating the adaptability of our participants using different means to achieve the same effect.

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19

Holm, E. „Guide to biological drawing - Part 1: Line drawings“. Suid-Afrikaanse Tydskrif vir Natuurwetenskap en Tegnologie 5, Nr. 3 (18.03.1986): 143–50. http://dx.doi.org/10.4102/satnt.v5i3.989.

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The advantages of drawings above photographic illustrations are listed, and the difference between skills needed for technical rendering and artwork is explained. Materials and techniques for good line drawing are treated in progressive steps, followed by appropriate recommended exercises. The text is elucidated by 18 illustrations.

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20

Wittmann, Barbara. „Drawing Cure: Children's Drawings as a Psychoanalytic Instrument“. Configurations 18, Nr. 3 (2010): 251–72. http://dx.doi.org/10.1353/con.2010.0016.

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21

Paterson, Aaron, Sarosh Mulla und Marian Macken. „Drawing the room | Drawing within the room“. Drawing: Research, Theory, Practice 5, Nr. 2 (01.12.2020): 261–75. http://dx.doi.org/10.1386/drtp_00036_1.

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This project report outlines ongoing collaborative design research that addresses aspects of architectural drawing, in particular scale and time. This project is discussed through the lens of the inhabitation of drawing: in both the making of, and encountering, drawing. ‘Drawing the Room | Drawing within the Room’ (2019) couples projective drawings with post factum documentation – or creative post-occupancy data – of built houses. Using motion capture technology, the movements of inhabitation are captured and translated to line work animations. The resulting drawings of inhabitation are projected full-scale, exhibited in the space of the architectural office, the site of conceiving and production of both drawings and architecture. Using the architectural office as the space of installation and exhibition presents a practice for acknowledging and engaging with these spaces of creativity, beyond casting the office as commercial space. The project explores contemporary performative drawing practices within architecture and considers the ways in which bodies and drawings interact. This work highlights the fundamental importance of lines within architecture, not as demarcation, divider or indexical references, but as temporal traces of bodily movement.

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Selzer King, Abigail. „Drawing Talk, Drawing Ideas“. Visual Communication Quarterly 24, Nr. 3 (03.07.2017): 192–93. http://dx.doi.org/10.1080/15551393.2017.1367185.

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23

McNay, A., und J. Stewart. „GI's Anatomy: Drawing Sex, Drawing Gender, Drawing Bodies“. TSQ: Transgender Studies Quarterly 2, Nr. 2 (01.01.2015): 330–35. http://dx.doi.org/10.1215/23289252-2867704.

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24

Khanum, Rina, Dong Woo Go, Wataru Takarada, Arun Aneja und Takeshi Kikutani. „Effect of Drawing Speed on Infusion and Drawing Behaviors of Poly(ethylene terephthalate)Filaments upon Cold Drawing in Ethanol“. Sen'i Gakkaishi 71, Nr. 9 (2015): 273–83. http://dx.doi.org/10.2115/fiber.71.273.

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25

Oppenhuis, Lotte. „Drawing fixed moments in time“. SPOOL 9, Nr. 3 (01.09.2022): 57–74. http://dx.doi.org/10.47982/spool.2022.3.04.

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This visual essay discusses drawing time in relation to the author’s graduation project, which is based on the paradigm of a multispecies world. Three design principles are derived from this paradigm: movement, hybrid and landscape as being. These relate to different notions of time and thus on drawing time. Movement means drawing the now. Hybrid is a material structure that shows non-human presence. This materiality implies that decay has to be drawn. The landscape as being is the ongoing landscape without end. In order to draw the three principles leading to the design intervention, fixed moments in time are chosen. In this visual essay 0 years, 20 years, and 30 years are shown. Time is drawn through a repetition of plans, sections and animation stills and through drawing specific human and non-human presence. In this way repetition, growth, decay and changing actors are shown. Drawing decay opened up new design possibilities. By comparing the repetitive animation stills, drawing time became a critical tool that showed idealization within the design. This visual essay shows both the repetition of drawings, as well as the discoveries it leads to.

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26

Ibarra, Susie. „Drawing One, and: Drawing Two“. Callaloo 28, Nr. 3 (2005): 611–19. http://dx.doi.org/10.1353/cal.2005.0094.

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27

Asar, Hande, und Carolin Stapenhorst. „Zvi Hecker: Drawing on Drawing“. Archives of Design Research 33, Nr. 3 (31.08.2020): 45–53. http://dx.doi.org/10.15187/adr.2020.08.33.3.45.

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28

Carpenter, B. Stephen. „Drawing Questions and Drawing Conclusions“. Studies in Art Education 60, Nr. 2 (03.04.2019): 89–91. http://dx.doi.org/10.1080/00393541.2019.1609869.

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29

Ionascu, Adriana. „Drawing space (drawing in perspective)“. Drawing: Research, Theory, Practice 2, Nr. 1 (01.04.2017): 3–22. http://dx.doi.org/10.1386/drtp.2.1.3_2.

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30

Adams, Alastair, Andrew Selby, Andrew Davies und Jemma Robinson. „e-Learning: Drawing on Drawing“. International Journal of the Humanities: Annual Review 5, Nr. 11 (2008): 187–202. http://dx.doi.org/10.18848/1447-9508/cgp/v05i11/42284.

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31

Rossi, Adriana. „From Drawing to Technical Drawing“. Nexus Network Journal 14, Nr. 1 (13.01.2012): 135–49. http://dx.doi.org/10.1007/s00004-011-0102-4.

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32

Lee, Seoung Soo, Toshiro Ono und Shozo Tsujio. „A computer-aided drawing check system for mechanical drawings drawn with CAD system. (1st report). Local dimension check of a single plane projection drawing.“ Journal of the Japan Society for Precision Engineering 57, Nr. 4 (1991): 705–10. http://dx.doi.org/10.2493/jjspe.57.705.

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33

Kamens, Sarah R., Despina Constandinides und Fathy Flefel. „Drawing the future: Psychosocial correlates of Palestinian children’s drawings.“ International Perspectives in Psychology: Research, Practice, Consultation 5, Nr. 3 (2016): 167–83. http://dx.doi.org/10.1037/ipp0000054.

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34

Lamarre, Thomas. „From animation to anime : drawing movements and moving drawings“. Japan Forum 14, Nr. 2 (Januar 2002): 329–67. http://dx.doi.org/10.1080/09555800220136400.

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35

Tsujio, Showzow, und Yoshinobu Nakamura. „A Computer-Aided Drawing Check System for Mechanical Drawings Drawn with CAD System (3rd Report)“. Journal of the Japan Society for Precision Engineering 62, Nr. 2 (1996): 265–69. http://dx.doi.org/10.2493/jjspe.62.265.

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36

Petherbridge, Deanna. „Drawing: Practice and politics“. Drawing: Research, Theory, Practice 5, Nr. 1 (01.04.2020): 43–57. http://dx.doi.org/10.1386/drtp_00019_1.

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This article focuses on my recent pen and ink drawings, which are multi-panelled works on paper dealing with wars, migration and political themes. They are contextualized in relation to a long career of disruptive themes, as well as the critique and celebration of cities and places through the employment of architectonic, mechanistic and landscape imagery. They are intended to function as visual metaphors for social, cultural and historical narratives. My subject-matter and the deliberate referentiality of drawn detail and semi-recognizable objects, constructions and spaces are discussed in relation to formal issues of texture, manipulation of space and perspectival ambiguity. These relate to some of the ideas about the strategies of making and the special status and properties of drawing that I formulated in my book The Primacy of Drawing: Histories and Theories of Drawing, 2010. I suggest in conclusion that my life-long commitment to the austerity and economy of drawing reflects my early training in South Africa.

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Foá, Maryclare. „Narrative traces through being and places, drawing, performance drawing and painting“. Drawing: Research, Theory, Practice 5, Nr. 1 (01.04.2020): 85–98. http://dx.doi.org/10.1386/drtp_00022_1.

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A reflective observation of a 40-year drawing practice (from the 1970s to the present day), from observational drawing in outdoor environments, to performing Driftsong sound drawings through place, leading to the author’s current concern, woandering to bridge drawing and painting in a pareidolian archaeology. Her practice, rooted for its first decade in observational drawing in outdoor spaces, intensified her awareness of the environment and led her to undertake a research degree investigating whether an interaction between the environment and the practitioner during the process of drawing could be identified. This review follows the author’s practice, highlighting essential influencers, including Linda Kitson, Charles Baudelaire, Jacques Derrida on Emmanuelle Levinas, Astronaut Chris Hadfield and Performance artist Phil Smith. Identifying how the development of the author’s understanding of the environment impacts on her drawing led her to question whether while making work in the outside environment, she may also impact the environment in return. The author later expanded this idea further to wonder if while we make drawings of the environment we may be drawn by the environment too. A significant conversation with her research supervisor the artist David Cross, in which he stated that mass displacement is ‘a defining condition of our times’, together with the planets approaching environmental catastrophe, prompted the author to give a paper proposing Psychogeography be updated to Reciprocalgeography, and that the stories of the journeys undertaken by those displaced persons be heard as a ‘gift for the common treasury for all’ (Gerard Winstanley 1649). This review concludes with a response to an invitation to write on the thinking and making of her current practice. The author, combining the physical, emotional and conceptual process of making, proposes to woander on a pareidolian archaeology, allowing serendipitous happenstance and the unconscious, to have a hand in the making process.

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Harriet W. Sheridan. „Drawing“. Literature and Medicine 13, Nr. 2 (1994): 187. http://dx.doi.org/10.1353/lm.2010.0006.

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39

Lyon, Jon G., und Nancy Helm-Estabrooks. „Drawing“. Topics in Language Disorders 8, Nr. 1 (Dezember 1987): 61–71. http://dx.doi.org/10.1097/00011363-198712000-00008.

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40

Ellis, Trish. „Drawing“. Harrington Lesbian Literary Quarterly 7, Nr. 3 (02.10.2006): 57–59. http://dx.doi.org/10.1300/j509v07n03_07.

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41

Phil, Lee. „Photography and Drawing : From Photography for Drawing to Drawing for Photography“. Journal of Aesthetics & Science of Art 41 (30.06.2014): 239–66. http://dx.doi.org/10.17527/jasa.41.0.08.

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42

Emrali, Refa. „Surrealist inheritance in drawing“. New Trends and Issues Proceedings on Humanities and Social Sciences 2, Nr. 1 (19.02.2016): 143–48. http://dx.doi.org/10.18844/gjhss.v2i1.291.

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43

Spronck, Veerle. „Drawing Instruments drawing instruments: Over tekenen als methode voor reflectie / Drawing Instruments drawing instruments: About Drawing as a Method of Reflection“. Forum+ 26, Nr. 1 (01.03.2019): 4–13. http://dx.doi.org/10.5117/forum2019.1.spro.

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Abstract Op welke manier kan tekenen een methode voor reflectie zijn? Van november 2016 tot maart 2017 vond het artistiek onderzoeksatelier ‘Drawing Instruments’ plaats binnen het Lectoraat voor Autonomie en Openbaarheid in de Kunsten aan Hogeschool Zuyd, Maastricht. In dit interdisciplinaire vak tekenden we de artistieke praktijk van Dear Hunter als onderzoeksinstrument. Veerle Spronck brengt verslag uit. In what way can drawing be a method of reflection? 'Drawing Instruments', an artistic research workshop, was organized in the Research Centre For Arts, Autonomy and the Public Sphere of Hogeschool Zuyd, Maastricht from November 2016 to March 2017. For this interdisciplinary subject we took the artistic practice of Dear Hunter, the studio of Remy Kroese and Marlies Vermeulen as the object of research. Veerle Spronck reports.

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Penn, Leslie Rech. „Room for monsters and writers: Performativity in children’s classroom drawing“. Contemporary Issues in Early Childhood 21, Nr. 3 (04.01.2019): 208–23. http://dx.doi.org/10.1177/1463949118819456.

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Much research on children’s classroom drawing emerged from an interest in the relationships between drawing and early writing and focused on drawing as a pedagogical tool to engage young children in planning, generating, and illustrating story ideas. In an eight-month case study of children’s drawing in a kindergarten language arts curriculum, the author focused on children’s classroom drawing not as a pedagogical intervention, but as an emergent event in which the intra-actions of children, drawing, and discourses coalesce. Of the many findings from this project, prevalent is the notion that children’s drawing and drawings function as vehicles for more than just pre-literacy—that drawing and drawings produce critical, creative, and constructive thinking and learning. In this article, the author discusses children’s drawing and drawings as events in which the often divergent interests of children, teachers, and curriculum materialize. Butler’s and Barad’s notions of performativity—the ways in which bodies materialize larger social discourses, such as gender—help the author to make sense of the ways children perform popular culture discourses, such as “monster,” or local classroom discourses, such as “writer,” in the kindergarten classroom. In looking at children’s drawing and drawings as material, discursive, and productive events, the author hopes to expand perceptions of children’s drawing beyond indicators of development, aesthetics, or literacy acquisition into critical, creative, and constructive learning experiences with significant cultural implications.

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Drake, Jennifer E., und Ellen Winner. „Children gifted in drawing“. Gifted Education International 29, Nr. 2 (18.05.2012): 125–39. http://dx.doi.org/10.1177/0261429412447708.

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Although one study has reported that 6% of children with autism spectrum disorder (ASD) have drawing talent, no study has examined the incidence of drawing talent in typical children. We asked 153 children aged 6–12 years to draw a picture of their hand. We scored the drawings for the use of detail, correct proportion, and overall contour; assessed the drawings as above average at each age based on a global assessment; and compared the drawings with those of three identified drawing prodigies. Most children were able to capture the overall contour of their hand; the ability to draw relevant details was not common until age 8; and correct proportion was not seen even in the oldest children. We identified 13% of drawings as above average for the child’s age group. However, even those drawings identified as above average were significantly less realistic than the drawings of the prodigies.

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Wang, Yong Quan, und Yan Ming Cheng. „A Simplified Representation of the Intersecting Lines of the Common Rotary Bodies Intersected in Symmetric Vertical Intersection Position in Mechanical Drawings“. Applied Mechanics and Materials 456 (Oktober 2013): 69–75. http://dx.doi.org/10.4028/www.scientific.net/amm.456.69.

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In mechanical drawings, the intersecting lines of the common rotary bodies intersected in symmetric vertical intersection position are often encountered. In engineering practices, the twodimensional mechanical drawings need to be drawn directly in many cases and the drawing of theintersecting lines is frequently a difficult point. The intersecting forms of rotary bodies intersected insymmetric vertical intersection position are categorized in this paper. Through formula deducing and the subsequent summary, the drawing method for determining the height of the extreme point on theintersecting lines is obtained. Accordingly, a simplified representation of the intersecting lines ofthese kinds of parts is presented. Finally, some instances prove that this simplified representation ispractical and simple, and the circular arcs drawn by this method have a high similarity to theintersecting lines.

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Fossey, Steve. „When drawing speaks: The dialogic traces of a continuous line“. Drawing: Research, Theory, Practice 7, Nr. 2 (01.10.2022): 253–66. http://dx.doi.org/10.1386/drtp_00094_1.

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This article focuses on my video Drawing Breath and Remaining Visible, an artwork featured in the exhibition ‘Drawn to time’. Drawing Breath and Remaining Visible was made as attempt to create a continuous line drawing using video. The aim of my analysis is to explore how Drawing Breath and Remaining Visible can be read as dialogic, and how the ‘complex interplay of cognitive, somatic, and material conventions’ (Lovatt 2021: 10) that converge in this drawing can provide insights into the dialogic dynamics of this artwork and drawing more broadly. Drawing, claims art Historian Anna Lovatt, ‘is fundamentally relational and deceptively complex’ (2021: 10); it is the complexity and fundamental relationality that I seek to explore through my analysis of this drawing in relation to those of other artists, including Cy Twombly, Richard Long and Lygia Clark. Theorist Roland Barthes’ writing on Twombly supports an exploration on how bodies, surfaces and marks interact to create drawings; and art historian Cornelia Butler’s discussion of how ‘idea-space’, as realized by Clark, is used alongside Barthes’ formulations. In essence, this paper seeks to convey a sense of moving inside and outside drawing in a dialogic process that entangles intentions, marks, mediums and reflective analysis.

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Sitton, Ruth, und Paul Light. „Drawing to differentiate: Flexibility in young children's human figure drawings“. British Journal of Developmental Psychology 10, Nr. 1 (März 1992): 25–33. http://dx.doi.org/10.1111/j.2044-835x.1992.tb00560.x.

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Kennedy, John M. „Tactile drawing aesthetics and a blind woman’s drawings of sounds“. British Journal of Visual Impairment 32, Nr. 1 (Januar 2014): 33–43. http://dx.doi.org/10.1177/0264619613512838.

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Merten, Thomas, und Christina Diederich. „Bicycle Drawing Test: High Rate of Right-to-Left Drawings“. Zeitschrift für Neuropsychologie 20, Nr. 1 (Januar 2009): 85–86. http://dx.doi.org/10.1024/1016-264x.20.1.85.

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