Journal articles: '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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Wittmann, Barbara. "Outlining Species: Drawing as a Research Technique in Contemporary Biology." Science in Context 26, no. 2 (April 30, 2013): 363–91. http://dx.doi.org/10.1017/s0269889713000094.

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ArgumentBiological drawings of newly described or revised species are expected to represent the type specimen with greatest possible accuracy. In taxonomic practice, illustrations assume the function of mobile representatives of relatively immobile specimens. In other words, such illustrations serve as “immutable mobiles” in the Latourian sense. However, the significance of drawing in the context of first descriptions goes far beyond that of illustration in the conventional sense. Not only does it synthesize the verbal catalogue of the type's morphological characteristics: it also enables the examination of these traits. The efficacy of drawing is thus closely related to its power to direct and redirect observation; it is inextricably bound up with the act of making a drawing. Although the invariance of the “immutable mobiles” is a key virtue of the logistics of “paperwork,” the recovery of graphic knowledge requires a much stronger dynamic activity – a process of sequential processing that brings out differences by translating the phenomenon under examination into various modes of graphic representation.

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Farthing, Stephen. "A case study, Eric Hebborn, Rome Scholar 1959‐61: The art and craft of forging a drawing." Drawing: Research, Theory, Practice 5, no. 1 (April 1, 2020): 73–83. http://dx.doi.org/10.1386/drtp_00021_1.

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An exploration of forgery and drawing that focuses on a twentieth-century practitioner, his art education, motivation and methodology, this critical article was inspired by a meeting that took place in a village near Rome during the autumn of 1976 between the author and Eric Hebborn (1934‐96). Written some forty years later, this article has two goals; first to contribute to the debate that now circles the role of drawing within the contemporary fine art curriculum and then to question the nature of the biographical information Ruskin suggested was embedded in artists drawings. Hebborn, a skilful draftsman and award-winning alumnus of the Royal Academy Schools and British School at Rome is unusual in that he left no significant trace of himself as a contemporary artist. Using his memoire Drawn to Trouble, a once misattributed drawing The Lamentation of the Three Mary’s and my recollections of the meeting, as entry points. This article portrays Hebborn as a victim of his art education, who in the final analysis was neither a fine artist nor copyist but instead an art school trained illusionist who openly admited to creating a modus operandi that was designed to trick experts into uttering false instruments.

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Graham, Mark, and Fidalis Buehler. "Figure drawing and alternate narratives of artistic mastery." Drawing: Research, Theory, Practice 6, no. 1 (April 1, 2021): 171–87. http://dx.doi.org/10.1386/drtp_00058_1.

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Figure drawing is a rich and problematic context for exploring drawing conventions with many connections to contemporary art and visual culture. The human figure can inspire students to more fully develop their own artistic practice and to critically engage with contemporary art and visual culture. Representations of the human body in art and visual culture are also relevant to important issues in the lives of students. Figure drawing has a long history associated with technical skills, ideas about mastery and the artist’s training. Skill, knowledge and drawing techniques, when combined with critical conversations about representing the human body, provide rich topics for discussion and reflection. How the human form is dressed, undressed and depicted in art and popular visual culture reflects vital issues about gender, race, identity, beauty, compliance and agency. This paper describes a range of different methods to give the skills associated with drawing the human form context within contemporary issues and to disrupt conventional and uncritical approaches.

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Bowen, Siân. "Sensing and Presencing Rare Plants through Contemporary Drawing Practice." Drawing: Research, Theory, Practice 5, no. 1 (April 1, 2020): 139–46. http://dx.doi.org/10.1386/drtp_00027_1.

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Navigating through three distinct sites of knowledge ‐ the seventeenth-century treatise on Malabar’s plants, Hortus Malabaricus; historical herbaria; and protected areas of remote forests and coastal regions of Kerala ‐ the project will stimulate innovative modes of drawing through considerations relating to the collection and preservation of rare plants. Generating a distinctive body of artworks at world-leading plant science research facilities and in the bio-diverse South Indian rainforest, the research asks: can drawing represent the vulnerabilities and resilience of rare plants, not through illustration and gathering information by creating marks on a substrate, but as a material phenomenon that can generate new knowledge?

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Dyer, Suzette. "Critical Reflections: Making Sense of Career." Australian Journal of Career Development 15, no. 1 (April 2006): 28–36. http://dx.doi.org/10.1177/103841620601500106.

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In this article the five career narratives of three siblings and two unemployed men are drawn upon to critically examine the use of contemporary career discourse as a means to negotiate changes to work since the 1980s and to the present time. A critical analysis enables contemporary career discourse and workplace change to be located within the historic, sociopolitical, and economic context. The five career narratives could be described by drawing upon various contemporary career models. However, these models failed to account for the participants' less optimistic experiences. Their experiences are micro-level examples of macrolevel trends associated with structural adjustment programs, organisational restructuring, and increased global competition. Careers theorists, practitioners, and administrators are in a unique position to become proactive in drawing political attention to the less positive outcomes of workplace change.

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Korolainen, Kari Tapio. "The Handwork of Folkloristic-Ethnological Knowledge." Ethnologia Fennica 44 (December 31, 2017): 35–51. http://dx.doi.org/10.23991/ef.v44i0.59693.

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Drawing is discussed here, both from the historical and from the contemporary folklore and material culture stance. Folklore collector Samuli Paulaharju’s (1875–1944) drawings serve as a point of departure; again, cultural studies constitute the background, as the notion of representation and the construction of folkloristic-ethnologic knowledge are stressed. Material and visual culture comprises yet other central viewpoints. The research material consists of Paulaharju’s folkloristic descriptions (at the SKS) of the interlacements, as knots and lattices. The materials are discussed in the context of magic and belief, at first, and of folk games and plays further back. The research question is: how Paulaharju constructs the meanings of the interlacements by means of drawings? The method of membership categorization analysis (MCA) is combined with multimodal analysis, since the drawing–texts relations are analysed in detail. Thus, the examination demonstrates, that not only several drawing methods are utilised, but also the contexts, as agrarian life, appear diversified when the drawings are concerned. Then, by applying drawing innovatively and experimenting with it, Paulaharju operated between distinct viewpoints, and also challenged the established folkloristic practises. Accordingly, wide interestedness and learning-by-drawing are emphasised more than drawing as a restricted – or restrictive – orientation.

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Bowen, Tracey, and M. Max Evans. "What does knowledge look like? Interpreting diagrams as contemporary hieroglyphics." Visual Communication 18, no. 4 (May 20, 2018): 475–505. http://dx.doi.org/10.1177/1470357218775127.

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A significant challenge in interpreting and analyzing graphic representations is to understand the many reference points a graphically depicted object may have across its producer’s personal and cultural experiences. An individual’s exposure to socially constructed representations drives his or her propensity to use specific shared graphic objects, especially when attempting to articulate complex or abstract concepts. This multidisciplinary research study focuses on interpreting graphic representation types and analyzing the graphic objects individuals use to depict the abstract concept of knowledge. A sample of 833 individuals aged 5–65 participated in the study by constructing a drawing to answer the question, ‘What does knowledge look like?’. Engelhardt’s Language of Graphics (2002) graphic representation taxonomy was used to identify grouping and linking diagrams in the drawings. Next, graphic objects were coded and categorized within the drawings to identify the common representations, shared symbols, and non-depictive elements used to group and link. Using drawings fitting Engelhardt’s grouping and linking graphic representation types, and Tversky’s theories for constructing meaning through diagrams, this article examines how study participants combine and arrange common graphic objects to depict the concept of ‘knowledge’. The results illustrate that individuals organize and arrange common graphic objects into groupings to communicate taxonomies or hierarchies based on spatial proximity; or connect and link them together using glyphs (e.g. arrows, dotted or straight lines) to communicate causal relationships. The findings also demonstrate how individuals employ common socially constructed graphic representations (or objects) as a visual communication tool and, through the exercise of drawing, as a tool for meaning or sense making. The graphic objects possess a shared meaning that the participants have seen circulating within their culture. The common ground that emerges from sharing graphic objects suggests a form of contemporary hieroglyphics that communicates meaning both inside and outside the community.

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Flavel, Sarah, and Robert Luzar. "Drawing the Dao: Reflections on the application of Daoist theory of action in contemporary drawing practice." Drawing: Research, Theory, Practice 4, no. 1 (April 1, 2019): 11–27. http://dx.doi.org/10.1386/drtp.4.1.11_1.

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Brown, William. "Tachyons, tactility, drawing and withdrawing: cinema at the speed of darkness." Panoptikum, no. 26 (October 19, 2021): 19–38. http://dx.doi.org/10.26881/pan.2021.26.01.

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Longitudinal, quantitative analyses of cinema have established how Hollywood is getting ‘quicker, faster, darker’. While in some senses the ‘intensified continuity’ of contemporary Hollywood narration is a given, the increased darkness of contemporary mainstream cinema remains unexplored – especially with regard to how its speed and its darkness might be inter-related. If to darken the majority of the screen during a film helps to draw our attention to the salient aspects of the image that are better illuminated, then of course this also allows for a faster cutting rate: in principle, there is ‘less’ information for the viewer to have to take in during each shot, meaning that the film can then cut to subsequent images more rapidly. However, there are other ways in which we can interpret this ‘darkening’ of contemporary film narration. For example, it perhaps ties in with a widespread sense of disorientation with regard to the increasingly globalized and connected world that digitization has helped to bring about, and which is equally reflected in the rise of the contemporary ‘mind-game’ or ‘puzzle’ film that is a staple of contemporary Hollywood. The darkness in such films thus gives expression to uncertainty and disorientation. More than this, though, we might use physics to understand the darkness of contemporary cinema in a more ‘meta-physical’ fashion. While it is accepted that light is the ‘fastest’ phenomenon in the known universe, there nonetheless remain unilluminated aspects of the physical universe that defy light as the limit of speed – and which convey the interconnected nature of matter in the contemporary universe. For example, polarized particles have been proven simultaneously to respond to stimuli – at a speed faster than it would take light to travel from one particle to the other, a phenomenon that baffled Albert Einstein, who referred to this process as ‘spooky action at a distance’. Not only does this process suggest what Karen Barad might refer to as the entangled nature of all matter, but it also suggests speeds beyond, or at least different, to that of light. In this essay, then, I shall theorise a ‘speed of darkness’ that can help us to understand how the darkening of contemporary cinema ties in with the interconnected, invisible (‘spooky’) and ultra-rapid nature of the digital world. Perhaps it is not in the light but in the darkness that we can identify the key to understanding contemporary mainstream cinema and the globalized, digital world that produces it.

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Alekseeva, S. O., and V. I. Lukyanchikov. "THE AESTHETICS OF ACADEMIC DRAWING IN THE CONTEMPORARY ARTPEDAGOGICAL EDUCATION." Historical and social-educational ideas 8, no. 3/1 (June 30, 2016): 153–55. http://dx.doi.org/10.17748/2075-9908-2016-8-3/1-153-155.

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Baffelli, Erica. "Drawing on Tradition: Manga, Anime and Religion in Contemporary Japan." Nova Religio 18, no. 1 (February 2013): 105–7. http://dx.doi.org/10.1525/nr.2014.18.1.105.

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Kerman, Monique. "Drawing maps: history and geography in contemporary black British art." African and Black Diaspora: An International Journal 8, no. 1 (December 22, 2014): 15–24. http://dx.doi.org/10.1080/17528631.2014.966957.

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Kabalek, Kobi. "Special Section: Drawing Holocaust Memory in Contemporary Cartoons and Comics." Journal of Holocaust Research 33, no. 3 (May 30, 2019): 212–13. http://dx.doi.org/10.1080/25785648.2019.1640498.

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Platz, William. "Drawing with numb hands: Dexterity and draughtspuppets." Drawing: Research, Theory, Practice 6, no. 1 (April 1, 2021): 69–81. http://dx.doi.org/10.1386/drtp_00051_3.

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This essay is part of a wider research project that has introduced puppets into the drawing studio. Puppets are odd operators, and this is an unorthodox approach to drawing research. In this case, eccentricity is appropriate given that orthodoxies of skilfulness and good drawing are the subject of investigation. Unlike other contemporary practices that utilize puppetry as subject matter, motif and narrative device, this project invites draughtspuppets to make drawings. These draughtspuppets are distinct from automata and other drawing machines, and these distinctions are outlined. The paper focuses on the virtue and value of dexterity. In drawing and in puppet manipulation, dexterity brings scrutiny to the hands as the primary site of action and queries the relationship between ‘good hands’ and ‘good drawing’. The text begins by connecting traditions of dexterity, manipulation, drawing and puppetry before delving into the essence of puppets – their animism and (semi-)autonomy – and the tacit implications of dextrous hands. This article asks the question: can puppet ontologies expose the value of dexterity as a procedural component of (good) drawing? Connecting a range of puppet scholarship, the author’s interactions with the draughtspuppets and over 25 years of teaching experience, this article finally argues for the productive capacity of draughtspuppets to transform orthodox beliefs about the tenets of dexterity and good drawing. In the final passage, the motifs present in the draughtspuppets’ recent drawings are briefly analysed and correlated with this examination.

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Tomaž Pipan, Tomaž Pipan, Mateja Kregar Tršar, Filipa Valenčić, Tilen Tamše, Magda Merhar, Ana Benedik, Luka Jaušovec, Kristina Oražem, and Nejc Florjanc. "Cross-scale drawings of hidden landscape dynamics." SPOOL 9, no. 3 (September 1, 2022): 43–56. http://dx.doi.org/10.47982/spool.2022.3.03.

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The question of how to show processes that are by definition time-based has been one of the more intriguing ones in the field of landscape representation. With ever-greater importance being given to values of space that can be measured, we ask if new approaches to the drawing of space are needed to unveil these measured, sometimes hidden landscapes. With this in mind, students in the Department of Landscape Architecture at the University of Ljubljana undertaking the Visual Communication course were tasked with developing new techniques of data visualization focusing on (1) the spatial dynamics of landscapes and (2) on the multiscalarity of the representations. The paper comprises a general description and discussion of the topic, accompanied by seven sets of drawings where the two above-mentioned aspects are briefly discussed in the drawings’ captions. The drawings presented here push and question the boundaries of drawing conventions and consequently elicit uncertainty and encourage further enquiry. Exploring new drawing approaches is an important part of revealing contemporary landscapes.

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Gould, Polly. "Model interpretations of archival drawings." Architectural Research Quarterly 23, no. 2 (June 2019): 100–104. http://dx.doi.org/10.1017/s1359135519000241.

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The exhibition ‘Alternative Histories’ was a collaboration between the Architectural Foundation, the Drawing Matter archive, and curators Jantje Engels and Marius Grootveld, in which over eighty contemporary architectural practices were invited to make an architectural model in response to an historical architectural drawing.

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Rose, Richard. "Introduction: Lesson-Drawing across Nations." Journal of Public Policy 11, no. 1 (January 1991): 1–2. http://dx.doi.org/10.1017/s0143814x00004906.

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Undertaking cross-national research in order to improve national policy is an idea that goes back centuries. Aristotle examined the constitutions of city-states for the sake of civic betterment. The American Founding Fathers studied the English Constitution to avoid its presumed defects. In turn, Tocqueville examined democracy in America because, as he explained to his French readers, ‘My wish has been to find there instruction by which we may ourselves profit’ (1954 ed.: vol. 1, 14). In the contemporary world, policymakers in every society constantly cite the lessons that they draw from their own past or from the experience of other nations – and in Eastern Europe and the Third World there are many governments anxious to learn from the practice of others how to improve their own policies.

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Côrte-Real, Eduardo. "Arachne’s Loom: A public art drawing for Porto Design Biennale 2019." Drawing: Research, Theory, Practice 5, no. 1 (April 1, 2020): 147–64. http://dx.doi.org/10.1386/drtp_00028_1.

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The essay claims that a substantial part of contemporary drawing research has worked on the conceptual boundaries of what drawing is or when it takes place. It reports on a piece of public art on the limits of drawing that illustrates contemporary research issues based on drawings as elements or substantial parts of installations, public art, urban interventions, performances, unconventional media and materials. The piece ‐ Arachne’s Loom ‐ was an installation of 1500 m of black fibre-optic cable displayed across an artificial lake connecting a public library building to five computer heads. It was paired with a wind turbine blade placed in a public square ‐ The Children of Eos ‐ and the two together were presented under the title Hard Design. Curating this intervention was an opportunity to explore in a practical way issues that interweave the materiality/immateriality of graphic elements and that have been an important part of the author’s previous work. The wind turbine blade and cables installed in public spaces set up a number of polarities, two of which are relevant for drawing research: monuments vs. festivals and shapes vs. shapeless. Within the first polarity, a symbolic foundation for public art rooted in ancient myths is discussed. Particular attention is given to the power of Arachne’s myth as a cautionary narrative connected to the origins of both figurative and abstract drawing. Within the second polarity, in opposition to the wind blade’s distinct, ‘pure’ form, the rhizomatic structure of a web-like network of fibre-optic cables is explored in the context of drawing research. The text links philosophical rhizomes, real rhizomes, representations of rhizomes and visual allusions to rhizomes with public art, drawing, drawing as process, the World Wide Web and its extensions. The epilogue frames the piece within Nelson Goodman’s aesthetics, suggesting that further research into the work of this philosopher may open interesting paths for drawing theory.

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Sagasti Alegria, Ione, Maitane Echevarria Aguirre, Alfonso Berroya Elosua, and José Antonio Morlesín Mellado. "Drawing, performativity and virtual reality in art: Identifying connections and creative possibilities." Drawing: Research, Theory, Practice 7, no. 1 (April 1, 2022): 99–117. http://dx.doi.org/10.1386/drtp_00081_7.

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This paper explores the connections between drawing, the body and technology, relating them to the notions of the cyborg-body, the transhuman and performance art, looking for a phenomenological approach to virtual reality technology in drawing experience. Recent developments in virtual reality oriented to visual creativity offer new ways of approaching drawing. In this regard, virtual reality users can experience its practice by expanding their movements through both artificial and physical spaces, in contrast to more traditional seated postures that limit the whole body’s expressivity. Such an embodiment of drawn strokes can be considered from the perspective of performativity. Following exploratory research, the paper identifies connections between drawing, performativity and virtual reality in the field of art. It also explores the possibilities offered by contemporary technology, observing how drawing using virtual reality and performativity is being experienced worldwide by artists and creators.

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Vaský, Jozef, and Matúš Gramblička. "Experimental Evaluation of Integral Transformations for Engineering Drawings Vectorization." Research Papers Faculty of Materials Science and Technology Slovak University of Technology 22, no. 35 (December 1, 2014): 49–56. http://dx.doi.org/10.2478/rput-2014-0034.

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Abstract The concept of digital manufacturing supposes application of digital technologies in the whole product life cycle. Direct digital manufacturing includes such information technology processes, where products are directly manufactured from 3D CAD model. In digital manufacturing, engineering drawing is replaced by CAD product model. In the contemporary practice, lots of engineering paper-based drawings are still archived. They could be digitalized by scanner and stored to one of the raster graphics format and after that vectorized for interactive editing in the specific software system for technical drawing or for archiving in some of the standard vector graphics file format. The vector format is suitable for 3D model generating, too.The article deals with using of selected integral transformations (Fourier, Hough) in the phase of digitalized raster engineering drawings vectorization.

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Swartz, Amy. "Thoughts to draw upon." Visual Inquiry 2, no. 1 (March 1, 2013): 87–96. http://dx.doi.org/10.1386/vi.2.1.87_1.

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In our modern world filled with exacting information and result-oriented activities, drawing is both a process and product that feeds the imagination, rescues the mind from literal explanation and builds a connection between emotion and rational thought. The drawn mark can transform into a plethora of optical possibilities, creating visual poetry and free association of ideas. This article is based on my own thoughts about the mark marking process and the wide-ranging, inventive and unexpected ways students' create complex, personally relevant contemporary drawing.

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Ryan, Stephen D. "The Deuterocanonical Books in Contemporary Catholic Liturgy." Interpretation: A Journal of Bible and Theology 72, no. 4 (September 13, 2018): 418–29. http://dx.doi.org/10.1177/0020964318784245.

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This essay considers the recent reception and use of the deuterocanonical books in contemporary Catholic liturgy, drawing on Tobit 12, Esther 14 (Esther C), and Sirach 3 to illustrate the ways these texts function as Scripture in the teaching of the church and in liturgical contexts.

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Kostic, Milos, and Vladimir Milenkovic. "Contemporary detail in zoom-in-zoom-out technique: God and scale." Facta universitatis - series: Architecture and Civil Engineering 15, no. 3 (2017): 307–16. http://dx.doi.org/10.2298/fuace160712027k.

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Considering both the visual and narrative character of architectural discourse it is possible to examine the capacity of a drawing as an autonomous form, but also as one assigned to it throughout the course of creation of new architecture. This paper's intent is to examine the place and the role of the architectural drawing of the detail within design research. Thematically different, the narratives are instruments used for creating a relationship between the project as a whole and its parts, while the detail defines the path from an idea to the realization of architecture, that is, from abstraction to concretization within the above-mentioned process. The notion of scalar imagination has been introduced in order to indicate the relationship between the traditional modernist understanding of the roles of detail and scale have, while the question of the real size of designed architecture has been moved aside. The scalar imagination reveals the relationships between the elements of architecture, while its visibility reveals the architect's ability to build the necessary information network while moving throughout the diverse levels of those relationships. The goal is to avoid vagueness of architecture represented by the drawing and favor the polyvalence of its meaning by presenting concrete information. In that sense, for the benefit of achieving clarity within the methodological approach, we researched the conditions of visibility within the relationship between the drawing and its meaning. Therefore, this paper focuses on the scale as a direct connection between the drawing of the detail and the continuity of the idea of architecture.

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Ravindran, Yamuna. "Outset study at drawing room: the first year." Art Libraries Journal 41, no. 1 (January 2016): 49–55. http://dx.doi.org/10.1017/alj.2015.8.

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What led to the establishment of a new library space in London specializing in international contemporary drawing? Beyond providing access to collections, how will this research hub support artists practice and scholarship, and encourage deeper engagement from exhibition audiences? This article looks at the development of Outset Study's collections, audiences and events programme, and reflects on successes and challenges faced in the first year.

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Marshall, David R. "A DRAWING BY FRANCESCO PATRIZI (1826–1905) OF THE EXCAVATION OF THE TOMB OF THE SEMPRONII IN THE VIGNA CASALI 1871–2." Papers of the British School at Rome 88 (May 11, 2020): 237–58. http://dx.doi.org/10.1017/s0068246220000021.

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This paper discusses a drawing in the Lanciani collection representing the excavations of a tomb at the Vigna Casali in 1871–2. This tomb had a rich collection of antiquities, including important sarcophagi now in the J. Paul Getty Museum, the Nelson-Atkins Museum and the Ny Carlsberg Glyptothek. The drawing, which is wrongly catalogued as depicting the Vigna Casati, has not hitherto been connected with these finds. It was made on site by Francesco Patrizi (1826–1905), a supporter of contemporary painting, amateur artist, and owner of the Villa Patrizi not far away. This article correlates the information contained in the drawing with contemporary descriptions of the excavations and a measured drawing made for the Casali family at the time, in order to understand better what the site contained.

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Rohr, Doris. "Good art, bad art – what is a ‘good’ drawing?" Visual Inquiry 2, no. 1 (March 1, 2013): 11–26. http://dx.doi.org/10.1386/vi.2.1.11_1.

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The article addresses subjectivity in relation to assessment of drawing as fine art practice within higher education contexts. How can we measure the quality of a drawing in contemporary fine art? What standards can one take recourse to, or use, to define boundaries and definitions for excellence? The role of outsider art, and of art not produced or valorized within institutional norms, is an area of tension within academic contexts. Do we overly valorize rejection of norms and traditions, or to the contrary, do we create neo-conformism in the way we teach drawing within fine art? This article asks to reconsider aesthetics as a potential way of redressing the need to build overarching standards and measuring codes, independent from agents and institutions that have become interested parties and stake holders: the curatorial function of museum and gallery, market forces, Research Council and Arts Council. A more meaningful dialogue with different types of public needs to be sought, to redress criticism that contemporary arts practices are elitist and removed from the realities of everyday life.

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Hanisha, Febrina, and Yusuf Affendi Djalari. "Bahasa Visual , Gambar Anak, dan Ilustrasi Pada Buku Cergam Anak." Jurnal Seni dan Reka Rancang: Jurnal Ilmiah Magister Desain 1, no. 1 (November 1, 2018): 63. http://dx.doi.org/10.25105/jsrr.v1i1.3878.

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Abstract Visual Language, Children’s Drawing, and Illustration of Children’s Picture Book. To create illustrations that can encourage children to interact with books is by applying visual approach appropriate to the children’s imagination and development. To understand the children’s imagination can be done by observing their drawings. Children’s drawing is the result of senses what they felt. This phenomenon is called the children’s visual language. The application of children’s visual language to illustrations can be found in contemporary children’s picture book. For example, the series of picture book “Kerlip Bintang di Langit”. Through a study of children’s drawings and illustrations of “Kerlip Bintang di Langit”, this paper is intended to analyze how the visual language correlates between children’s drawings and illustrations of children’s picture book. Also, its appropriateness to the psychology development of contemporary-children based on the periodic development of children’s visual language. Keywords: visual language, children’s drawing, illustration, picture book Abstrak Bahasa Visual, Gambar Anak, dan Ilustrasi pada Buku Cergam Anak. Salah satu cara untuk menciptakan ilustrasi yang mampu mendorong anak berinteraksi terhadap buku adalah dengan menerapkan pendekatan visual yang sesuai dengan imajinasi dan perkembangan usia anak. Cara memahami imajinasi anak dapat dilakukan dengan mengamati hasil gambarnya. Apa yang digambar oleh anak merupakan hasil kerjasama indera-indera yang mereka rasakan. Fenomena ini disebut dengan bahasa visual anak. Penerapan bahasa visual anak pada ilustrasi dapat ditemui pada buku cergam anak kontemporer. Contohnya, buku cergam “Kerlip Bintang di Langit”. Melalui kajian terhadap hasil gambar anak dan ilustrasi pada buku cergam “Kerlip Bintang di Langit”, penulisan ini dimaksudkan untuk menganalisis bagaimana korelasi bahasa visual antara gambar anak dan ilustrasi buku cergam anak. Serta, kesesuaiannya terhadap perkembangan psikologi anak-anak kontemporer berdasarkan periodesasi perkembangan bahasa visual ana

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Anning, Stephen, Toby Fenton, Julia Muraszkiewicz, and Hayley Watson. "Operationalising Human Security in the Contemporary Operating Environment." Journal of Intelligence, Conflict, and Warfare 4, no. 3 (January 31, 2022): 30–61. http://dx.doi.org/10.21810/jicw.v4i3.3802.

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Drawing upon primary research funded by the UK Defence and Security Accelerator (DASA), this article is about using data analytics and artificial intelligence (AI) for operationalising human security in the contemporary operating environment. The idea of human security has gained much traction in the international community since its introduction in a 1994 United Nations Development Programme (UNDP) report and has more recently become a military concern. Yet, the core tenets of this idea remain contested, and the military role in support of human security remains an open question. Nonetheless, the concurrent increase in Open Data and AI does give rise to new opportunities to understand the various human security concerns. In response, DASA funded Projects SOLEBAY and HAMOC to research these concerns and the possibilities of data analytics for human security. Drawing on the research findings, we propose the idea of Population Intelligence (POPINT) as a new intelligence discipline to operationalise human security.

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Oliver, Marilène, and Francis Wells. "Resurrecting Leonardo's Great Lady: A Collaboration." Leonardo 41, no. 5 (October 2008): 500–505. http://dx.doi.org/10.1162/leon.2008.41.5.500.

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Sculptor Marilène Oliver and cardiothoracic surgeon Francis Wells collaborated to deconstruct Leonardo da Vinci's drawing The Great Lady in order to reconstruct it as a three-dimensional sculpture. Employing lessons learned from contemporary radiology, they simulated cross sections of The Great Lady that were drawn in pen and ink onto a stack of acrylic sheets. Here Oliver and Wells give independent accounts of the project, not only sharing how their relationship with Leonardo's drawing evolved over the course of the project but also exposing the differences in approach by the scientist and the artist to a science-art project.

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Weida, Courtney Lee. "Frederick Froebel’s philosophies of drawing: Play, representation and invention." Visual Inquiry 2, no. 1 (March 1, 2013): 43–54. http://dx.doi.org/10.1386/vi.2.1.43_1.

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This article explores the drawing practice within the educational philosophies of Frederick Froebel. Froebel offers art education and studio practice a great deal of influential approaches, unique media inspirations and enduring philosophical contexts for drawing. Froebel introduced exercises in linear drawing with horizontal and vertical lines, outline drawing of contours, free-hand and nature drawing, circular drawing and drawing from memory. Froebel also suggested more exploratory drawing activities in the service of observing, connecting and evoking form. His approaches towards drawing as varied explorations of nature, contour and shape with unique art media can open up pedagogical possibilities for the rich understanding of form and playful, sensory experiences in contemporary art education.

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김승호. "The Value and Aesthetic Norm of Evaluation of Drawing in Contemporary Art." Korean Journal of Art and Media 15, no. 4 (November 2016): 75–104. http://dx.doi.org/10.36726/cammp.2016.15.4.75.

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Pérez-Agote, Alfonso. "The notion of secularization: Drawing the boundaries of its contemporary scientific validity." Current Sociology 62, no. 6 (May 30, 2014): 886–904. http://dx.doi.org/10.1177/0011392114533333.

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Ruh, Brian. "Book review: Drawing on Tradition: Manga, Anime, and Religion in Contemporary Japan." Animation 9, no. 1 (March 2014): 103–5. http://dx.doi.org/10.1177/1746847713518463.

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Brice, Sage. "Situating skill: contemporary observational drawing as a spatial method in geographical research." cultural geographies 25, no. 1 (April 29, 2017): 135–58. http://dx.doi.org/10.1177/1474474017702513.

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English, Richard, Richard Hayton, and Michael Kenny. "Englishness and the Union in Contemporary Conservative Thought." Government and Opposition 44, no. 4 (2009): 343–65. http://dx.doi.org/10.1111/j.1477-7053.2009.01292.x.

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AbstractThis article analyses the importance of arguments developed since 1997 by influential right-wing commentators concerning Englishness and the United Kingdom. Drawing on historical, cultural and political themes, public intellectuals and commentators of the right have variously addressed the constitutional structure of the UK, the politics of devolved government in Wales and Scotland, and the emergence of a more salient contemporary English sensibility. This article offers case studies of the arguments of Simon Heffer, Peter Hitchens and Roger Scruton, all of whom have made controversial high-profile interventions on questions of national identity, culture and history. Drawing on original interviews with these as well as other key figures, the article addresses three central questions. First, what are the detailed arguments offered by Heffer, Hitchens and Scruton in relation to Englishness and the UK? Second, what does detailed consideration of these arguments reveal about the evolution of the politics of contemporary conservatism in relation to the Union? And, third, what kinds of opportunity currently exist for intellectuals and commentators on the fringes of mainstream politics to influence the terms of debate on these issues?

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Horton, Paul, and Helle Rydstrom. "Heterosexual Masculinity in Contemporary Vietnam." Men and Masculinities 14, no. 5 (June 17, 2011): 542–64. http://dx.doi.org/10.1177/1097184x11409362.

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By drawing on ethnographic data collected in two different settings in northern Vietnam, this article considers the ways in which heterosexual masculinity is configured by younger men. The intersection between heterosexuality and masculinity, the article argues, epitomizes a site of contestations between moral ideals, expectations about gendered support, and sexual pleasures disguised as protests. In introducing into a Southeast Asian context, the Latin American term machismo, understood as an expression of male-centered privileges and the ways in which they foster men’s chauvinism against women (or other men), the article explores how local assumptions about the natural quintessential drive of male sexuality as well as a wife’s obligations to comply with his sexual needs together provide men with morally legitimized explanations for the buying of various kinds of female sexual services.

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Hewison, Kevin. "Weber, Marx and Contemporary Thailand." TRaNS: Trans -Regional and -National Studies of Southeast Asia 1, no. 2 (July 2013): 177–98. http://dx.doi.org/10.1017/trn.2013.2.

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AbstractThailand's on-going political crisis began with agitation against the Thaksin Shinawatra-led government, saw a military coup and a spate of street-based protest and violence. Drawing on Marx and Weber and using the categories of class, status and party, it is argued that Thailand has reached a political turning point. Subaltern challenges to the hierarchical institutions of military, monarchy and bureaucracy appear to have resulted in political patterns of the past being set on a new trajectory. The social forces that congregate around old ideas associated with status honour – hierarchy, social closure and inequality, ‘Thai-style democracy’ and privilege – are challenged by those championing equality, access, voting and populism. While the balance of forces would suggest that an historical turning point has been achieved, reaction and unexpected outcomes remain possible.

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O’Donnell, Lucy. "The partly present mother." Drawing: Research, Theory, Practice 7, no. 2 (October 1, 2022): 199–212. http://dx.doi.org/10.1386/drtp_00089_1.

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This paper makes critical reflections on a performance titled The Partly Present Mother, which traced acts of nurturing and loss at the Kosar Contemporary Gallery, Bristol, in 2019. The research reflects upon the silence of pregnancy without birth or ‘miscarriage’ as a Matrixial space, where the union of both mother and other are in flux. This changeableness or uncertainty embedded within the maternal is critiqued by making parallels between the becomings of drawing and mothering by positioning them both as verbs or acts. Derrida’s Memoirs of the Blind and the Greek myth of Pliny’s shadow are used to consider loss as interwoven within drawing practice, where the corporeality of drawings practices wavers amidst discovery and loss. The project takes these experiences of loss answering Cixous et al.’s call to ‘write the body’, performing them through touch and repositioning textuality as live and physical. The parallels of becoming imbedded in the acts of drawing and mothering look to Elena notional of the maternal as a verb and the process of becoming subjectivity as embedded within drawing (; ; ; )to reclaim the flux of the maternal notwithstanding pregnancy without birth.

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Hubbard, Phil, Alan Collins, and Andrew Gorman-Murray. "Introduction: Sex, consumption and commerce in the contemporary city." Urban Studies 54, no. 3 (December 6, 2016): 567–81. http://dx.doi.org/10.1177/0042098016682685.

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Recent accounts of sexual commerce have drawn attention to the proliferation of online and sexual consumption. Yet the mediated exchange of sexual images and content folds into the spaces of the city in a variety of complex ways. Drawing on a variety of social science perspectives, this paper provides an introductory overview of a collection of papers exploring the changing contours of sexual consumption in the city and the distribution of sexual commerce across – and between – private, domestic and public, commercial spaces. Exploring the ways in which diverse LGBT and heterosexual identities are differently marketised, commodified and consumed, this introduction argues that over the last decade, contradictory moments of sexual emancipation and repression have changed where (and how) sexual consumption is visible in the city, shaping rights to the city in complex ways which need to be more thoroughly acknowledged in ‘mainstream’ urban studies.

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Tong, Darlene. "Contemporary art and fashion: from Pop to Populist." Art Libraries Journal 14, no. 4 (1989): 17–21. http://dx.doi.org/10.1017/s0307472200006477.

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During the 1970s and 1980s, a number of American artists have made use of clothing as an art medium. Their work constitutes a new art movement, drawing on, and straddling divisions between, Pop Art, performing arts, popular culture, and fashion; it merits more thorough and accessible documentation, and there is a need for art libraries to make available the elusive information which does exist.

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Journal articles on the topic 'Contemporary drawing'

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