Дисертації з теми "Natural history illustration Australia"
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Carroll, Rachel Art College of Fine Arts UNSW. "What kind of relationship with nature does art provide?" Awarded by:University of New South Wales. Art, 2007. http://handle.unsw.edu.au/1959.4/43308.
Повний текст джерелаRoby, Ruth. "Imprint of a landscape a Yarrawa Brush story /." Access electronically, 2007. http://ro.uow.edu.au/theses/15.
Повний текст джерелаGrunert, Jonathan David. "Aesthetics for Birds: Institutions, Artist-Naturalists, and Printmakers in American Ornithologies, from Alexander Wilson to John Cassin." Thesis, Virginia Tech, 2014. http://hdl.handle.net/10919/78171.
Повний текст джерелаMaster of Science
Drayson, Nick English Australian Defence Force Academy UNSW. "Early developments in the literature of Australian natural history : together with a select bibliography of Australian natural history writing, printed in English, from 1697 to the present." Awarded by:University of New South Wales - Australian Defence Force Academy. School of English, 1997. http://handle.unsw.edu.au/1959.4/38674.
Повний текст джерелаau, louiseduxbury@westnet com, and Marie-Louise Duxbury. "Implementing a relational worldview: Watershed Torbay, Western Australia connecting community and place." Murdoch University, 2007. http://wwwlib.murdoch.edu.au/adt/browse/view/adt-MU20080617.132132.
Повний текст джерелаChristensen, Joseph. "Shark Bay 1616-1991 : the spread of science and the emergence of ecology in a World Heritage area." University of Western Australia. School of Humanities, 2008. http://theses.library.uwa.edu.au/adt-WU2009.0029.
Повний текст джерелаProust, Katrina Margaret, and kproust@cres10 anu edu au. "Learning from the past for sustainability: towards an integrated approach." The Australian National University. Centre for Resource and Environmental Studies, 2004. http://thesis.anu.edu.au./public/adt-ANU20050706.140605.
Повний текст джерелаSpyra, Ulrike. "Das "Buch der Natur" Konrads von Megenberg die illustrierten Handschriften und Inkunabeln /." Köln : Böhlau, 2005. http://books.google.com/books?id=LuXaAAAAMAAJ.
Повний текст джерелаSchwalm, Tanja. "Animal writing : magical realism and the posthuman other." Thesis, University of Canterbury. English, 2009. http://hdl.handle.net/10092/4470.
Повний текст джерелаDickson, Nicola Jan. "Wonderlust: the influence of natural history illustration and ornamentation on perceptions of the exotic in Australia." Phd thesis, 2010. http://hdl.handle.net/1885/7160.
Повний текст джерелаHoolihan, Tanya Louise. "Beyond exploration: illustrating the botanical legacy of the German/Australian explorer Friedrich Wilhelm Ludwig Leichhardt based on his written observations, letters and herbarium specimens 1842-1844." Thesis, 2018. http://hdl.handle.net/1959.13/1395086.
Повний текст джерелаLudwig Leichhardt is synonymous with Australian exploration, yet his achievements extend well beyond the success of his overland expeditions. Beyond exploration, Leichhardt was a passionate observer of Australian natural history, who left a significant legacy of collected and written material, especially in the field of botany. The recent translations of his diaries recorded between 1842 and 1844 have exposed a lesser known period of Leichhardt’s life and helped to evidence him as a capable and diligent scientist. The published materials combined with Leichhardt’s collected plant specimens establish the foundation for my research and have subsequently informed my outcomes. From my research I have painted a series of botanical illustrations depicting specimens that were observed, recorded and collected by Leichhardt more than 170 years ago. The documentation of this research and creative methodology from field observations through to the final illustrations visually depicts Leichhardt’s historical contribution to Australian botanical science while providing information on creative process to botanical illustrators.
Pfennigwerth, Fiona Mary. "Illuminating the scrolls: illustrating Australian nature in response to the biblical texts of Lamentations, Ruth, Ecclesiastes and Esther." Thesis, 2008. http://hdl.handle.net/1959.13/37884.
Повний текст джерелаHow may ancient Hebrew texts be presented to a contemporary audience, remaining faithful to the original and at the same time relevant yet timeless? I am painting four series of watercolours, each focussing on a particular Australian habitat. These artworks form decorative borders to the four biblical texts of Lamentations, Ruth, Ecclesiastes and Esther, four of the Jewish Scrolls, and act as visual metaphors of underlying themes and indicators of structure and literary devices. My research is into the texts themselves, reading and responding to them; into natural subjects that express my response; and into the art-making process from which the final artworks are created. The end product of my research is an exhibition of these watercolour works and an A4-sized book combining the complete printed text of the Scrolls in the English Standard Version (ESV) as I have formatted it, with my illustrations as border designs. My aim is that through the manuscripts’ overall design, I honour the authors’ literary artistry, including symmetry, acrostic and reversal. Through my choice of subjects for each illustration, I aim to suggest themes in the adjoining text.
Pfennigwerth, Fiona Mary. "Illuminating the scrolls: illustrating Australian nature in response to the biblical texts of Lamentations, Ruth, Ecclesiastes and Esther." 2008. http://hdl.handle.net/1959.13/37884.
Повний текст джерелаHow may ancient Hebrew texts be presented to a contemporary audience, remaining faithful to the original and at the same time relevant yet timeless? I am painting four series of watercolours, each focussing on a particular Australian habitat. These artworks form decorative borders to the four biblical texts of Lamentations, Ruth, Ecclesiastes and Esther, four of the Jewish Scrolls, and act as visual metaphors of underlying themes and indicators of structure and literary devices. My research is into the texts themselves, reading and responding to them; into natural subjects that express my response; and into the art-making process from which the final artworks are created. The end product of my research is an exhibition of these watercolour works and an A4-sized book combining the complete printed text of the Scrolls in the English Standard Version (ESV) as I have formatted it, with my illustrations as border designs. My aim is that through the manuscripts’ overall design, I honour the authors’ literary artistry, including symmetry, acrostic and reversal. Through my choice of subjects for each illustration, I aim to suggest themes in the adjoining text.
Cunningham, Tallulah. "The Hunter Rubáiyát: illustrating Edward FitzGerald's Rubáiyát of Omar Khayyam in an contemporary Australian setting." Thesis, 2015. http://hdl.handle.net/1959.13/1313464.
Повний текст джерелаEdward FitzGerald’s poem Rubáiyát of Omar Khayyám has been illustrated over a hundred and fifty times during the decade and a half since its first publication. These illustrations have depicted exotic, arcadian other-places that ignore the poem’s frequent endorsement to live with immediacy. My Practice-based Creative PhD project has focused on producing a visual interpretation that reflects the immediate landscapes of my own physical situation: modern Australia. I have crafted illustrations that use the current landscapes and biotic content of the Hunter Valley, NSW, to emphasise not only the ongoing relevance of this poem to the brevity of human life but also my interpretations of the poem. To describe the poem’s frequent references to the passage of time I have drawn on my experience as a Natural History Illustrator, integrating the cycle of seasonal climatic events, plant and animal behaviour into my visual interpretation. I have also inverted the existing trend of exotic illustrations in a familiar physical context (that of a book) by presenting my depiction of the familiar, local environments in two exotic formats. These formats are based on Japanese narrative-scrolls and woodblock prints, providing unusual and intentionally tactile creative objects.
Hanna, Kathleen Ann. "The art and science of botanical illustration and identification: developing an illustrated handbook to the iconic wildflowers of Muogamarra Nature Reserve." Thesis, 2019. http://hdl.handle.net/1959.13/1403437.
Повний текст джерела‘The Art and Science of Botanical Illustration and Identification: Developing a Handbook to the Iconic Wildflowers of Muogamarra Nature Reserve’, is an exploration into the visual nature of plant identification. The purpose of this project is to produce detailed and scientifically accurate coloured botanical plates that represent a carefully selected variety of iconic understory plant species found in Muogamarra Nature Reserve. Each plate features the flower, leaves, fruit and seed from a single species, and is illustrated using traditional methods of painting with watercolour on paper. The aim is to capture the essence of each plant for quick identification without the need for dissections, or excessively detailed textual descriptions. After thorough investigation, I have concluded that there is very little illustrative information available to the public that describes the native flora growing in bushland within Muogamarra Nature Reserve and this project aims to correct this gap in knowledge.
Elliott, Maree Patricia. "Mycelee obsession: the development of a comprehensive field and laboratory- based guide for scientific mycological illustration." Thesis, 2019. http://hdl.handle.net/1959.13/1404202.
Повний текст джерелаFor me the process between illustration and mycological science has merged. Although I think of myself as an illustrator first my research requires a scientific approach to understand the subject and in turn this provides a reference for undertaking further illustrations in the future. According to Hodge (1989) a scientific illustration is an accurate drawing that is aesthetically attractive to inform scientific information. Scientists communicate their findings by publishing results of their research in scientific peer reviewed journals. Their Illustrations are rendered as black and white line drawing because this shows the described characteristics that distinguish one species from another more clearly. The processes that scientists working in the area of mycology use start in the field observing, collecting fungi specimens and documenting field data as well as the macroscopic characteristics of fungi. The second process involves observing and documenting the microscopic characteristics of fungi in the laboratory. Then the specimens are added to a herbarium collection after being dried, identified, information recorded in a database and carefully stored for possible further research in the future. To establish an appropriate method of data collection and interpretation in the context of this research the Natural History Illustration methods of field and studio practice will be undertaken. This is aimed at clearly defining a best practice approach for Natural History Illustrators to produce a Scientific Mycological illustration plate. It is my position that there is no defined description for a practice approach, or agreement for the creation of a Scientific Mycological illustration plate. This research intends to find evidence for the requirements of a Scientific Mycological illustration plate undertaken in collaboration with mycologists to ensure the correct elements and information are described to enable the completed illustrations to be recognised as formal taxonomic works recognised by the field of science. This exegesis is an auto-ethnographic account of my research.
Holm, Stephanie Frances Ellen. "Representing the ‘Bushland Campus’: investigating natural history illustration methodology to develop a bushland chorography." Thesis, 2018. http://hdl.handle.net/1959.13/1392744.
Повний текст джерелаChorography is a historic practice in which specific geographic regions were represented in text-based and illustrated forms. Chorographic works are qualitative and interpretive. They showcase select details of the region, unlike broader geographic and topographic approaches. Historic chorographic works include decorated medieval maps and written itineraries. Contemporary chorographic works embrace a wider range of forms including visual artworks, paintings, prints and computer-based publications such as eBooks. In both a historic and contemporary context, the content and form of each chorography is dependent on the individual chorographer, their interest, purpose and audience. This practice-based research investigates how a chorography of a bushland region can be recorded using a natural history illustration (NHI) methodology. Through a literature review the key criteria of chorography are established and then used to inform the development of my chorographic work. The defining quality of a region is that it must be replicable. Thus, for the purpose of this research, the region selected to be chorographed is the remnant vegetation on the Callaghan Campus of the University of Newcastle, Australia, known as the ‘Bushland Campus’. The bushland on campus comprises four ecological communities. Employing a NHI methodology, the research process involves first identifying and observing fauna and flora in these ecological communities through interdisciplinary fieldwork. Fieldwork is then interpreted through NHI practice methods in a studio-based enquiry and illustrations are produced. Finally, the individual illustrations are contextualised within a chorography of a bushland region in the form of an interactive and responsive webpage.
Liebman, Elizabeth Amy. "Painting natures : Buffon and the art of the Histoire naturelle /." 2003. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&res_dat=xri:pqdiss&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&rft_dat=xri:pqdiss:3108092.
Повний текст джерелаSailer, Prunella May. "Wild Visions: an artistic investigation into animal vision." Thesis, 2013. http://hdl.handle.net/1959.13/1061102.
Повний текст джерелаAs human beings, we view the world from a distinctly human perspective, shaped by our experiences, culture, and the capabilities and limitations of our vision. If we were to imagine ourselves behind the eyes of animals, which can function within vastly different visual parameters, how might the world look from their perspective? As an artist, I am inspired by this question and the creative possibilities it presents. In this research project I have selected seven species that represent a cross-section of the animal world's optical diversity and investigated the characteristics of their vision according to published scientific data. The functionality of each species' vision is determined by their eye structure, visible colour spectrum, visual acuity, visual fields and their typical habitat and behaviour. These details have been used as the basis for a series of artworks that comprise four works for each species. The first is a series of drawings describing the typical posture and head movements of each species. The other three sets are oil paintings, illustrating a close-up of each animals eye or eyes, a view of the animal in its typical habitat from a human perspective, and my interpretation of the way each animal is likely to see its own habitat. These artworks represent just the beginning of an investigation that has the potential to communicate to an unlimited audience the fascinating research being conducted in the field of animal vision, through the visual medium of natural history illustration.
Parsons, Myra, University of Western Sydney, College of Health and Science, and School of Nursing. "Natural eating behaviour and its effect in labour outcomes." 2005. http://handle.uws.edu.au:8081/1959.7/20637.
Повний текст джерелаDoctor of Philosophy (PhD)
Atkins, Daniel Paul. "In pursuit of motion: developing a methodological framework for illustrating moments of movement in birds and fish." Thesis, 2014. http://hdl.handle.net/1959.13/1050169.
Повний текст джерелаNatural history illustration incorporates a range of visual recording techniques, illustration mediums, and communication styles for the purpose of communicating aspects of the natural world. Whilst quite a unique and specific discipline, it is broad in its application ranging from informative scientific illustrations to more aesthetically orientated artworks. Like many creative practices natural history illustration has only recently come to the playing field of formalised academic research, even though throughout history it has enjoined a significant role in both exploration and scientific investigation. Within my research I have developed a methodological framework for illustrating moments of movement in birds and fish. These frameworks that provide a structure for the development of the knowledge necessary to achieve desired outcomes of practice pertaining to positions of bird flight. Such frameworks help define methods of practice-based research, and thus describe how new knowledge is developed and created in practice. Because of the eclectic nature of information gathering required, and the need to synthesize field, studio and literature studies together into a moment of flight, I designed and created a tangible species-specific articulating bird model. The model proved to be highly significant in both developing and elucidating tacit knowledge in the practitioner, and became a core component of the methodological framework.
Czapla, Julia. "Ilustracja w zoologicznych kompendiach epoki nowożytnej." Praca doktorska, 2019. https://ruj.uj.edu.pl/xmlui/handle/item/74771.
Повний текст джерелаDavis, Lambert. "A visual investigation into images of land, sea, sky & cloud: history, science and travel applied to a contemporary art practice." Thesis, 2015. http://hdl.handle.net/1959.13/1310154.
Повний текст джерелаMy art practice combined with my life experience of coastal and marine environments forms the core of an academic investigation into the transitional development of painting styles in British land and seascape art from the late eighteenth to the mid-nineteenth centuries. While historically informed, this research is practice-based with a major component comprising a series of contemporary paintings of land, sea, sky and cloud. All the paintings I produced in relation to this investigation were created in the present time-frame and originated from field research conducted in local and distant coastal environments as well as during three sailing expeditions. Throughout an artistic practise ranging from a career as a children’s book illustrator to recording periodic journeys in sketchbooks, my work has been inspired by a lifelong connection to the coastal landscape and marine environment. More recently, while undertaking this PhD in Natural History Illustration, I have gained insight into the challenge of balancing the traditional role of a natural history illustrator to accurately record ones chosen subject, a particular time and place in the case of landscape, with the expressive brushstroke and colour that perhaps better convey a sense of the emotional experience. While making art is often a solitary discipline I have not been alone in my efforts to reconcile these related but often conflicting intentions. British land and seascape art during the eighteenth and nineteenth centuries produced some of the most historically significant examples of artists asserting a transformation from descriptive to expressive styles. This research investigates the modification in painting styles focusing on the artists accompanying the mariner James Cook (1728 – 1779) during his three famous voyages of discovery as well as the famous landscape painters John Constable (1776 – 1837) and Joseph Mallord William Turner (1775 – 1851). My art practice, conducted in a systematic and experimental way, informed by the experiences of these selected British artists provides a practice-based investigation of theories surrounding their work. This research has been undertaken with the intention of better understanding my own art practice and providing knowledge for other artists conducting similar practice-based research. Furthermore, my intention has been to inspire interest in the field for the broader community by providing personal insight into an important period of British history encompassing art, science and exploration and the influence this period has on contemporary art practice.
Lee, Kim. "Heavy cannabis use in three remote Aboriginal communities in Arnhem Land, Northern Territory, Australia: patterns of use, natural history, depressive symptoms and the potential for community-driven interventions." Thesis, 2008. https://researchonline.jcu.edu.au/11729/2/02whole.pdf.
Повний текст джерелаProust, Katrina. "Learning from the past for sustainability: towards an integrated approach." Phd thesis, 2004. http://hdl.handle.net/1885/48001.
Повний текст джерела