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Teses / dissertações sobre o tema "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/.
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Architecture is made to support certain activities. This thesis asks how architecture might also nurture the uncertain. The program and the conventions of architectural drawing encourage ideas of certainty. The architectural drawing is a rehearsal of the architecture it represents. This thesis searches for ways of drawing to rehearse the sorts of engagement we might have with architecture that could nurture an indeterminate condition. This is studied through the invention of seven types of drawing instrument. The early versions represent an indeterminate relationship with architecture while the later instruments nurture an indeterminate engagement through the act of drawing. Indeterminacy is a condition of uncertainty. At first the instruments concentrate on working with the sublime, an existential uncertainty. In order to understand the spatial potential of picturing there is extended research into the natural history diorama. In parallel to lessons on projective geometry, the dioramas provide a convincing case for the power of the uncanny, an intellectual uncertainty. The lessons from these studies, embodied in Instruments Two and Three, achieved what had been set out in the initial question but also provided new questions, especially about the experience of making the drawing. The later instruments project paint rather than light and provide an engagement with the person who is drawing that is analogous to the condition that is being drawn. The process of drawing becomes a rehearsal for inhabiting the architecture. The instruments are informed by a number of parallel studies: one that asks questions about ways of appropriating the city (as an indeterminate reception of the world as it is given); another into an opening up of the program, studied through a house, and the discovery of a way to disturb our certainty in the shadow and the invention of an instrument to understand the potential of that discovery.
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Kauffman, Jordan Scott. "Drawing on architecture : the socioaesthetics of architectural drawings, 1970-1990." Thesis, Massachusetts Institute of Technology, 2014. http://hdl.handle.net/1721.1/97376.
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Thesis: Ph. D., Massachusetts Institute of Technology, Department of Architecture, February 2015.<br>Cataloged from PDF version of thesis.<br>Includes bibliographical references (pages 391-422).<br>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.<br>by Jordan Scott Kauffman.<br>Ph. D.
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Spankie, Rosemary. "Drawing out the interior : thinking through drawing." Thesis, University College London (University of London), 2018. http://discovery.ucl.ac.uk/10052519/.
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The study of the interior, or the practice of Interior Design,1 is often described as a new discipline2 and in its present form this is true, even the use of the word interior to describe the inside of a building only coming into common parlance at the beginning of the nineteenth century. The idea of interiors as a profession developed in the late nineteenth century and it was as recently as the 1970s that it was felt necessary to provide a degree style of education. Because of its apparent youth Interior Design has been seen as part of the discipline of architecture and as such has operated literally and conceptually ‘within’ architecture, borrowing its means of practice, ways of thinking and methods of representation. The purpose of this thesis is two fold: Firstly to question the validity of this position suggesting the practice of interiors is neither young, nor is it an inevitable result of architectural production. Rather it should be understood as a discipline in its own right o"ering an alternative knowledge base to that of its host. Secondly the thesis attempts to describe what that knowledge base might be. The title Drawing Out the Interior refers to discussion of the Italian word ‘disegno’ meaning drawing but also drawing out of an idea.3 Using drawing as a method of investigation, as an analytical and critical tool, I have literally ‘drawn out’ three case study interiors. These interiors are: The Censors’ Room at the Royal College of Physicians, St Andrews Place, NW1, previously of Pall Mall East, SW1 and Warwick Lane, EC4. / Sigmund Freud’s Consulting Room and Study, both in Berggasse 19, Vienna IX and 20 Mares!eld Gardens, NW3. / and The Old Cinema at 307 Regent Street, W1B.
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Mouton, Jacques P. "Drawing the building and building the drawing." Diss., University of Pretoria, 2014. http://hdl.handle.net/2263/45292.
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The way we build is inherently bound to methods implemented when representing any proposed intervention. Superficially, it would seem that the techniques used for representing architecture have rapidly progressed, especially with regard to the influence technology has on the depiction of architectural form in a graphically accessible manner. However, when critically examining the consequential products that arise from either method, it becomes evident that very little has been gained through employing these new methods of creation and depiction. Through accepting, wholeheartedly, drawing conventions adapted from generation to generation- combined with the digitisation of methods used for depicting architectural intent and/or instruction, a schism emerged. There exists a divide between the act of drawing, and the primal meaning represented through the product. To escape the doldrums created by the aforementioned condition, this dissertation presents a fourfold investigation on ‘architectural drawing’ as entity. The four individual chapters should be understood as reflections on the methodological approaches employed in the formation of the resulting intervention. The summarised topics are as follows:
It is important to note that all the drawings presented in this document were done by hand, and drawn with considerable love and precision. As such, The drawings are intended to be carefully studied and contemplated - with specific regard to the preceding text - in order to create a holistic view of the project. The resulting intervention is informed by, and thus a direct product of, investigative sketches that act as research- and mapping devices. This process enables the communication of internalised ideas, both to oneself and to others. Since communication is fully dependent on the clear translation of ideas, drawings become the embodiment of the formulated approach, instead of a representation of internalised ideas. The programme housed by the resulting architecture aims to further strengthen the proposed theoretical premise through emphasising the impact that drawing has on spatial hierarchy. The act of drawing possesses the power to define or alter perceptions of hierarchal value contained within artefacts. through manipulating the emphasis placed on an object within a drawing it becomes possible to manipulate it’s perceived importance.<br>Dissertation (MArch(Prof))--University of Pretoria, 2014.<br>Architecture<br>MArch(Prof)<br>Unrestricted
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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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Sammis, Kim. "Drawing/s." Thesis, Massachusetts Institute of Technology, 1986. http://hdl.handle.net/1721.1/88806.
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Thesis (M. Arch.)--Massachusetts Institute of Technology, Dept. of Architecture, 1986.<br>MICROFICHE COPY AVAILABLE IN ARCHIVES AND ROTCH.<br>Includes bibliographical references (p. 175-179).<br>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.<br>by Kim Sammis.<br>M.Arch.
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Coppage, Mary. "Drawing Conclusions." VCU Scholars Compass, 2009. http://scholarscompass.vcu.edu/etd/1886.
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My book arts explore the creative process. I am interested in what drives an artist to create and what can paralyze that creative action by blocking the process. I examine such issues as finding one’s personal muse and overcoming procrastination and self-doubt. Implements of exploration such as maps, compasses, and globes are materials included in this series of sculptural books. I also offer meticulous renderings of cacti, a personal symbol of resilience and power, as an illustration of finding and accepting my muse as “The Everyday.” Drawn in pencil on gessoed wooden panels, these detailed drawings are examples of discoveries and conclusions made in my exploration.
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Donarski, Vincent. "Drawing tools." College Park, Md. : University of Maryland, 2006. http://hdl.handle.net/1903/3615.
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Thesis (M.F.A.) -- University of Maryland, College Park, 2006.<br>Thesis research directed by: Dept. of Art. Title from t.p. of PDF. Includes bibliographical references. Published by UMI Dissertation Services, Ann Arbor, Mich. Also available in paper.
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Himebaugh, Keith. "Mythic Drawing| An archetypal approach to drawing with dreams." Thesis, Pacifica Graduate Institute, 2013. http://pqdtopen.proquest.com/#viewpdf?dispub=3565655.
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<p> This production-style dissertation explores the psychological aspect of drawing with dream images. It introduces a practical method, called Mythic Drawing, which can help artists work with dream images in an authentic way. For James Hillman, the founder of Archetypal Psychology, dreams do not reflect the outer world of empirical reality. Rather, they express the inner world of psychic reality through mythological resemblances. Therefore, to draw adequately with images, the artist must give up the rational approach of step-by-step formulas and abstract concepts, and instead, sensitize these methods to the metaphorical style of the dream. </p><p> 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. </p><p> 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.</p>
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Kalin, Nadine. "Conversations on teaching and learning drawing : drawn toward transformation." Thesis, University of British Columbia, 2007. http://hdl.handle.net/2429/31358.
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This dissertation delves into the shifting perceptions, practices, and contradictions inherent in teaching and learning related to drawing within elementary schooling. In particular, it shares how a group of non-art specialist teachers who teach their own art and the author come to know drawing within the context of an action research group. Non-art specialist elementary teachers are increasingly responsible for teaching art to their students, a task for which few feel adequately prepared. Moreover, this group of teachers often identifies the inability to draw as a decisive factor in their lack of confidence in teaching art. The teacher-researchers reported on in this study recognized the need to return to where they had left off in their own learning of drawing as a basis for their artistic and classroom-based inquiries. Through a re-framing and demystification of our inter-relationships with pictorial realism in drawing and teaching we were able to renegotiate previous encounters that had caused stagnation and become opened up to alternative ways of understanding drawing. This dissertation articulates our research processes as an unfolding, complex, and ongoing conversation. Placing teachers at the centre of their own learning in a critically reflective and social context contributed to the transformation of perception, practice, and curricular possibility related to drawing. In this research I have not only guided, but also been guided through the contours of the roots and routes of possible change for these teachers and myself. The research experiences of the teacher-participants have resulted in a newfound and ongoing commitment to teaching art and drawing that is reasonable and risky, as well as practical and responsive to the evolving circumstances of their teaching. This seems a worthwhile (re)starting point for non-specialist teachers of art at the beginning of their careers and for those in the midst of their profession. Consequently, the dissertation is of relevance to tertiary educators and researchers seeking insights related to non-specialist teachers of art, their preparation as teachers, professional development in art, and post-modern, visual cultural approaches to art education. Furthermore, this study generates understandings that contribute to existing articulations of action research and a/r/tography.<br>Education, Faculty of<br>Curriculum and Pedagogy (EDCP), Department of<br>Graduate
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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.
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Thesis (M.S.)--Massachusetts Institute of Technology, Dept. of Architecture, 1998.<br>Includes bibliographical references (p. 49-51).<br>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.<br>by Ewan E. Branda.<br>M.S.
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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/.
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This practice-based thesis aims to explore and demonstrate the conflict that exists between traditional, male-oriented attitudes and feminist perceptions of the female nude within the context of life drawing practices. The research interrogates the problematisation of life-drawing practice for female practitioners, proposing that perceived tensions and conflicts can be resolved through practice-based enquiry. In response to this, practice has been devised and tested, that negotiates this opposition, evolving an innovative system of projective geometry for drawing and painting which considers representations of the female nude in a way that is compatible with a specifically female viewpoint. The methodology includes: 1. The development of a portfolio of paintings and drawings of the female nude produced in the life drawing room by a female practitioner. This body of work is integral to the submission. 2. Qualitative questionnaires and discussion groups which inform, support and substantiate findings. 3. A literature review which considers the historical background of life drawing and the role played by female practitioners in academic life-drawing leading to an explanation and practical enquiry of sight-sized drawing that epitomises the habitual rituals of the life drawing class in relation to the researcher’s gendered interests. Conclusions and outcomes: The literature review together with other findings are analysed and synthesized, leading to an overview of four interrelated waves of feminism and feminist theory. The emergence and influence of a Negative Feminist Critique of the Female Nude is shown as related to the subjective female identity and interests of the artist. Through the creation of a feminist strategy, demonstrated to be antagonistic to the traditions of the female nude, have resulted in an alternative canon of the female nude that hinges on the interpretation of artworks and affects, but is distinct from, the experience of practitioners. Interactions with the model are identified as crucial to negotiating existing precepts of the female nude in female-directed life drawing practice. Questioning if linear perspective is intrinsically voyeuristic and analogous to a peep show reveals this position as socially- rather than materially-constructed. The extended drawings articulate multiple viewpoints without fragmentation and prioritise experiential understanding of process over external critiques of content. A series of extended paintings is examined in relation to the artist’s formally based material interests in painting and stitch combined with socially-formed interactions of collaboration and empathy. Resultant art works intervene in the field of existing life-drawing conventions and demonstrate a recognisably female sensibility in their representation of the female nude. These findings will be used to inform future life-drawing practice and pedagogy.
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Sandness, Benjamin Joel. "Self and drawing." Pullman, Wash. : Washington State University, 2010. http://www.dissertations.wsu.edu/Thesis/Spring2010/b_sandness_041310.pdf.
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Scharein, 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.
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Alshepani, 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.
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Suderman, Matthew. "Layered graph drawing." Thesis, McGill University, 2005. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=86054.
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A layered graph drawing is a two-dimensional drawing of a combinatorial graph in which the vertices lie on a given set of horizontal lines. Such drawings are used in application domains such as software engineering, bioinformatics, and VLSI design. In addition to being layered, drawings in these applications may also satisfy other constraints, for example bounds on the number of edge crossings. The problems related to obtaining these drawings are almost always NP -hard, so, in this thesis, we investigate restricted versions of these problems in order to find efficient algorithmic solutions that can be used in practice.<br>As 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.<br>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.<br>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.
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Markus, Pamela. "Drawing on experience." Thesis, McGill University, 2006. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=102809.
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This dissertation is an autobiographical study that explores how my past experiences related to art and education inform my teaching, and how my teaching informs how I theorize about art. Through the research process, I investigated issues about art and education by "drawing on" personal experience. The study supports the notion that personal experience is the basis of knowledge and assumes that to understand teachers' knowledge it is beneficial to observe it from a teacher's perspective. It touches on issues of teacher knowledge, the role of personal history and attitudes, and identity.<br>The 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.<br>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.
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Mahmood, A. "Automatic drawing recognition." Thesis, University of Nottingham, 1987. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.381072.
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Jacoby, Samuel (Samuel David Glauberman). "Drawing the electric." Thesis, Massachusetts Institute of Technology, 2013. http://hdl.handle.net/1721.1/82425.
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Thesis (S.M.)--Massachusetts Institute of Technology, School of Architecture and Planning, Program in Media Arts and Sciences, 2013.<br>Cataloged from PDF version of thesis.<br>Includes bibliographical references (p. 84-87).<br>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.<br>by Samuel Jacoby.<br>S.M.
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Turpin, Lucy Jane. "Drawing as experience." Thesis, Stellenbosch : Stellenbosch University, 2015. http://hdl.handle.net/10019.1/96661.
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Thesis (MA)--Stellenbosch University, 2015.<br>ENGLISH 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.<br>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.
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Cridge, Nerma Prnjavorac. "Drawing the unbuildable." Thesis, Open University, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.551634.
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As suggested in the title, this thesis examines architectural drawings outside of what can be defined as the conventional architectural domain - the buildable. Starting with an almost complete absence of the plan and the ubiquitous presence of perspective in the representations of the unbuildable, a number of different traits will be defined. Both, the unbuildable and the buildable, are revealed as working distinctly, but importantly, not in opposition to one another. In fact, they will frequently be found to operate in a complementary fashion. Selected from immediate post-revolutionary Soviet Russia, the period taken as the peak of the projects of the unbuildable, detailed case studies will include Tatlin's Tower and the Palace of the Soviets. Despite these examples being purportedly amongst the best-known architectural projects ever conceived, the in-depth analysis will demonstrate, somewhat paradoxically, that not much about them can be claimed for certain. Such projects are going to be shown to have an ability to exist at multiple scales, in many locations, repeated and copied as a reference or through multiple associations. Speculations on Lissitzky's Cloud Stirrups will form the basis for the discussion on the architectural series. Here, Piranesi's Career; will be proposed as the pioneering, if not the very first example of architectural drawing as a series. The discussion of the reproduction, repetition and seriality will culminate in the final example - Lakov Chernikhov's opus. One of the several concluding suggestions will include that the buildable may continue to increasingly resemble the unbuildable, mimicking its traits such as scalessness, existing on multiple sites and excessive visuality. This has the potential to make the distinction between the two more blurred, and even eventually abolished, meaning that every building in part becomes unbuildable, and vice versa.
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Недзельська, Олександра Олегівна. "Digital drawing tools." Thesis, Київський національний університет технологій та дизайну, 2020. https://er.knutd.edu.ua/handle/123456789/15345.
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Byrne, Conor Vincent. "Drawing Out Notations." Thesis, Virginia Tech, 2019. http://hdl.handle.net/10919/88832.
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This work finds curious the relationships of figures bound by and revolving around a central axis.
As this series of figures are elaborated by mathematical operations, the complex nature of their combination removes apparent identity and synthesizes a simultaneous presence which is difficult to name.
The drawings serve as a form of notation, similar to sheet music. As notation they aim to find their voice in the physical world. The drawings search for relationships which are then made tangible so they can be studied in light and act as a model to continue working.<br>Master of Architecture
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MARKOVSKA, MARIA, and VIEIDER FELICIA GIHL. "Drawing robotic arm." Thesis, KTH, Maskinkonstruktion (Inst.), 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-226660.
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A drawing robot requires precise steering and high accuracy.The purpose with this project is to design a roboticarm with 3-dof that can be fed with a gray scale picture anddraw it on a paper. This thesis investigates which drawingtechnique that fits better for the robot, which controller isthe most suitable and what accuracy is achieved with thechosen controller. During the project a drawing robot iscreated and two different controllers are implemented andtested PD and PID. The implementation shows that PDcontrol is not working for this application. Therefore, PIDcontrol is the most suitable. Experiments are set up tomeasure the drawing accuracy using the PID-controller. Adrawing accuracy of ±11mm is achieved by the robot. Theachieved accuracy is a result depending on several factors,for instance the resolution of the potentiometers.<br>En 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.
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Sambor, Madeline Lou. "Inhabiting the Drawing." Thesis, Virginia Tech, 2017. http://hdl.handle.net/10919/78350.
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To inhabit a space is to be within that space. The interiority of a room places emphasis on
inhabitation. By inhabiting a room, one perceives the phenomenal qualities of that room. To inhabit a drawing is to do so imaginatively rather than perceptively. Perspective drawings can shape imagination by defining form, light, and context. They capture and frame an instant in space and time. The presence of light in a drawing creates an awareness of the outside. These qualities of drawings allow the viewer to imagine a room through inhabitation.
A series of nine rooms were developed in perspective with elements articulated through tracing, translation, rotation, and refection. Three of these nine rooms were chosen for further investigation through drawing. Drawings were then tested against formal models.<br>Master of Architecture
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Wright, Daniel. "Drawing Towards Building." Thesis, Virginia Tech, 2011. http://hdl.handle.net/10919/33679.
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This is a story of a buildingâ s becoming. It begins sixteen years ago when I was first made wholly subject to a drawing. It was not the kind commonly considered proper to architecture, but no drawing in architecture has made sense to me if not for that first. The drawing was toward music.
The work of art for the architect is drawing out relationships of embodied belongingâ drawing from memory towards building. I once remembered a beloved house of brick and drew upon it. As building emerged in the drawing, it became its own thing with its own desires. I was myself drawn in by its presence and made attendant to its longings. I listened, in a way, to what it called for and then drew it out, again and again, all the while towards building.<br>Master of Architecture
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Thomas, Danielle K. "Collaborative Drawing Projects." The Ohio State University, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=osu1276792482.
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Puppe, Thomas. "Spectral graph drawing." [S.l. : s.n.], 2005. http://www.bsz-bw.de/cgi-bin/xvms.cgi?SWB11759114.
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Schulz, Michael. "Simultaneous graph drawing." Tönning Marburg Lübeck Der Andere Verl, 2008. http://d-nb.info/992494834/04.
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Pungthong, Viriya. "Drawing for communication." Columbus, Ohio : Ohio State University, 2004. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1079034652.
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Thesis (Ph. D.)--Ohio State University, 2004.<br>Title 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).
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Thimbleby, Will. "Drawing from calculators." Thesis, Swansea University, 2010. https://cronfa.swan.ac.uk/Record/cronfa43088.
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Two novel interactive systems, a new calculator and a new drawing program, are developed. The novel user interfaces derive from the application and development of design principles during the software development. It is the principles, their relationship to the development process, and their potential future role in interactive system development, that form the main contributions of the thesis. Each system was created using an iterative, principle-driven method, in which the principles and implementation built on each other. The principledriven design process led to original user interfaces and to refined principles. The design, development and underlying principles of each system form two complementary parts of the thesis: • The calculator is designed to work as though it is 'paper with answers'. The user can write any mathematical expression by hand, and the calculator recognises the written expression, then morphs the user's input to a neat typeset expression, corrects any syntax errors, and then provides an answer. The neat typeset expression can then be edited freely by direct manipulation or by adding further writing. • The vector graphics drawing program design follows a similar principledriven approach. It applies the principles developed with the calculator, but to a very different style of user interface. Both systems provide substantial examples of user interface design and development. Their design and development resulted in four key user interface principles: projection, continuity, what you see is what you edit, and declarative interaction. These four flow principles are, it is argued, the main reasons the user interfaces are effective. User studies, qualitative feedback, heuristic, and analytic evidence is provided for the user interfaces. Both systems have been well received by users and are commercially distributed. The design principles may support future user interface design and development. They provide further research opportunities, particularly in exploring exactly where they are applicable, and how and when they can be applied to future designs.
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Whitson, Rebecca B. "Drawing As Language." VCU Scholars Compass, 2019. https://scholarscompass.vcu.edu/etd/5941.
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All too often, the “I can’t draw” sentiment is believed by both the frustrated adolescent and adult alike. This is especially evident within the school environment. This paper aims to discuss how visual art --specifically drawing-- is structured, formed and expressed as a type of language, similar to a verbal, written, or physical one. This may give hope to even the most reluctant drawer that they can learn how to draw, opening another means of communication. An individual attains fluency when they are adept at drawing through the use of expression, technical, and observational skills, through practice and motivation, and through instruction. Also in this paper, I will discuss my findings from classroom action research demonstrating how adolescents and adults became more fluent.
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Etter, Ian. "Telemetrics: drawing translations." Thesis, University of Iowa, 2013. https://ir.uiowa.edu/etd/2489.
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Telemetrics: Drawing Translations began with charcoal drawings on paper, which were then converted into digital information, and finally re-rendered by three-dimensional software. This series of translations allow for a close exploration of the drawing's topography that is similar to the viewpoint of an exploratory rover. The imagery from this digital landscape was collected, exported, and translated into the mediums of print, painting, and video.
This body of work was developed in reference to the telemetric systems that are currently in use to explore the cosmos. Space telescopes convert a physical stimulus (light) into electrical signals, or raw data. In order to be analyzed and understood, that information must be converted into a file that can be read over multiple representational platforms, both numerically and visually. Interpreting these data requires translation, which occurs at several levels as the astronomers prepare the data for interpretation. The resultant images, especially those presented to the public, have gone through several stages of adjustment for both informative and aesthetic reasons.
In Telemetrics: Drawing Translations, the drawings function as the phenomena of the universe, all of that which can only be understood through telemetric analysis. The drawing's primacy in this system is established through its physicality, level of resolve, and the amount of interpretable information it contains. The derivatives of the drawings mirror the entropic nature of translating information across formats. Tone, contrast and an emphasis on the physical manipulation of material in the drawings formally reference the Rocky Mountain School paintings of the American West. The paintings of Thomas Moran, Albert Biertstadt, Thomas Hill and others allowed viewers to experience the sublime through an environment that was distant and imagined. It is in a similar way that telemetric systems allow us to experience otherwise untouchable places, even if the representations of these far off places is exaggerated or inaccurate.
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MANCINELLI, CLAUDIO. "Drawing on Surfaces." Doctoral thesis, Università degli studi di Genova, 2022. http://hdl.handle.net/11567/1092653.
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Vector graphics in 2D is consolidated since decades, as is supported in many design applications,
such as Adobe Illustrator, and languages, like Scalable Vector Graphics
(SVG).
In this thesis, we address the problem of designing algorithms that support the generation
of vector graphics on a discrete surface. We require such algorithm to rely on the intrinsic
geometry of the surface, and to support real time interaction on highly-tessellated meshes
(few million triangles). Both of these requirements aim at mimicking the behavior of standard
drawing systems in the Euclidean context in the following sense. Working in the intrinsic setting means
that we consider the surface as our canvas, and any quantity needed to fulfill a given task
will be computed directly on it, without resorting to any type of local/global
parametrization or projection. In this way, we are sure that, once the theoretical limitations
behind some given operation are properly handled, our result will always be consistent with the input
regardless of the surface we are working with. As we will see, in some cases, this may imply
that one geometric primitive cannot be indefinitely large, but must be contained in a proper
subset of the surface. Requiring the algorithms to support real time interaction on large meshes
makes possible to use them via a click-and-drag procedure, just as in the $2$D case.
Both of these two requirements have several challenges. On the one hand, working with a metric
different from the Euclidean one implies that most of the properties on which one relies
on the plane are not preserved when considering a surface, so the conditions under which
geometric primitives admit a well defined counterpart in the manifold setting need to be
carefully investigated in order to ensure the robustness of our algorithms.
On the other hand, the building block of most of such algorithms are geodesic paths and distances,
which are known to be expensive operations in computer graphics, especially if one is interested
in accurate results, which is our case.
The purpose of this thesis, is to show how this problem can be addressed fulfilling all the
above requirements. The final result will be a Graphical User Interface (GUI) endowed
with all the main tools present in a $2$D drawing system that allow the user to generate
geometric primitives on a mesh in robust manner and in real-time.
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Krcma, 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/.
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Focusing on specific episodes from the rich history of drawing practice after 1940, this thesis examines issues of time, materiality and the body in relation to drawing's production and reception. The stakes and potentials of modern drawing remain largely under-theorized and under-acknowledged. Here I explore the way in which drawing involves an array of bodily, imaginative and affective investments how it has been configured in relation to other technologies of representation and how it has provided a small-scale, unspectacular yet complex means for artists to investigate problems of signification, materiality, and the registration of time. I concentrate largely on drawings from the 1940s and 50s, although I do also open onto a small number of key works from the late 1960s and early 70s, as well as some crucial contributions to contemporary practice. My thesis is organised into five chapters, which are bracketed by an introduction and a coda. Chapter 1 explores the relationship between drawing, writing and cinema as it is played out in Henri Matisse's suite Dessins: Themes et variations, made in the early 1940s. Chapter 2 examines drawing's physical and discursive 'smallness,' framed with reference to Rosalind Krauss's formulation of the 'expanded fields' of artistic practice. Here I focus on the drawings of Wols, as well as drawing's 'flight from the page' in the late 1960s and early '70s. Chapter 3 looks at the mobile work of erasure in the drawing practices of both Willem de Kooning and Robert Rauschenberg. Chapter 4 explores drawing's immersive material engagements, specifically in relation to liquidity in the practices of Joseph Beuys and Marcel Broodthaers. Lastly, Chapter 5 brings my concerns up to date with an examination of Tacita Dean's blackboard drawings framed in relation to the digital/analogue binary.
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Hodson, 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.
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This thesis examines contemporary drawing practices in Iceland. It reflects upon twelve months of ethnographic research amongst contemporary Icelandic artists in Reykjavík, Iceland. This research was premised on the contention that art is a particular type of practice founded on the processes of its making. These processes allow for ways of seeing and knowing that are applicable to the practice of anthropology: both the artist and anthropologist are creative practitioners and through the practice of art – in particular, drawing – knowledge may be transformed or re-presented as it is transferred from one register to another. Thus, this thesis seeks to reveal the relationship between art and anthropology and, in so doing, to ask if anthropology can use ways of gathering, representing and resolving specific to art-making. The medium of drawing is decisive in this regard. Through an examination of the specificity of drawing as a particular technique – as evinced by the Icelandic artists I worked with – I ask what the processual nature of the medium entails and how this can lead to the re-imagination of ethnographic techniques of description and documentation. This approach is built upon overturning the propensity to focus upon the completed artefact-object within analysis, accounting instead for art-making as it emerges for the artist. To fully explicate these ideas from the point of view of the artist, I approached my research within an interdisciplinary framework, which allowed my own experiences as an artist to come to the foreground. Under the rubric of a ‘graphic anthropology’ I hoped to realise and explore the potential of the ‘anthropologist-artist’ as a research method. Under the rubric of a ‘graphic anthropology’ I hoped to realise and explore the potential of the ‘anthropologist-artist’ as a research method. These two tenets of my project were designed to explore the potential of drawing to bring together the disciplines of anthropology and art-making, and thereby to reimagine a discipline that could embody the theoretical and methodological stances of both.
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Librande, Stephen E. (Stephen Edward). "Example-based character drawing." Thesis, Massachusetts Institute of Technology, 1992. http://hdl.handle.net/1721.1/12925.
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Chiloyan, Vazrik. "Polyethylene fiber drawing optimization." Thesis, Massachusetts Institute of Technology, 2011. http://hdl.handle.net/1721.1/68829.
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Thesis (S.B.)--Massachusetts Institute of Technology, Dept. of Mechanical Engineering, 2011.<br>"June 2011." Cataloged from PDF version of thesis.<br>Includes bibliographical references (p. 33).<br>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.<br>by Vazrik Chiloyan.<br>S.B.
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Underhill, Cordelia. "The space of drawing." Thesis, University of Dundee, 2010. https://discovery.dundee.ac.uk/en/studentTheses/bb5bc32a-18a5-45f3-b06e-c85654d3a0b5.
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This is the written component of a practice-led Phd concerned with the space of drawing. The space that drawing is seen as being able to occupy has undergone significant changes in last ten years. In this thesis I consider the historical and theoretical background to these changes with direct reference to particular ideas and work that are both important in tracing this history and to my own practice. My discussion is centrally concerned with the efficacy of theories for drawing as they relate to practice, rather than as pure descriptions of practice. I begin by addressing the particular character of writing about drawing identifying some of the possible misunderstandings of this writing that may arise for the practitioner. I then trace significant changes in theoretical and material ideas of space in the last one hundred years that have contributed to the new space of drawing. I discuss how contemporary drawing installation reflects this reconfigured space and ways in which it might expand upon it. The key ideas of this study are then turned towards my chosen technique of collage. In the final chapters I describe and reflect upon the theoretical implications of the practice of this research.
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Makrinos, George Adam. "Drawing Music, Playing Architecture." Thesis, Virginia Tech, 2005. http://hdl.handle.net/10919/33890.
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Architecture and music share intrinsic meanings generated by a constant stream of metaphors which are forms of poetic transformations.
This thesis sought to challenge the present way an architect-musician makes drawings through the exploration of multimedia possibilities at hand. The drawings are composed using Macromedia Flash MX.
OPEN HOMEPAGE.EXE
To download flash player, click here:
<a href="http://www.macromedia.com/shockwave/download/download.cgi?P1_Prod_Version=ShockwaveFlash">
Download flash Player</a><br>Master of Architecture
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Lee, Grace. "Drawing Through 4 Seasons." Thesis, Virginia Tech, 2009. http://hdl.handle.net/10919/35739.
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This thesis is concerned with architecture and its changes through four seasons.
It is about drawing new images of a building in different seasons. Like trees change their leaves in seasons and like people change their clothes in seasons, this project is about architecture changing its architectural elements in four seasons. It all began with an imagination of how a building would respond differently in each of the four seasons.
The project, located at the waterfront of Old Town, Alexandria, Virginia, is an Aquatic Center with swimming pools, changing areas, saunas, fitness area, and massage areas. The Aquatic Center creates different images to its visitors through surrounding natures and their changes, architectural elements and their movements, visitors and their activities.
The goal was to provide people unique and different experiences every time they visit.<br>Master of Architecture
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Skiles, Joshua Brisbin. "Field, Lines and Drawing." Thesis, Virginia Tech, 2010. http://hdl.handle.net/10919/33598.
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An architectural idea has been drawn out in a row house on an imaginary site. Architectural drawings in plan, section and elevation, as well as diagrams, sketches and graphite renderings show a process of working that presupposes existential questions as necessary for making architecture.<br>Master of Architecture
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Slobtseva, Yelena. "DRAWING IN THE MARGINS." Bowling Green State University / OhioLINK, 2006. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1162849860.
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Olivieri, Julia. "Drawing DNA Sequence Networks." Oberlin College Honors Theses / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=oberlin1466511242.
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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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Blatter, 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.
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A case study of collaborative storyboarding in an animation studio grounded this investigation of visual discourse---discourse about and with visual displays. The focus was on a problem occurring during a 40-minute task between the head storyboard artist and his junior colleague in reviewing a rough, conceptual storyboard. The research investigated the role of different semiotic modalities produced by the artists', i.e., speech, gesture, and drawing, in mediating spatial (frames of reference) and motion (action and path) representations and inferences from the storyboard. One aim was to determine if particular modalities were used to represent particular spatial and motion ideas.<br>Both 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.<br>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.
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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/.
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The present thesis describes an exploration of cognitive, perceptual and neuroscientific foundations of representational drawing. To motivate experimental hypotheses, an initial qualitative study of artists’ attitudes and approaches to drawing was conducted. Themes from the qualitative data, predominantly concerning the relationship between perception and drawing, were developed into a large scale survey study of over 600 art students at undergraduate and postgraduate level. The survey study assessed the role of personality and demographic factors as well as perceptual styles and abilities, isolating the role of approaches to study, practice and technique use on externally-rated drawing ability. The qualitative and survey studies provided the foundation for further empirical work, the first of which was an exploration of the use of image manipulation and shape analysis for measuring the accuracy of drawings, with the intention of providing more reliable and valid dependent measures in the study of drawing. This investigation revealed differences in the way individuals judge the accuracy of drawings according to the stimuli they represent and presents a novel method for comparing aesthetic and accuracy judgments of drawing. The three experimental chapters of this thesis describe investigations into visual perception and memory in association with drawing in students of arts and non-arts subjects with an emphasis on angular/proportional perception, local-global visual processing and long and short-term visual memory. These studies revealed that individual differences in visual perception and visual long-term memory when rendering explain a large proportion of individual differences in drawing ability. The final empirical chapter reports a voxel-based morphometry study of structural neural correlates with individual differences in drawing and artistic ability. The results of this study emphasize the role of procedural memory and fine motor control in the development of long-term drawing expertise. The enquiry culminates in the presentation of a toolbox for drawing which includes visual, educational and motor modules. Its potential use in art and design education in teaching protocol is then discussed. The research findings could have a significant impact on the way in which art schools employ artistic training and could provide early diagnostic tools for identifying talent in the arts.
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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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McNorton, 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.
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The research considered the participatory dimension of collaborative drawing as an act taking place in three and four-dimensional space and relating to the two-dimensional resolution of a drawing. The drawing activity, therefore, consciously explores the dynamic interrelationship between participants the choreographic dessinateur (the researcher) and others in site specific situations which result in surface action on both the vertical and horizontal plane of a drawing. There are two major considerations; the concrete and direct observable behaviours of the participants and the resulting graphic marks of the drawing left as a trace of that activity. These are seen as the facts of the body and the drawing. That is, that tangible dimension which looks at the movement of the body in relation to all that it may physically come into contact with and its 'arrival' as 'vectorial force' on a material surface as a 'scored' and 'recorded' reflection of that activity, What the researcher is looking at therefore, takes account of this as the initial infrastructure from where other possibilities collide. The researcher is also attempting to locate an underlying significance to the first physical observations which may have a correlation to other phenomena within the same time/space situation, namely, the invisible and interpretative dimension. The attempt therefore, is to explore the relationship of subject and the 'world' (in this case the space of a performative and collaborative drawing), as an ontologically reciprocal act, embracing the self as we know we are with its orientation to the other. Merleau-Ponty (1964: p. 55) has referred to this as the primary source of expression in his essay 'Indirect Language'; that area where the embodied self is slightly out of focus, but situated where it may collide with new possibilities. The embodied self therefore, is seen as focusing on things as the relation between the subject and object of experience, from the personal to the collective, from the particular to the general. Hence, the collaborative nature of this project searches for new images and methods through and as a move away from the common habitual behaviours of drawing and into the realm of the unknown. It is a conscious engagement with pre-reflective sensory, motor and affective capabilities, 'primary expression' on the one hand and 'secondary expression', the more routine behaviours both operating within a specified and unified whole. This is a 'dialogical method' which accepts what is there, while also endeavouring to change or extend through added and invented dimensions. The whole process of drawing and reflection for the project embraces ambition and intentions for developmental outcomes which might enhance comprehension, performance and communication skills in and about drawing. A dimension which relies upon observation, insight, reflection and interpretation from a multitude of viewpoints
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O'Donnell, Lucy. "Drawing Vignettes : ... perpetual becoming(s)." Thesis, Loughborough University, 2016. https://dspace.lboro.ac.uk/2134/21927.
Texto completo da fonteResumo:
This practice-led research identifies parallels between drawing and writing as tools that wonder, articulate and remark experiences. The research devises a drawing/writing hybrid Drawing Vignettes that interweaves wonder and its articulation through various methods of remarking by bringing together four methods; drawing/writing, the use of sound, phenomenological bracketing and ekphrasis. In both theory and practice Drawing Vignettes unites drawn and written conventions, and appears in the thesis text as a drawing/writing hybrid. Through practice-led explorations the research questions the relationship between theory and practice, the nature of understanding and interpretation by fusing reading and looking activities through the Drawing Vignettes outputs. The research challenges writing and drawing conventions as distinct forms of theory and practice, and asks if by redrafting the boundaries of drawing and writing an original vocative poetic practice can emerge. The research aims to make explicit the relationships between the knower and the known by examining what is readable, understandable and how Drawing Vignettes is presented as a practice-led methodology that fosters the acquisition of knowledge through the participant s experience(s) and interpretation(s) allowing understanding to emerge via these exchanges. The research privileges Philip Fisher s (1998) wonder as a poetics of thought and Martin Heidegger s assertion of poetry as a projective utterance (1935) to examine how wonder impacts upon our observation(s), articulation(s) and interpretation(s) of experience(s) as a type of open-ended poetic dialogue. This investigation utilises debates from Nicolas Davey s theoria (2006) that revises the dualism of theory and practice, maintaining they are mutually engaged in dialogue. This research engages in various poetic dialogues to redraft theory practice boundaries, evaluating Drawing Vignettes as a critical revision that query s how philosphical exploartions can interpreate histories and contexts in various verbalised forms. Wonder is evaluated through this practice-led research as inherentley dialogic. It is reviewed as interweaving amongst hermenuitics, ambiguity, doubt and poetics. It is associated with knowledge generation through the hermeneutic circle , as a type of dialogue that circles back and forth between presumption and surprise and renders knowledge structures as incomplete. The research revises the embodied tacit knowledge generated through Drawing Vignettes, and philosophising is argued as an event that engages in wonder as both pensive and participatory. The embodied and autobiographical nature of inscribing, fundamental to a hybrid practice is employed as a method that allows the self to emerge, as a type of activity that traces life amplifying a sense of being in the act of viewing/speaking. The poetic attitude is a term developed by the research to describe a type of dialogic occurrence where an encounter with wonder takes place becomes projected using drawing/writing methods and relocated in the practice outcomes. The research asserts the four methods of Drawing Vignettes enables and perpetuates the poetic attitude where vocative practice outputs can be understood as a type of phenomenological text that revisits presuppositions by enveloping, documenting, analysing and perpetuating wonder. In turn Drawing Vignettes is reasoned as fostering understanding, as it articulates and traces experiences by describing and mapping their structures, empowering die sachen or matters to arise.