Rozprawy doktorskie na temat „Drawing”
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Chard, N. J. "Drawing indeterminate architecture, indeterminate drawings of architecture". Thesis, University College London (University of London), 2012. http://discovery.ucl.ac.uk/1344187/.
Pełny tekst źródłaKauffman, Jordan Scott. "Drawing on architecture : the socioaesthetics of architectural drawings, 1970-1990". Thesis, Massachusetts Institute of Technology, 2014. http://hdl.handle.net/1721.1/97376.
Pełny tekst źródłaCataloged from PDF version of thesis.
Includes bibliographical references (pages 391-422).
This dissertation examines a period in the late twentieth century when architectural drawings provoked a profound re-evaluation of architecture. It does so through novel research of the individuals, galleries, institutions, and events-and the networks that originated therefrom-that drove this reappraisal by shifting the perception of architectural drawings. During the 1970s and 1980s, for the first time, architectural drawings became more than an instrument for building. Prior to this period, except for scattered instances, buildings were considered to be the goal of architectural practice; architectural drawings were viewed simply as a means to an end. However, through a confluence of factors architectural drawings emerged from this marginal role. Drawings attained autonomy from the architectural process and were ultimately perceived as aesthetic artifacts in and of themselves. No attention has been given to this shift, and recovering this period's forgotten history reveals a rich and complex tapestry. Research unearths interrelated individuals, galleries, institutions, and events outside of practice that impacted the perception of architectural drawings during this period. This reveals the uniqueness of this period, for at no other time was debate generated in the same way, since at no other time did the necessary structures exist to support this change. During this period, architectural drawings became the driving force of architectural debate, not for what architects put in them, but for what others asked them to be and saw in them. Through exhibitions that emphasized drawings in and of themselves, through collectors and galleries, through the development of a market for architectural drawings, and through the interrelation of these, all of which this work reconstructs for the first time, the role and perception of drawings fell between and among aesthetic, artistic, architectural, commercial, conceptual, cultural, and historical understandings. It was this shifting that drove questioning during this period of nearly all facets of architecture.
by Jordan Scott Kauffman.
Ph. D.
Spankie, Rosemary. "Drawing out the interior : thinking through drawing". Thesis, University College London (University of London), 2018. http://discovery.ucl.ac.uk/10052519/.
Pełny tekst źródłaMouton, Jacques P. "Drawing the building and building the drawing". Diss., University of Pretoria, 2014. http://hdl.handle.net/2263/45292.
Pełny tekst źródłaDissertation (MArch(Prof))--University of Pretoria, 2014.
Architecture
MArch(Prof)
Unrestricted
Williamson, Naomi, i 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.
Pełny tekst źródłaSammis, Kim. "Drawing/s". Thesis, Massachusetts Institute of Technology, 1986. http://hdl.handle.net/1721.1/88806.
Pełny tekst źródłaMICROFICHE COPY AVAILABLE IN ARCHIVES AND ROTCH.
Includes bibliographical references (p. 175-179).
Drawing has become essential to the making of architecture. Though some of the most magnificent structures were created without documentation, testified by The Pyramids, the Parthenon, primitive dwellings, treehouses and many other "spontaneous" constructions, the contemporary profession of making buildings demands countless representations. From sketchy initial concepts to persuasive presentations to detailed construction documents, the making of images for a design sometimes takes longer than the construction process. Images must be read by many diverse people involved in the formation of buildings, therefore architectural notation systems demand consistency. Despite the accepted language of representation, images are abstractions of real objects. They are limited in their scope of information and allow us to bring our own perceptions to them. Architectural drawings stand between us and an object Due to their two dimensional nature, they must present information with symbols and conventions that we take for granted, just as we accept the structure of language. Many contemporary drawings are created not to serve the making of buildings, but to make a visual or ideological statement They are illustrative of ideas, and their resultant physical forms would express the manipulations of drawings, rather than the reverse. This aspect of representation has led me to question the substance of architectural images, their functions and the use of traditional notation systems specific to architecture and its allied crafts. Herbert Spenser said. "language must truly be regarded as a hindrance to thought" We think in images, though the mandatory learning of verbal formations may well befuddle our visions. Notation systems in architecture are similar to language. They too are abstractions of concepts and require training for understanding and manipulation. An investigation of their implications may offer more effective utilization.
by Kim Sammis.
M.Arch.
Coppage, Mary. "Drawing Conclusions". VCU Scholars Compass, 2009. http://scholarscompass.vcu.edu/etd/1886.
Pełny tekst źródłaDonarski, Vincent. "Drawing tools". College Park, Md. : University of Maryland, 2006. http://hdl.handle.net/1903/3615.
Pełny tekst źródłaThesis research directed by: Dept. of Art. Title from t.p. of PDF. Includes bibliographical references. Published by UMI Dissertation Services, Ann Arbor, Mich. Also available in paper.
Himebaugh, Keith. "Mythic Drawing| An archetypal approach to drawing with dreams". Thesis, Pacifica Graduate Institute, 2013. http://pqdtopen.proquest.com/#viewpdf?dispub=3565655.
Pełny tekst źródłaThis production-style dissertation explores the psychological aspect of drawing with dream images. It introduces a practical method, called Mythic Drawing, which can help artists work with dream images in an authentic way. For James Hillman, the founder of Archetypal Psychology, dreams do not reflect the outer world of empirical reality. Rather, they express the inner world of psychic reality through mythological resemblances. Therefore, to draw adequately with images, the artist must give up the rational approach of step-by-step formulas and abstract concepts, and instead, sensitize these methods to the metaphorical style of the dream.
The essence of Mythic Drawing is play. The artist engages the dream image as an active participant, like an actor playing a part. The role of "artist" is relativized and seen through to the many archetypal figures one embodies while drawing, such as a child, a dancer, an architect, or a shaman. The artist accepts the dream images as alive, intelligent and capable of asserting a will of their own. In this way, drawing becomes a collaborative activity that fosters a dynamic relationship between the artist and the creative figures of his or her imagination.
Using a hermeneutic method, the dissertation outlines the theoretical basis of Mythic Drawing, while at the same time examining traditional assumptions and biases in art education. It then tests the efficacy of the ideas discussed through two intensive drawing projects. A heuristic method is applied throughout the production of drawings which helps provide reflection upon and analysis of the creative process.
Kalin, Nadine. "Conversations on teaching and learning drawing : drawn toward transformation". Thesis, University of British Columbia, 2007. http://hdl.handle.net/2429/31358.
Pełny tekst źródłaEducation, Faculty of
Curriculum and Pedagogy (EDCP), Department of
Graduate
Branda, Ewan E. (Ewan Edward) 1964. "Drawing interfaces : building geometric models with hand-drawn sketches". Thesis, Massachusetts Institute of Technology, 1998. http://hdl.handle.net/1721.1/64901.
Pełny tekst źródłaIncludes bibliographical references (p. 49-51).
Architects work on drawings and models, not buildings. Today, in many architectural practices, drawings and models are produced in digital format using Computer-aided Design (CAD) tools. Unquestionably, digital media have changed the way in which many architects perform their day to day activities. But these changes have been limited to the more prosaic aspects of practice. To be sure, CAD systems have made the daily operations of many design offices more efficient; nevertheless, they have been of little use - and indeed are often a hindrance - in situations where the task at hand is more conjectural and speculative in nature, as it is during the early stages of a project. Well-intentioned efforts to insinuate CAD into these aspects of practice have only served to reveal the incongruities between the demands of designer and the configuration of the available tools. One of the chief attributes of design practice is that it is action performed at a distance through the agency of representations. This fundamental trait implies that we have to understand how computers help architects describe buildings if we are to understand how they might help architects design buildings. As obvious as this claim might seem, CAD programs can be almost universally characterized by a tacit denigration of visual representation. In this thesis, I examine properties of design drawings that make them useful to architects. I go on to describe a computer program that I have written that allows a designer to build geometric models using freehand sketches. This program illustrates that it is possible to design a software tool in a way that profits from, rather than negates, the power of visual representations.
by Ewan E. Branda.
M.S.
Roberts, Amanda. "Re: Drawing : reconfiguring a feminist response to life drawing practice". Thesis, University of Wales Trinity Saint David, 2018. http://repository.uwtsd.ac.uk/954/.
Pełny tekst źródłaSandness, Benjamin Joel. "Self and drawing". Pullman, Wash. : Washington State University, 2010. http://www.dissertations.wsu.edu/Thesis/Spring2010/b_sandness_041310.pdf.
Pełny tekst źródłaScharein, Robert Glenn. "Interactive topological drawing". Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp02/NQ27238.pdf.
Pełny tekst źródłaAlshepani, Saleh Mohamed. "UML drawing tool". Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2000. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape3/PQDD_0015/MQ54520.pdf.
Pełny tekst źródłaSuderman, Matthew. "Layered graph drawing". Thesis, McGill University, 2005. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=86054.
Pełny tekst źródłaAs a first very drastic restriction, we consider layered drawings that are planar. Even with this restriction, however, the resulting problems can still be NP -hard. In addition to proving one such hardness result, we do succeed in deriving efficient algorithms for two problems. In both cases, we correct previously published results that claimed extremely simple and efficient algorithmic solutions to these problems. Our solutions, though efficient as well, show that the truth about these problems is significantly more complex than the published results would suggest.
We also study non-planar layered drawings, particularly drawings obtained by crossing minimization and minimum planarization. Though the corresponding problems are NP -hard, they become tractable when the value to be minimized is upper-bounded by a constant. This approach to obtaining tractable problems is formalized in a theory called parameterized complexity, and the resulting tractable problems and algorithmic solutions are said to be fixed-parameter tractable ( FPT ). Though relatively new, this theory has attracted a rapidly growing body of theoretical results. Indeed, we derive original FPT algorithms with the best-known asymptotic running times for planarization in two layer drawings.
Because parameterized complexity is so new, little is known about its implications to the practice of graph drawing. Consequently, we have implemented a few FPT algorithms and compared them experimentally with previously implemented approaches, especially integer linear programming (ILP). Our experiments show that the performance of our FPT planarization algorithms are competitive with current ILP algorithms, but that, for crossing minimization, current ILP algorithms remain the clear winners.
Markus, Pamela. "Drawing on experience". Thesis, McGill University, 2006. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=102809.
Pełny tekst źródłaThe research involved observation of my teaching in a summer camp setting, layered with the autobiographical project of writing stories based on experiences related to art and education. The methods used to collect data consisted of established approaches to researching one's own practice, such as narrative writing, video documentation, and observation, as well as an arts-based approach to memory work that combined collage and narrative. The experiences that I addressed include my observation of two quilting guilds, my memories of making art as a child at summer camp and in elementary school, my graduate school experience in a Master of Fine Arts program, and my reflections on art that I see in galleries and museums.
Although the original goal of my study was simply to understand my teaching more fully, the process of research has done more than allow me to understand how my lived experiences inform my teaching. The study points out the complex interrelationship between the notion of "place" and my beliefs about art. Autobiographical research has been a process of challenging my beliefs and finding meaning through my own thinking; it has provided a way for me to develop a critical awareness of my practice, to question the taken-for-granted nature of my understanding of art and to imagine other possibilities for practice.
Mahmood, A. "Automatic drawing recognition". Thesis, University of Nottingham, 1987. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.381072.
Pełny tekst źródłaJacoby, Samuel (Samuel David Glauberman). "Drawing the electric". Thesis, Massachusetts Institute of Technology, 2013. http://hdl.handle.net/1721.1/82425.
Pełny tekst źródłaCataloged from PDF version of thesis.
Includes bibliographical references (p. 84-87).
This thesis explores the intersection of craft and electronics by way of paper and conductive ink, a domain that I'm terming papercraft electronics-a synthesis of electronics, drawing, and painting. I investigate the nature of making a physical electronic artifact, and the ways in which that making informs our relationship with both the artifact, specifically, as well as technology writ large. I examine craft-the manual process-as a means for embedding new kinds of personally-significant meaning in electronics, re-positioning electronics fabrication as the creation of personal, unique, hand-crafted artifacts. I do so through a series of case studies oriented around the papercraft electronics domain. Through a sequence of projects, workshops, and evaluations, I examine the personal connection and pride that comes with making, as well as the handmade artifact's place in technology. In particular, I initiate projects around the making of paper sensors, speakers, synthesizers, and audio-augmented artworks.
by Samuel Jacoby.
S.M.
Turpin, Lucy Jane. "Drawing as experience". Thesis, Stellenbosch : Stellenbosch University, 2015. http://hdl.handle.net/10019.1/96661.
Pełny tekst źródłaENGLISH ABSTRACT: Drawing, as a discipline within in the Visual Arts domain of knowledge is the focus of this dissertation. Herein I pose the question: What happens between my mind, body (hand), and the drawing (as product) that appears on paper while I draw? Drawing as experience is primary to my practice and to my understanding of the varying processes that drawing encompasses. I relate and investigate these processes to understand my art making as a means of research. In the dissertation I reflect on my own drawing and on the work of the American artist Richard Serra, in particular his installation entitled Black is the drawing (1977). In my discussions of both my own and Serraʼs work I focus on the core devices that orchestrate the materiality of drawing, namely ʻblanknessʼ, automatic flow and the coming together of intention, gesture and act. The theoretical framework in which I investigate these core devices is mainly provided by the Chilean biologist, philosopher, and neuroscientist Francisco Varela and his notions of human perception, productive action, and creativity or invention. These theories of Varela I employ to frame and develop discussion in the dissertation. Further concepts that come to the fore in my discussions of drawing as experience, as derived from Varela and the French philosopher Jacques Derridaʼs writings, include signature, individuation, or characteristic mark making. Individuation of the mark in relation to self-reflexive methodology in art making as research practice is primary to the development of my discussions. Additional concepts that are key to the dissertation and that flow from selfreflexivity, are self-discovery and self-generating productivity and the notion of self-as-being that the drawing process can bring about and affirm. I argue in the dissertation that the drawings I generate stem from an automatic productivity that is enabled by the simultaneity of intention, gesture and act. I attempt to explain my understanding of the ʻblindʼ aspect of the drawing process, relying in this regard heavily on the thinking of Derrida. I align my interpretation of his expositions on this phenomenon with the thinking of Varela. Varela accordingly provides clarity on the circularity and unifying function of human perception. The unification of antimonies such as body and mind, inside and outside, and self and life-world, I find, lie at the core of my drawing, which functions as unifying interface.
AFRIKAANSE OPSOMMING: Teken, as dissipline binne die Visuele Kuns domein van kennis, is die fokus van hierdie dissertasie. Hierin rig ek die volgende vraag: Wat gebeur tussen die verstand, die liggaam (hand), en die tekening (as produk) wat voorkom op die papier wanneer ek teken? Teken as ervaring is sentraal tot my praktyk en tot my begrip van die verskeie prosesse wat teken behels. Ek herlei en ondersoek hierdie prosesse om my kuns te verstaan as ʼn navorsingswyse. In hierdie dissertase reflekteer ek op my eie tekenwerk en op die werk van die Amerikaanse kunstenaar Richard Serra, in besonder sy installasie getiteld Black is the drawing (1977). In my bespreking van beide my eie en van Serra se werk fokus ek op die kern strategieë wat die materialiteit van tekenwerk orkestreer, naamlik ʻblanknessʼ, outomatiese vloei en die samekoms van intensie, gebaar en daad. Die teoretiese raamwerk waarbinne ek hierdie kernstrategieë ondersoek word hoofsaaklik voorsien deur die Chileense bioloog, filosoof en neurowetenskaplike Francisco Varela en sy idees van menslike persepsie, produktiewe handeling, en kreatiwiteit of ontwerp. Ek gebruik hierdie teorieë van Varela om my besprekinge in hierdie dissertasie te omraam. Verdere konsepte wat na vore kom in my besprekinge oor tekening as ervaring, soos ontneem van Varela en die Franse filosoof Jacques Derrida se skryfwerk, sluit in “kenteken[ing]” [signature], individuasie, of kenmerkende merkery. Individuasie of die teken in verhouding tot self-refleksiewe metodologie in art making as navorsingspraktyk is kern tot die ontwikkeling van my gesprek. Additionele konsepte in die dissertasie wat die tekeninge wat ek genereer stam vanuit ʼn outomatiese produktiwiteit wat gelyktydigheid van intensie, gebaar, en handeling. Ek poog om my begrip van die “blinde” aspek van die proses te verklaar, deur staat te maak op die denke van Derrida. Ek bring my interpretasie van hierdie eksposisies op hierdie fenomeen in verband met die idees van Varela. Varela belig beutelings die sirkulere en samebinded funksie van menslike persepsie. Die versoening van teenstrydighede soos die liggaam en vertand, die innerlike en uiterlike, die self en die leefwêreld, ervaar ek, lê in die kern van my tekenkuns, wat funksioneer as ʼn versoenende koppelvlak.
Cridge, Nerma Prnjavorac. "Drawing the unbuildable". Thesis, Open University, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.551634.
Pełny tekst źródłaНедзельська, Олександра Олегівна. "Digital drawing tools". Thesis, Київський національний університет технологій та дизайну, 2020. https://er.knutd.edu.ua/handle/123456789/15345.
Pełny tekst źródłaByrne, Conor Vincent. "Drawing Out Notations". Thesis, Virginia Tech, 2019. http://hdl.handle.net/10919/88832.
Pełny tekst źródłaMaster of Architecture
MARKOVSKA, MARIA, i VIEIDER FELICIA GIHL. "Drawing robotic arm". Thesis, KTH, Maskinkonstruktion (Inst.), 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-226660.
Pełny tekst źródłaEn ritande robot kräver en precis styrning och hög noggrannhet. Syftet med detta projekt är att skapa en robot arm med tre frihetsgrader som kan matas med en svartvit bild och rita upp den på ett papper. Projektet undersöker vilken ritteknik som är mest passande för ändamålet, vilken regulator som passar bäst samt vilken noggrannhet som uppnås för den ritade bilden. Under projektets gång skapas en ritande robot och två olika regulatorer testas och implementeras, PD- och PID-regulatorn. Implementeringen visar att en PD-regulator inte fungerar för denna applikation. PID-regulatorn är därför den lämpligaste. Experiment utförs med PID-regulatorn implementerad för att mäta den noggrannhet som roboten ritar med. Roboten uppnår en noggrannhet på ±11mm. Den uppnådda noggrannheten är ett resultat beroende av flera faktorer, bland annat upplösningen på potentiometrarna.
Sambor, Madeline Lou. "Inhabiting the Drawing". Thesis, Virginia Tech, 2017. http://hdl.handle.net/10919/78350.
Pełny tekst źródłaMaster of Architecture
Wright, Daniel. "Drawing Towards Building". Thesis, Virginia Tech, 2011. http://hdl.handle.net/10919/33679.
Pełny tekst źródłaMaster of Architecture
Thomas, Danielle K. "Collaborative Drawing Projects". The Ohio State University, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=osu1276792482.
Pełny tekst źródłaPuppe, Thomas. "Spectral graph drawing". [S.l. : s.n.], 2005. http://www.bsz-bw.de/cgi-bin/xvms.cgi?SWB11759114.
Pełny tekst źródłaSchulz, Michael. "Simultaneous graph drawing". Tönning Marburg Lübeck Der Andere Verl, 2008. http://d-nb.info/992494834/04.
Pełny tekst źródłaPungthong, Viriya. "Drawing for communication". Columbus, Ohio : Ohio State University, 2004. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1079034652.
Pełny tekst źródłaTitle from first page of PDF file. Document formatted into pages; contains xii, 275 p.; also includes graphics. Includes abstract and vita. Co-advisors: Vesta A.H. Daniel and Noel Mayer, Dept. of Art Education. Includes bibliographical references (p. 267-275).
Thimbleby, Will. "Drawing from calculators". Thesis, Swansea University, 2010. https://cronfa.swan.ac.uk/Record/cronfa43088.
Pełny tekst źródłaWhitson, Rebecca B. "Drawing As Language". VCU Scholars Compass, 2019. https://scholarscompass.vcu.edu/etd/5941.
Pełny tekst źródłaEtter, Ian. "Telemetrics: drawing translations". Thesis, University of Iowa, 2013. https://ir.uiowa.edu/etd/2489.
Pełny tekst źródłaMANCINELLI, CLAUDIO. "Drawing on Surfaces". Doctoral thesis, Università degli studi di Genova, 2022. http://hdl.handle.net/11567/1092653.
Pełny tekst źródłaKrcma, Edward John. "Drawing time : trace, materiality and the body in drawing after 1940". Thesis, University College London (University of London), 2007. http://discovery.ucl.ac.uk/1444907/.
Pełny tekst źródłaHodson, Elizabeth A. "The drawing lacuna : a reconfiguration of ethnographic enquiry through drawing-as-process". Thesis, University of Aberdeen, 2012. http://digitool.abdn.ac.uk:80/webclient/DeliveryManager?pid=186967.
Pełny tekst źródłaLibrande, Stephen E. (Stephen Edward). "Example-based character drawing". Thesis, Massachusetts Institute of Technology, 1992. http://hdl.handle.net/1721.1/12925.
Pełny tekst źródłaChiloyan, Vazrik. "Polyethylene fiber drawing optimization". Thesis, Massachusetts Institute of Technology, 2011. http://hdl.handle.net/1721.1/68829.
Pełny tekst źródła"June 2011." Cataloged from PDF version of thesis.
Includes bibliographical references (p. 33).
Polymer fiber drawing creates fibers with enhanced thermal conductivity and strength compared to bulk polymer because drawing aligns the molecular chains. I optimize the polymer fiber drawing method in order to achieve polymer fibers that are drawn to lengths exceeding 1cm and develop a method to cut and store them for future experimental purposes. With lengths exceeding 1cm, starting with lengths near 0.5mm, these fibers undergo very large tensile deformations. This ensures the fibers obtained have been ultra drawn, and the polymer chains have aligned, thus enhancing the tensile strength and thermal conductivity of the fiber. By storing these fibers, I can perform experimental measurements in the future to obtain thermal conductivity values for polyethylene fibers and notice the effect of aligning the molecular chains.
by Vazrik Chiloyan.
S.B.
Underhill, Cordelia. "The space of drawing". Thesis, University of Dundee, 2010. https://discovery.dundee.ac.uk/en/studentTheses/bb5bc32a-18a5-45f3-b06e-c85654d3a0b5.
Pełny tekst źródłaMakrinos, George Adam. "Drawing Music, Playing Architecture". Thesis, Virginia Tech, 2005. http://hdl.handle.net/10919/33890.
Pełny tekst źródłaMaster of Architecture
Lee, Grace. "Drawing Through 4 Seasons". Thesis, Virginia Tech, 2009. http://hdl.handle.net/10919/35739.
Pełny tekst źródłaMaster of Architecture
Skiles, Joshua Brisbin. "Field, Lines and Drawing". Thesis, Virginia Tech, 2010. http://hdl.handle.net/10919/33598.
Pełny tekst źródłaMaster of Architecture
Slobtseva, Yelena. "DRAWING IN THE MARGINS". Bowling Green State University / OhioLINK, 2006. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1162849860.
Pełny tekst źródłaOlivieri, Julia. "Drawing DNA Sequence Networks". Oberlin College Honors Theses / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=oberlin1466511242.
Pełny tekst źródłaGrant, 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/.
Pełny tekst źródłaBlatter, Janet. "Drawing inferences : drawing, discourse, and spatio-motor representation in an animation storyboarding activity". Thesis, McGill University, 2005. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=85131.
Pełny tekst źródłaBoth qualitative discourse and quantitative analyses were undertaken to associate the individual discourse modality in co-occurring external representations (speech, gesture, or drawing), with spatial and motion ideas required to understand the storyboard. The results showed that (a) most modalities did not consistently or uniquely represent specific types of spatial and motion ideas, (b) representations frequently demonstrated a mismatching between spoken and gestured or drawn ideas, (c) spatial representation in particular required the artists to represent specific goal domains as contexts that determined the frame of reference and local sense of the representation, and (d) a more complex drawing style was used at the beginning of the problem than in the latter solution stages.
These findings are discussed in terms of the artists' (a) flexibility needed to traverse between 2-D and 3-D imagined worlds requiring the representation of different spatial coordinate systems, (b) handling of the modalities in visual discourse as supporting this flexibility, and (c) strategic use of drawing styles to assist inferring 3-D dynamic action from an incomplete, 2-D, static storyboard. The study demonstrates the importance of considering activity goals and interacting semiotic modalities as contributing to the knowledge needed to represent and infer space and motion. These findings are significant to research on the knowledge and tools used to infer space and motion from static visual displays in authentic collaborative design activities, and have implication for research on technologies and environments supporting collaborative visual thinking in design settings.
Chamberlain, R. S. "Drawing conclusions : an exploration of the cognitive and neuroscientific foundations of representational drawing". Thesis, University College London (University of London), 2013. http://discovery.ucl.ac.uk/1408829/.
Pełny tekst źródłaCasey, 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.
Pełny tekst źródłaMcNorton, John. "'Choreography of drawing- the consciousness of the body in the space of a drawing'". Thesis, Royal College of Art, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.516539.
Pełny tekst źródłaO'Donnell, Lucy. "Drawing Vignettes : ... perpetual becoming(s)". Thesis, Loughborough University, 2016. https://dspace.lboro.ac.uk/2134/21927.
Pełny tekst źródła