Relevant bibliographies by topics / Contemporary drawing

Academic literature on the topic 'Contemporary drawing'

Author: Grafiati
Published: 4 June 2021
Last updated: 29 January 2023

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Journal articles on the topic "Contemporary drawing"

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Riley, Howard. "A contemporary pedagogy of drawing." Journal of Visual Art Practice 20, no. 4 (October 2, 2021): 323–49. http://dx.doi.org/10.1080/14702029.2021.1980278.

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Gramblička, Matúš, and Jozef Vaský. "Vectorization of Scanned Paper-Based Engineering Drawings – Contemporary Software Abilities." Applied Mechanics and Materials 693 (December 2014): 457–62. http://dx.doi.org/10.4028/www.scientific.net/amm.693.457.

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The contribution deals with the possibilities of the use of existing commercially available vectorization programs for recognition drawing entities in raster graphics format obtained by scanning of the engineering drawing. Drawing entities as a line (solid, dashed, dot-dashed etc.), dimension, hatch, various symbols, text, etc., have specific semantic for the designer defined by standards. Expert knows to interpret this graphic language and he knows to create a mental model of the real object. To be able interpret digital content of the engineering drawing obtained by scanning by the form of 3D computer model often requires to perform many intelligent operations. In the first step it is necessary to obtain such vector representation of the scanned drawing to be able to identify the original drawing entities. Suitability of using the contemporary commercial vectorizing programs for engineering drawings was verified on the test sample of the drawing entities and the results are published in the paper.
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Levitt, Mairi. "Drawing Limits: contemporary views on biotechnology." Journal of Beliefs & Values 20, no. 1 (April 1999): 41–50. http://dx.doi.org/10.1080/1361767990200104.

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Paterson, Aaron, Sarosh Mulla, and Marian Macken. "Drawing the room | Drawing within the room." Drawing: Research, Theory, Practice 5, no. 2 (December 1, 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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Attard, Matthew. "Eye (re)drawing historical ship graffiti: Tracing ex-voto drawings with eye-tracking technology." Drawing: Research, Theory, Practice 7, no. 2 (October 1, 2022): 185–98. http://dx.doi.org/10.1386/drtp_00088_1.

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This paper describes the salient features of a hybrid drawing process driven by techno-human relations. The project consists in the tracing of historical ship graffiti with my eye movements while wearing a contemporary eye-tracking headset. It forms part of my ongoing artistic practice of drawing with my eyes with an eye-tracking device, adapting and adopting an attitude of drawing-with the technology. The practice takes shape by means of an interdisciplinary approach looking at the transformative capacities of human–nonhuman relations, as the agency of off-the-shelf technology contributes to the drawing process. Eye-tracking data is developed into virtual drawings and consequently pen-plotted onto slabs of globigerina limestone. The project specifically looks at ship graffiti found on the facades of wayside chapels on the Mediterranean island of Malta, where the tradition of etching ships in stone as ex-votos can possibly date back to the 1500s. Thus, the outcome of the project bridges historical imagery with contemporary drawing, resulting in a multifaceted interpretation through a play on words while converging interdisciplinary dialogues.
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Jana, I. Made, I. Wayan Sujana, and I. Ketut Muka. "Drawing Pattern On Novels In Contemporary Art." Lekesan: Interdisciplinary Journal of Asia Pacific Arts 2, no. 1 (July 30, 2019): 40–47. http://dx.doi.org/10.31091/lekesan.v2i1.751.

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This study is prompted by the concern over stagnant rates of creation in producing contemporary statues in Bali, both in the northern and southern regions, by using stone, wood, and metal mediums. The technology of using gips (plaster of Paris) is easier in statue production, however dismisses innovation in the process. The researcher took interest in I Wayan Sujana’s 10 years long research (2007-2017) on transferring of the unconscious onto art from novels (books). Based on that research I Wayan Sujana produced thousands of drawings with rich periodicity patterns. Those patterns are reviewed and selected to be made as contemporary statues. The production method for the contemporary statues, using Drawing Pattern on Novel, was participatory, involving traditional art carving experts. User Participation Method, an approach with user involvement in the art, judgment and creation methods by SP Gustami, was employed to conduct this study. The data was gathered with interviews, observation, documentation, and then exploration, planning and embodiment. This study aimed to create innovation of the fine arts, based on research, using Drawing Pattern on Novels, and can be recognized as part of Indonesian fine arts development. Indonesian contemporary fine arts focuses on local genius as the spirit of its creation. This research generated innovative statutes from stone with Indonesian national culture’s aesthetic motifs.
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Schmidt, Leoni. "Exposing Society: Contemporary Drawing as History Writing." International Journal of the Arts in Society: Annual Review 1, no. 3 (2007): 31–48. http://dx.doi.org/10.18848/1833-1866/cgp/v01i03/35839.

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Graham, Mark A. "Teaching Conversations, Contemporary Art, and Figure Drawing." Art Education 65, no. 3 (May 2012): 6–11. http://dx.doi.org/10.1080/00043125.2012.11519170.

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Oliver, Kristi, Maureen P. Hall, Jane Dalton, Libby Falk Jones, Vajra Watson, Catherine Hoyser, and Nicholas Santavicca. "Drawing out the soul: Contemporary arts integration." International Journal of Education Through Art 15, no. 2 (June 1, 2019): 165–81. http://dx.doi.org/10.1386/eta.15.2.165_1.

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Turpie, Edward Jonathan. "Drawing Ed Ruscha." Drawing: Research, Theory, Practice 5, no. 2 (December 1, 2020): 291–303. http://dx.doi.org/10.1386/drtp_00038_1.

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This project aims to discuss drawing as a method of bridging the void between digital imaging technologies and physical drawing in the fine art domain. It does so by investigating the role of drawing and printing in contemporary portraiture. Drawn and printed silkscreen portraits are made from a synthesis of graphite marks, digital pixels and water-based ink deposited on paper surfaces. The practice-led research described here explores the materiality of the emergent image when drawing is impressed on an electronic media trace. This investigation is timely in the context of the unprecedented impact of digital technologies on contemporary culture that tend to displace the physicality of drawing. By taking an approach to portraiture whereby artist and sitter do not meet in person, the project initiates a portrait of Ed Ruscha using the medium of video images. Digital electronic images held pixel by pixel in smartphone camera and computer hard disks are interpreted into physical drawing environments to make an expressive representation of a human form. Tactile gestural mark-making is contrasted with electronic imaging to create a pensive image where techniques are blended. The process and methodology are described, and the artistic outputs are shared across the globe through digital and analogue communication systems.
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Dissertations / Theses on the topic "Contemporary drawing"

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Williamson, Naomi, and 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
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Grant, Jennifer. "Drawing and glass : integrating theoretical and contemporary drawing issues with studio glass practice." Thesis, University of Sunderland, 2012. http://sure.sunderland.ac.uk/6494/.

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This research examines established and emerging practical methods and theoretical ideas in contemporary drawing in relation to studio glass. The Studio Glass Movement, encompassing both applied and fine art practice, originated in the 1950’s and, despite rapid advancements in the subject, glass is still considered an emergent material when compared to most other studio processes. For this reason existing and long established practices in drawing, developed in relation to other materials, may not be as effective in realising or exploring those qualities which are particular to glass, whether aesthetic, technical or philosophical. Parallel to this are rapid changes happening within the field of contemporary drawing as a subject in its own right, which influence the wider context in which studio glass engages. In this research the use of empirical methods provide working examples of how drawing and glass can be integrated, through the production of a body of new work supported by theoretical and contextual findings. The investigation is practice orientated, incorporating both practice led and practice based methodologies. The practice led theoretical research proposes a new drawing taxonomy in which dimension, notation, physiology and improvisation are understood as key components in the theory and practice of drawing. This is examined here in relation to glass as both a subject of drawing and as a material process. Identification and reference to contemporary issues in drawing come from a variety of sources, for example through the Drawing Research Network, contact with specialist drawing research hubs including Wimbledon School of Art and Loughborough University, specific exhibitions and attendance at related events and conferences . The practice based aspect uses facilities at the Glass Department, University of Sunderland and a drawing studio in Newcastle upon Tyne. The main area of exploration is concerned with the use of drawing integrated within kiln cast glass as differentiated from established practices such as engraving and stained glass which use drawing as a surface application to an existing glass body.
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Casey, Sarah Marie. "Drawing the delicate : an investigation of values of delicacy in contemporary fine art drawing." Thesis, Lancaster University, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.601347.

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This thesis is part of a critical exploration of what it means to say a drawing is 'delicate' . Delicacy is one of the poetic, aesthetic and psychological qualities closely allied with the history and practice of drawing. Despite these widespread associations, and the increasing prominence of this sensibility in contemporary fin e art practice, delicacy as an aesthetic and critical phenomenon in drawing remains critically underexplored. The research project; of which this thesis is part, examines qualities of delicacy in detail through practice as research - the making of art works- and a scholarly investigation of contemporary concerns in drawing. The aim has been to enrich our understanding of graphic encounters, sharpen and refine our language and add substance and definition to what we understand to be delicacy. The project uses comparative material drawn from case studies in costume conservation, archaeology and medicine in order to identify shared practices in negotiating the delicate, an approach which has bought into focus values of delicacy in drawing. As a result, new forms of drawing have been developed to expand existing graphic languages, which negotiate the poetic and intellectual understandings of delicacy. In doing so they give form and definition to what may be considered as a specific aesthetic category of delicacy. The study argues that delicacy is a hermeneutic and ethical concern, both a quality of certain objects and a phenomenal, experiential quality of life which describes our uncertain and intimate concerns. The forms of drawing developed have the ability to make this palpable. As a result, drawing is presented as useful and transferrable re search tool for accessing and analysing particular qualities of lived experience
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Neal, Allison R. B. "An examination, through drawing, of the text of Gilgamesh, and how translation and transcription can inform contemporary drawing practice." Thesis, University of Gloucestershire, 2017. http://eprints.glos.ac.uk/6081/.

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This PhD began by attempting to locate the Epic of Gilgamesh within a contemporary landscape and using a comparison of Michael Ayrton and Sidney Nolan as a means of creating a body of narrative based drawing. Initial work, however, illustrated rather than illuminated the text. As the research evolved, analysis of the text as a model for thinking and the different approaches to landscape from Ayrton and Nolan, clarified that the metaphorical journey of Gilgamesh required a different drawing practice. The Epic of Gilgamesh was written in cuneiform script on clay tablets some four thousand years ago. The fragmented and incomplete tablets have survived by chance. Failure, evident in Gilgamesh’s quest, suggested exploring contingency and failure as agents of creative practice. The opportunity to draw directly from the clay tablets in the collection of the British Museum generated the insight that the apprehension of physical objects and their recording as image through drawing, also works as a process of visual translation. The original clay tablets became a source for making drawings possessing a physical equivalence beyond the normative approaches to translation and narrative. This was the central aspect of the final research, superseding the narrative drive that had been the original starting point. Models of working allusively with narrative and landscape were also provided by unique access to the archives of Sidney Nolan at The Rodd, in Herefordshire, and by analysing in parallel the work of Michael Ayrton. This aspect of the research developed as a way of asserting that in the liminal space of the studio, equivalence can be found with the complex and contingent aspects of quest narrative as exemplified by Gilgamesh. Working large scale, the final works produced for this PhD explore translation and transcription in drawing through the surface accretions of material, gesture, intuition and fold.
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Tian, Hengcun Joseph. "Forgiving the unrepentant a theological analysis drawing on classical and contemporary sources /." Theological Research Exchange Network (TREN), 2006. http://www.tren.com/search.cfm?p029-0650.

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Blair, S. "The language of narrative drawing : a close reading of contemporary graphic novels." Thesis, University of the West of England, Bristol, 2013. http://eprints.uwe.ac.uk/22645/.

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The study offers an alternative analytical framework for thinking about the contemporary graphic novel as a dynamic area of visual art practice. Graphic narratives are placed within the broad, open-ended territory of investigative drawing, rather than restricted to a special category of literature, as is more usually the case. The analysis considers how narrative ideas and energies are carried across specific examples of work graphically. Using analogies taken from recent academic debate around translation, aspects of Performance Studies, and, finally, common categories borrowed from linguistic grammar, the discussion identifies subtle varieties of creative processing within a range of drawn stories. The study is practice-based in that the questions that it investigates were first provoked by the activity of drawing, and it sustains a dominant interest in practice throughout, pursuing aspects of graphic processing as its primary focus. Chapter 1 applies recent ideas from Translation Studies to graphic narrative, arguing for a more expansive understanding of how process brings about creative evolutions and refines directing ideas. Chapter 2 considers the body as an area of core content for narrative drawing. A consideration of elements of Performance Studies stimulates a reconfiguration of the role of the figure in graphic stories, and selected artists are revisited for the physical qualities of their narrative strategies. Chapter 3 develops the grammatical concept of tense to provide a central analogy for analysing graphic language. The chapter adapts the idea of the graphic ‘confection’ to the territory of drawing to offer a fresh system of analysis and a potential new tool for teaching. The conclusion identifies the study’s contribution to knowledge as twofold: first, in presenting a range of new interpretations of its field; and, second, in its employment of specifically adapted research methods which connect with a wider call for a return to ‘close reading’ as a productively sensitive research tool in its own right.
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Ellul, Hannah. "Picturing politics : drawing out the histories of collective political action in contemporary art." Thesis, Goldsmiths College (University of London), 2017. http://research.gold.ac.uk/20532/.

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This project explores the appropriation of images of political upheaval in contemporary art, with a particular focus on artists who painstakingly draw from photographs. It is a project informed by contemporary debates on the convoluted temporality and performativity of the image, the aesthetic and affective dimensions of political subjectification, and forms of political agency. The drawings of artists including Andrea Bowers, Fernando Bryce and Olivia Plender, discussed here, elaborate a piecemeal, meticulously-drawn iconography of protest. Photographs and documents of emancipatory political struggle from different periods and places are reworked by hand, in acts of salvage. Something like an affective atmosphere is limned in scenes and artefacts that may not have lost their capacity to move but nonetheless seem remote today, the collective political desire and will they evoke overwhelmed by the disconcerting vicissitudes of sociopolitical circumstance. In light of the long and complex histories of art’s engagement with the political, and the many and various modes of reciprocity devised along the way, what does it mean to be preoccupied with images of political action? To ask as much is to begin to address the complex ways in which such images intersect with and shape processes of political identification and affiliation, the emergence of collective subjectivity and the desire for political agency. Moreover, it is to speculate upon how these processes take place in a negotiation with the often obscure histories of collective action, and how such histories inform renewed efforts of political imagination. What attachments or detachment are played out in these drawings? What choreographies of binding and unbinding are traced in these lines?
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Howell, Audrey. "The Biomorphic Grotesque in Modernist and Contemporary Painting." Scholarship @ Claremont, 2014. http://scholarship.claremont.edu/scripps_theses/327.

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This paper looks at the concepts of the biomorphic and grotesque in art from the start of the 20th century to the present with a focus on painting and drawing. Included in the discussion of the grotesque throughout history are the works of Dadaist Otto Dix, painter Georg Baselitz, and feminist artists Judy Chicago, Hannah Wilke, and Ana Mendieta. Each used grotesque imagery to comment or react to a larger sociopolitical issue. Biomorphic artworks from the 20th century are mentioned as well, with specific examples of work by Lee Krasner, Willem DeKooning, and Hans Bellmer. These artists together start to illustrate the ways biomorphic and grotesque imagery can be used to explore physical gesture, inspire a visceral reaction in the viewer, and make societal critique. These themes are currently being explored by contemporary artists Jenny Saville, Wangechi Mutu, Inka Essenhigh, Cecliy Brown, Elizabeth Murray, and Maria Lassnig, each of whom is discussed in detail. Their work explores the boundary space between the body and hybridity, impurity, or abstraction, each in their own way. Following this discussion the author’s own paintings and drawings are mentioned, including dialogue detailing the thought process behind each one. Photographs of these works are included.
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Maupoint, Micheline E. "'Un Bon Dessin Vaut Mieux Qu'un Long Discours' : the role and impact of cartoons in contemporary France." Thesis, University of Sussex, 2010. http://sro.sussex.ac.uk/id/eprint/2369/.

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Cartoons have traditionally occupied an important place in French visual culture, and are now a permanent feature in even the most prestigious publications, including Le Monde, where they appear on the front page. Moreover, there is a long tradition of political cartooning which is firmly situated within the historical context of caricature and lampooning, which over the years has contributed to public debates on key issues such as politics, religion and social change. In this thesis, I focus on political cartoons and argue that the political cartoon is still significant as a cultural product and as a powerful journalistic medium at a time when the existence of the print media is threatened by new technological developments. In order to understand how cartoons remain a powerful mode of expression in the twenty-first century, I begin by examining the historical development of cartooning, tracing its origins in grotesque art, physiognomy and caricature. I then explore a number of events in early modern European history such as the Reformation and the French Revolution to show that the medium was used as a means of mass communication, to inform a largely illiterate public, incite protest and instigate rebellion through propaganda. I show how political graphics were used as effective political weapons against the ruling authorities, in the face of tight regulation such as censorship, and underline the French artists' commitment to defend their right of expression. As I demonstrate, this commitment continues to be pursued by contemporary French cartoonists such as Plantu who is dedicated to fighting for freedom of expression and promoting peace issues, under the banner of Le Monde and the United Nations. In analysing a corpus of Plantu's editorial creations, I underline theoretical perspectives for ‘reading' cartoons and illuminate the visual rhetoric used by cartoonists to communicate serious issues. I conclude with an assessment of the significant role that French cartoonists played during the 2006 Cartoons War to further highlight the impact of cartoons as a vehicle for political communication, and as a catalyst for debate in the twenty first century.
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Alaluusua, Elisa. "Sketchbooks : a comparative analysis of the use of sketchbooks by contemporary artists." Thesis, University of the Arts London, 2016. http://ualresearchonline.arts.ac.uk/12167/.

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This qualitative research project aims to gain a theoretical and practical understanding of what role sketchbooks play in the creative practice of contemporary artists, and what their shared and individual sketchbook methods are. A comparative analysis of thirteen contemporary artists’ sketchbook practices is offered. During the course of the research the private and public nature of sketchbooks emerged as an important and engaging area of inquiry that helped narrow the focus of the research process and offered an entry point for the analysis. The methodology used was fundamentally that of artistic research that drew heavily upon the characteristics of artistic practice in the field of drawing; as well as from hermeneutics, (auto)ethnography, and phenomenological analysis, each of which informed my practice and processes. This research aims to be useful for those conducting research into sketchbooks, drawing, drawing and writing, the nature of artistic process, creativity and pedagogy. The outcomes of this research are presented in two parts, in the thesis text and the documentation of an exhibition. In the final analysis the outcome is a multi - layered and multi - voiced story that identifies individual and shared practices used by contemporary artists during the compilation of their sketchbooks. Both the research and resultant artwork aim to bring to the foreground the largely overlooked public aspect of the sketchbook and contribute to knowledge in the fields of drawing research, video installation art, archival research and interviewing in the context of artistic research. Throughout the project I used drawing and video practices as methods of investigating, interrogating and disseminating knowledge. Thirteen contemporary artists’ interviews were recorded as a core element of the primary research, then reconfigured as an artwork / video installation called Thirteen Narratives By Thirteen Artists About Their Sketchbooks.
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Books on the topic "Contemporary drawing"

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Gowda, Sheela. Drawing space: Contemporary Indian drawing. London: Institute of International Visual Arts, 2000.

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Croatia. Ministarstvo prosvjete i kulture. Contemporary Croatian drawing. Zagreb: Ministry of Culture Republic of Croatia, 2009.

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Claudia, Betti, ed. Drawing: A contemporary approach. 6th ed. Australia: Thomson/Wadsworth, 2008.

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Betti, Claudia. Drawing: A contemporary approach. 4th ed. Fort Worth, Tex: Harcourt Brace College, 1997.

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Claudia, Betti, ed. Drawing: A contemporary approach. 6th ed. Australia: Cengage Wadsworth, 2012.

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Teel, Sale, ed. Drawing: A contemporary approach. 2nd ed. New York: Holt, Rinehart, and Winston, 1986.

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Claudia, Betti, ed. Drawing: A contemporary approach. 6th ed. Boston, Mass: Wadsworth Cengage Learning, 2008.

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Kakuzo, Akahira, ed. Contemporary British architectural drawing. London: Academy Editions, 1993.

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Teel, Sale, ed. Drawing: A contemporary approach. 3rd ed. Fort Worth: Harcourt Brace Jovanovich College Publishers, 1992.

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Teel, Sale, ed. Drawing: A contemporary approach. 4th ed. Fort Worth: Harcourt Brace College Publishers, 1997.

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Book chapters on the topic "Contemporary drawing"

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Newbigging, Martha. "Drawing as Repertoire." In Spatialized Injustice in the Contemporary City, 69–89. London: Routledge, 2022. http://dx.doi.org/10.4324/9780429434570-6.

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Watkins, Vernon. "The Cave-Drawing." In Contemporary Poetry: A Retrospective from the "Quarterly Review of Literature", edited by Theodore Russell Weiss, 92–93. Princeton: Princeton University Press, 2015. http://dx.doi.org/10.1515/9781400871728-031.

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Wrobel, Jasmin. "Narrating other Perspectives, Re-Drawing History." In Literature and Ethics in Contemporary Brazil, 106–23. New York: Routledge, 2016. | Series: Routledge studies in comparative literature; 4: Routledge, 2017. http://dx.doi.org/10.4324/9781315386386-8.

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Dunbar-Hester, Christina. "Drawing and Effacing Boundaries in Contemporary Media Democracy Work." In Media and Social Justice, 195–209. New York: Palgrave Macmillan US, 2011. http://dx.doi.org/10.1057/9780230119796_14.

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Healey, Luke. "Drawing the Foul: Diving and Visuality in Contemporary English Football." In Football and the Boundaries of History, 13–30. New York: Palgrave Macmillan US, 2017. http://dx.doi.org/10.1057/978-1-349-95006-5_2.

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Howell, Jennifer. "Drawing the Muslim Self: Muslim Citizenship and Contemporary Islam in France." In Artistic (Self)-Representations of Islam and Muslims, 185–203. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-81234-8_11.

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Khoza, Samuel. "Difficulties in Teaching and Learning Sectional Drawing in a University Based in the Eastern Cape, South Africa." In Contemporary Issues in Technology Education, 89–103. Singapore: Springer Singapore, 2016. http://dx.doi.org/10.1007/978-981-10-2819-9_7.

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Astaneh, Zahra. "The Representation of God in Islam and Its Prohibition: Strategies Used by Iranian Children When Asked to Draw God." In When Children Draw Gods, 397–424. Cham: Springer International Publishing, 2023. http://dx.doi.org/10.1007/978-3-030-94429-2_15.

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AbstractTraditionally, the act of drawing, and specifically drawing God and the prophets, is forbidden in Islam. No verse in the Qur’an indicates a prohibition against drawing in general; however, Muslim scholars do interpret some verses of Qur’an and other prophetic writings as prohibiting the representation of God. In this research, I tested the degree to which children are conscious of this prohibition by asking them to draw God. We collected over 3000 drawings from six cities in Iran. The participants ranged in age from 7 to 14 years. Here, I explore religiosity in the context of contemporary Iran, and present my findings describing various strategies used by Iranian children to accomplish the task of drawing God. Only nine children used the words “sin” or “not permitted” in their descriptions. I found that as participant age increased, so did the likelihood that the participant would indicate that he/she could not draw God, giving reasons such as “God is supreme, incomparable, and beyond imagining,” or, “God is not able to be drawn.” My findings show that children demonstrate increased awareness of this prohibition as they age; this increased awareness potentially reflects a parallel increase in exposure to Muslim teachings on this topic.
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Akanle, Olayinka, and Ayokunle Olumuyiwa Omobowale. "Contemporary Issues in Public Policy." In Public Policy and Research in Africa, 123–58. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-030-99724-3_6.

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AbstractThis chapter begins by examining the debates around policy paradigms in the study of the changing context of public policy making and policy change. It recognizes that policy ideas are embedded in policy paradigms and that these paradigms form the basis for framing, articulating and implementing public policy. It examines such concepts as pluralism, internationalization and globalization, and polycentricism in the study of public policy. Furthermore, it examines the changing focus and locus of policy discussing such issues as the state versus market, the growing complexity and scale of government and the special concerns of Africans relating to the debate around the issues. Based on the above theoretical debates, certain issues and the competing tools for addressing them are identified for closer scrutiny. These contextual issues include the economic issues in public policy; health issues and public policy; security issues and public policy; the environment and natural resources policy issues; governance and policy issues; and exclusion, vulnerability and public policy. The chapter concludes by drawing out the implications of policy paradigms on policy change and policy performance.
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Kurz, Katharina. "The Power Balance in the Contemporary Art Market: Artists, Dealers and Collectors." In Looking Forward, Looking Back: Drawing on the Past to Shape the Future of Marketing, 547–50. Cham: Springer International Publishing, 2015. http://dx.doi.org/10.1007/978-3-319-24184-5_137.

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Conference papers on the topic "Contemporary drawing"

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Gutiérrez, P. J. Juan, and A. Martínez Medina. "Towards a contemporary drawing of the city." In SUSTAINABLE CITY 2016. Southampton UK: WIT Press, 2016. http://dx.doi.org/10.2495/sc160291.

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Losq, Juliette. "Layered Visions In The Teleorama: Constructing Spaces Of Ruination Through An Expanded Drawing Practice." In SPACE International Conferences April 2021. SPACE Studies Publications, 2022. http://dx.doi.org/10.51596/cbp2021.qpkd6594.

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Abstract This paper examines whether the form of the Teleorama or paper peep show can be used to generate new ways of making and exhibiting drawings of contemporary sites of ruination. The Teleorama will be used as a physical and conceptual vehicle for testing out a diverse range of investigations relating to form and content in drawing practice. Within my practice, paper ruins, inspired by Teleoramas, are constructed and used as maquettes from which to make two-dimensional drawings that are retranslated into large-scale, three-dimensional installations. Through the process of (re) construction, the research will develop an understanding of the Teleorama as a partially imagined, partially ‘real’ space that can transport the viewer conceptually from one place to another. I use the Picturesque, as a spatial and perceptual theory relating to painting and garden design, to explore how the Teleorama can be conceptualised as both a series of drawings on two-dimensional planes and a three-dimensional space, focusing on the fundamental ideas of ‘absorption’ and ‘theatricality’ as expounded by Michael Fried (1980), and ‘immersion’ as expounded by Arnold Berleant (2004). By identifying aspects of the Teleorama that cannot be compared to either paintings or gardens as spaces, I foreground its unique ability to represent the apparent collapse of space and time in a material form and enable an oscillation between two- and three-dimensional design and construction. By focusing on how space is created and experienced within selected contemporary installation practices, I aim to position my practice within the broader discursive fi eld of installation, distinguishing their use of space from my use of the Teleorama to create immersive drawn environments reinterpret ruin sites in gallery settings. Through interrogating and reconfi guring the historical form of the Teleorama, I aim to propose new models of installation practice within the field of contemporary drawing. Keywords: installation, drawing, space, picturesque, absorption, immersion
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Kumar, Anil, and Rahul Kala. "Geometric shape drawing using a 3 link planar manipulator." In 2015 Eighth International Conference on Contemporary Computing (IC3). IEEE, 2015. http://dx.doi.org/10.1109/ic3.2015.7346715.

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Shao, Yuan. "Artistic Features of Boundary Drawing in Tang Dynasty Tomb Mural Paintings. Take the "Side Tower Drawing" in Prince Yide's Tomb as an Example." In 2nd International Conference on Arts, Design and Contemporary Education. Paris, France: Atlantis Press, 2016. http://dx.doi.org/10.2991/icadce-16.2016.90.

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Yang, Kaimin. "Research on Image Line Drawing and Creative Graphic Design in Anyue Sculpture Carvings." In 3rd International Conference on Arts, Design and Contemporary Education (ICADCE 2017). Paris, France: Atlantis Press, 2017. http://dx.doi.org/10.2991/icadce-17.2017.90.

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Erickson, Mark. "Primitive Drawings." In 2017 ACSA Annual Conference. ACSA Press, 2017. http://dx.doi.org/10.35483/acsa.amp.105.31.

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The cone, the sphere, and the cylinder are geometric solids derived from a circle. Within our contemporary digital framework, a cone is a singular object that is a built-in component in most software platforms, a primitive. The same could be said for the sphere or the cylinder. However, these massive and apparently singular forms are composed of sets of simple geometric elements: the circle and the point. In the history of architectural drawing, the ability to break down the cone, the sphere, and the cylinder into specific geometric properties has made these figures not only significant formal elements but also drawing instruments in their own right.
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Леванова, Ландыш. "DRAWING A DICTIONARY OF CONCEPTS AS A METHOD OF FORMING THE LINGUOCULTUROLOGICAL COMPETENCE OF SCHOOLCHILDREN." In Priorities of the Russian Contemporary Linguistics within language area comprehension. Baskir State University, 2021. http://dx.doi.org/10.33184/psrvoyap-2021-12-10.19.

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Jiang, Runan, and Jinhua Dong. "The Training Strategy Study on Special Ability of the Computer Aided Clothing Drawing." In 2nd International Conference on Contemporary Education, Social Sciences and Humanities (ICCESSH 2017). Paris, France: Atlantis Press, 2017. http://dx.doi.org/10.2991/iccessh-17.2017.59.

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Huang, Wenjuan. "Discussion on the Techniques of Marker in the Hand-painted Effect Drawing of Interior Design." In 3rd International Conference on Contemporary Education, Social Sciences and Humanities (ICCESSH 2018). Paris, France: Atlantis Press, 2018. http://dx.doi.org/10.2991/iccessh-18.2018.148.

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Mitkus, Tomas, and Dimitrios I. Maditinos. "The Born-Global Phenomenon in Creative Industries: the Case of Lithuanian Animation Industry." In Contemporary Issues in Business, Management and Education. Vilnius Gediminas Technical University, 2017. http://dx.doi.org/10.3846/cbme.2017.031.

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The born-global phenomenon has been studied for over a two decades, but theory and practice are still evolving, therefore understanding how the phenomenon operates in different countries and industries is crucial. This paper aims to contribute to a better understanding of the born-global phenomenon in context of creative industries. A literature review was conducted in order to identify the nature of creative profile enterprises and international process characteristics in creative industries. Authors conducted a quantitative questionnaire with seventeen enterprises from Lithuanian animation industry. Drawing from empirical evidence, it was found that the born-globals perceive internationalization primary as a means to increase the scope of creative projects, and only then as a way to increase income. Findings as well have shown that most of Lithuanian animation studios are born-global as they started international operations within three years from enterprises’ establishment.
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Reports on the topic "Contemporary drawing"

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Avis, William. Role of Faith and Belief in Environmental Engagement and Action in MENA Region. Institute of Development Studies (IDS), May 2021. http://dx.doi.org/10.19088/k4d.2021.086.

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This helpdesk report provides a critical review of the literature on the role of faith and religious values in environmental engagement and action. Contemporary studies have examined the relationship between religion and climate change including the ongoing “greening” process of religions. The review focuses on the responses of the Islamic faith in the MENA region to climate-related issues. MENA is considered one of the region’s most vulnerable to the impacts of climate change. The rapid review drawing from empirical findings notes that religious organizations have great potential in the protection of the environment. Religious organizations possess resources and infrastructure to positively impact the conversation on climate change. While the review acknowledges the important role that religion plays in environmental engagement, there is still no unified perception of climate change among members of the Islamic faith. There are those who believe that there are other more urgent issues such as radicalism, terrorism, democracy, and human rights. The review notes that the shared challenge of climate change can provide a mechanism to bring together faiths to discuss, share teachings, and agree on common action.
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Tan, Li, Qiong Liu, Yun Chen, Ya-Qiong Zhao, Jie Zhao, Marie Aimee Dusenge, Yao Feng, et al. Efficacy of sonic activation techniques on tubular dentin sealer penetration：A systematic review and meta-analysis. INPLASY - International Platform of Registered Systematic Review and Meta-analysis Protocols, July 2022. http://dx.doi.org/10.37766/inplasy2022.7.0116.

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Review question / Objective: Is sonic activation techniques more effective than conventional needle irrigation for the tubular dentin sealer penetration. The included study was a randomized controlled trial. Eligibility criteria: A comprehensive search was conducted for all published studies evaluating efficacy of percentage and maximum depth of sealer penetration, following the use of SI and standardized irrigants (NaOCl and EDTA). Because this can hardly be measured clinically, only confocal laser scanning microscopy (CLSM) studies were selected owing to wide use of this methodology for evaluating tubular dentin sealer penetration. The studies using previously filled roots or animal teeth, artificial debris, and plastic blocks, and studies measuring the penetration of tubular dentin sealers in lateral root canals, isthmus, or artificial grooves were excluded to maintain the standardized sample selecting and measuring (Virdee et al. 2018). The search was limited to articles published between January 2000 and June 2022 to ensure conclusions were drawn from contemporary data. There are no language restrictions on filtering articles to ensure the integrity of included data.
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Lewis, Dustin, Naz Modirzadeh, and Jessics Burniske. The Counter-Terrorism Committee Executive Directorate and International Humanitarian Law: Preliminary Considerations for States. Harvard Law School Program on International Law and Armed Conflict, March 2020. http://dx.doi.org/10.54813/qiaf4598.

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In developing international humanitarian law (IHL), States have aimed in part to lay down the primary normative and operational framework pertaining to principled humanitarian action in situations of armed conflict. The possibility that certain counterterrorism measures may be instituted in a manner that intentionally or unintentionally impedes such action has been recognized by an increasingly wide array of States and entities, including the United Nations Security Council and the U.N. Secretary-General. At least two aspects of the contemporary international discourse on intersections between principled humanitarian action and counterterrorism measures warrant more sustained attention. The first concerns who is, and who ought to be, in a position to authentically and authoritatively interpret and apply IHL in this area. The second concerns the relationships between IHL and other possibly relevant regulatory frameworks, including counterterrorism mandates flowing from decisions of the U.N. Security Council. Partly in relation to those two axes of the broader international discourse, a debate has emerged regarding whether the U.N. Security Council may authorize one particular counterterrorism entity — namely, the Counter-Terrorism Committee Executive Directorate (CTED) — to interpret and assess compliance with IHL pertaining to humanitarian action in relation to certain counterterrorism contexts. In a new legal briefing for the Harvard Law School Program on International Law and Armed Conflict (HLS PILAC), Dustin A. Lewis, Naz K. Modirzadeh, and Jessica S. Burniske seek to help inform that debate by raising some preliminary considerations regarding that possibility. The authors focus on the possible implications of States and other relevant actors pursuing various responses or not responding to this debate. One of the authors’ goals is to help raise awareness of this area with a focus on perspectives drawn from international law. Another is to invite a broader engagement with the question of the preservation of the humanitarian commitments laid down in IHL in a period marked by a growing number — and a deepening — of the intersections between situations of armed conflict and measures to suppress terrorism.
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The School Environment in Egypt: A Situation Analysis of Public Preparatory Schools. Population Council, 2000. http://dx.doi.org/10.31899/pgy2000.1006.

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Very little research exists in Egypt on contemporary education outcomes and their relationship to an array of education inputs. Also, few datasets are available on the acquisition and retention of basic skills from education. This research aims at filling that gap in our knowledge by drawing a profile of the situation of public preparatory schools, investigating the distinct dimensions of the environment in these schools, and examining the links among these dimensions and specific education outcomes. As noted in this report, this study focuses on the preparatory stage of the general education system. Students in this stage comprise one-quarter of all pre-university students in Egypt.
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