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Crtanje je aktivnost u kojoj oko predoči na papir ono što se nalazi oko njega. Ono se ne uči, već je posljedica djetetove slobodne interpretacije. Dijete ono što je doživjelo iz vizualnog iskustva prenosi crtanjem na svojstven način. Ono predstavlja najprije dječji izraz, a potom i likovni izraz. Kako bi se dijete likovno izrazilo, potrebne su mu likovne tehnike. Posebno istaknute ovdje su crtačke tehnike u koje se ubrajaju ugljen, kreda, olovka i kemijska olovka kao suhe tehnike te flomaster, tuš i guščje pero, tuš i metalno pero, tuš i trska, sepija i grisaj kao mokre tehnike. U ovom radu provedeno je istraživanje koje je za cilj imalo analizom dječjih likovnih radova istražiti na koji način djeca rane i predškolske dobi prikazuju crtačku teksturu u likovnom izražavanju te ustanoviti razlike u prikazu kod djece mlađe i starije predškolske dobi., Drawing is an activity in which one translates things that are around the person on to paper. It isn't taught, it is a result of the cihld's free interpretation. What the child experienced from visual experience it translates that with drawing that in his own way. It represents the child's expression firstly and the artistic expression secondly. In order for the child to express himself artistically, it needs art techniques. Specially highlighted here are drawing techniques that include charcoal, chalk, pencil and ballpoint pen as dry techniques and felt tip, ink and goose quill, ink and metal pen, ink and reed, sepia and grisaille as wet techniques. In this paper, a research was carried out with the aim of analyzing children's art works to investigate how children of early and preschool age depict drawing texture in artistic expression and to establish the differences in representation in younger and older preschool children.

Svako dijete je kreativno na svoj način i stvara od najranije dobi. Svaki djetetov rad se treba cijeniti i bitno je pohvaliti dječji trud. Prilikom stvaranja, djeci ne bismo trebali nametati vlastito mišljenje. Bitan je proces kojim se dolazi do crteža, kako se dijete osjećalo stvarajući crtež i o čemu je razmišljalo, te što ga je potaknulo u stvaranju. U razvoju kreativnosti i umjetničkih sposobnosti, velik utjecaj ima odgojitelj, uz suradnju s roditeljima, kako bi se djetetu omogućilo bogatstvo motivacijskih poticaja, slobodu u izražavanju i njegovanje dječjih interesa, potreba i mogućnosti. Najčešće korištene crtačke tehnike u predškolskoj ustanovi su: olovka, flomaster, kreda, ugljen i tuš. Suhe slikarske tehnike koje koristimo s djecom rane i predškolske dobi su: pastela i kolaž, a mokre slikarske tehnike koje najčešće koristimo su: tempera, akvarel i gvaš. Every child is creative ih their own way and creates from an early age. Every child`s work should be appreciated and it is essential to praise the child`s work. When creating, we should not impose our own opinion on children. What is important is the process by which the drawing is made, how the child felt creating the drawing and what he was thinking about, and what prompted him to create. In the development of creativity and artistic abilities, the educator has a great influence, from working with parents, providing the child with a wealth of motivational incentives, freedom to express and nurture children`s interests, needs and opportunities. The most commonly used techniques in preschool are: pencil, felt-tip pen, chalk, charcoal and ink. Dry painting techniques we use in working with children of early and primary school age are: pastels and collage and the wet painting techniques we use most often are: tempera, watercolor and gouache.

Krajolik je sve ono što se pruža ljudskom oku prilikom pogleda na prirodu. On označava dio teritorija koji je moguće promatrati kao cjelinu iz određene točke. Razlikujemo prirodni krajolik koji je stvoren prirodom te kulturni krajolik koji je nastao djelovanjem čovjeka. Prirodni i urbani pejzaži su izrazito cijenjeni zbog svoje posebne ljepote, a oni mogu biti i kompozicija na slici ili crtežu koja predstavlja motiv krajolika. Krajolik je tema s kojom se djeca često susreću u svom likovnom izrazu od rane dobi. Cilj ovog istraživanja je uvidjeti na koji će način djeca predškolske dobi prikazati motive krajolika u svojim likovnim radovima koristeći se tehnikama pastel i tempera. U istraživanju je sudjelovalo ukupno trinaestero djece u dobi od pet do šest godina. Nadalje, u završnom radu su detaljno analizirani dječji slikarski i crtački radovi, a naglasak je na usporedbi radova iz dvije različite tehnike, odnosno uočavanju razlika i sličnosti u prikazivanju istih elemenata krajolika. Dobiveni rezultati provedenog istraživanja ukazuju da svako dijete u likovnom izražavanju krajolika percipira prirodu, odnosno pejzaž na drugačiji, poseban i svakako jedinstven način., Landscape is everything that is presented to the human eye when looking at nature. It indicates a parto f the territory that can be observed as a whole from a certain point. We distinguish between the natural landscape by nature and the cultural landscape that was created by human activity. Natural and urban landscapes are highly valued for their special beauty and the can also be a composition in a painting or drawing that represent a landscape motive. Landscape is a theme that children often encounter in their artistic expression from an early age. The goal of this research is to see how children will depict landscape motive sin their artwork using pastel and temera techniques. A total of thirteen shildren between the ages of five and six participated in the research. Furthermore, in the final paper, children's painting and drawing artworks are analyzed in detail, and the emphasis is on comparing works from two different techniques, that is, noticing differences and similarities in the depiction of the same elements of the landscape. The obtained results of the conducted research indicate that every child n the artistic expression od the landscape perceives nature, that is , the landscape in the different, special and definitely unique way.

Svaka umjetnost ima ulogu otkrivanja čovjekova identiteta. Likovna je umjetnost ona s kojom dolazimo u kontakt od najranijih godina naših života. Isto tako možemo reći da je za ovu umjetnost dovoljna samo mašta odnosno misao. Likovni rad možemo stvoriti u svojim mislima bez papira, bez kista, bez boja, bez trajanja, ona jednostavno nastane. To je umjetnost koja ne traži mnogo, ali istovremeno mnogo pruža. Dio te umjetnosti jesu crtačke tehnike i o njima ćemo reći nešto više u ovome radu. Uz detaljniji opis crtačkih tehnika spomenut ćemo pojam razredne nastave i likovne umjetnosti, strip, umjetnička izložba i motivacija. Sve to popratit će istraživanje provedeno s učiteljima i učiteljicama razredne nastave. Cilj istraživanja bio je ispitati uporabu crtačkih tehnika u razrednoj nastavi. Mjerni instrument korišten za prikupljanje podataka u ovome istraživanju je anketa koja je potpuno anonimna te sudjelovanje u istoj nije obvezujuće. U anketi su se učitelji i učiteljice razredne nastave trebali izjasniti koliko su upoznati s crtačkim tehnikama te koje su crtačke tehnike koristili i koje rado koriste na nastavi likovne kulture, koja je crtačka tehnika najzastupljenija u njihovu radu ovisno o razredu kojemu predaju, koju crtačku tehniku smatraju učenicima najlakšom za rad, koju najzanimljivijom, a koju učenici najpravilnije koriste, za koji crtačku tehniku smatraju da bi njihovi učenici odabrali (prema razredima pohađanja), kojom su se crtačkom tehnikom najčešće koristili za vrijeme online nastave te kojim se motivom pri radu najčešće služe. Rezultati istraživanja pokazali su kako je u 1. razredu (66,7%) i 2. razredu (43,3%) flomaster najzastupljenija crtačka tehnika dok je crtačka tehnika tuš najzastupljenija u 3. razredu (40%) i 4. razredu (46,7%). Istraživanje je također pokazalo kako bi učenici za rad u 1. razredu (70%) i 2. razredu (46,7%) odabrali flomaster. Za 3. razred učenicima bi to bila crtačka tehnika ugljen (21,7%), a za 4. razred tuš (28,3%). Every art has the role of discovering a human identity. Fine art is the one we come in contact with from the earliest years of our lives. We can also say that, for this art it is enough to have only imagination, in other words only a thought. We can create a work of art in our thoughts without paper, brushes, paint or time spent, it simply arises. It is an art that does not ask for much, but at the same time provides a lot. Part of that art are drawing techniques which we will say more about in this paper. In addition to a more detailed description of drawing techniques, we will mention the concept of classroom teaching and fine arts, comics, art exhibition and motivation. All this will be accompanied by research conducted with primary school teachers. The aim of the research was to examine the use of drawing techniques in classroom teaching. The measuring instrument used to collect data in this research is an anonymous survey with participation being non-mandatory. In the survey, primary school teachers were asked to state how familiar they are with drawing techniques, which drawing techniques have they used and which they gladly use in teaching art culture, which drawing technique is most prevalent in their work depending on the class they teach, which drawing technique do they consider the easiest for students to work with, which is the most interesting and which is most correctly used by students, which drawing technique they think their students would choose (according to the classes they attend), which drawing technique was most commonly used during online classes and which motive is most used in work. The results of the research showed that the felt-tip pen is the most common drawing technique in the first (66,7%) and second (43,3%) grade while indian ink is the most common drawing technique in the third (40%) and fourth (46,7%) grade. The research also showed that students would choose a felt-tip pen to work with in first (70%) and second (46.7%) grade. For third grade students it was drawing technique charcoal (21,7%) and for fourth grade students it was indian ink (28,3%).

This paper discusses the influence of hand drawing techniques in my work for toy piano. It is known that composers often respond expressively to ideas and draw compositional strategies from other domains of life, for example, the mathematical proportions of architecture on some compositions of Guillame DuFay, Peter Maxwell Davies and Eve Duncan. For me, a chance comment from an artist friend, Deanna Petherbridge’s book, The Primacy of Drawing: Histories & Theories of Practice (2010) and Elizabeth Cooper’s botanical watercolours of the Australian rainforest tree Stenocarpus sinuatus (Firewheel Tree) offered ideas and techniques for several works for toy piano, and piano and toy piano (one player). While my musical response to hand drawing techniques is largely an expressive response, there is an element of trying to adapt the drawing techniques in a way similar to how artists use them, but in sound.

Bu araştırmada, tasarım alanında yaygın olarak kullanılan dijital tasarım teknolojilerinin sunduğu imkânların ve yeniliklerin, tasarımcıların yaratıcılık/özgünlük, bütünleştirme, kavramsallaştırma ve uygulama becerileri üzerindeki etkileri araştırılmıştır. Çalışmada, dijital teknolojinin etkilediği tasarım stüdyolarında, tasarım sürecinde kullanılan manuel çizim (MD) ve bilgisayar destekli tasarım (CAD) tekniklerinin, tasarımcıların yaratıcılık, bütünleştirme, kavramsallaştırma ve uygulama becerileri üzerindeki etkileri incelenmiştir. Araştırma anketinde, çizim tekniklerinin tasarım eğitimcileri ve öğrencilerinin tasarım performansını oluşturan yaratıcılık/özgünlük, bütünleştirme, kavramsallaştırma ve uygulama becerileri üzerindeki etkilerini öğrenmek için üç seçenekli toplamda 34 soru bulunmaktadır. Anketten elde edilen sonuçlar, tasarım stüdyolarında MD+CAD tekniklerinin birlikte kullanıldığı durumlarda, öğrencilerin yaratıcılık/özgünlük, bütünleştirme, kavramsallaştırma ve uygulama becerileri üzerinde daha olumlu etkilerinin olabileceğini göstermektedir.

İlk çağlardan günümüze insanlığın tarihsel serüveninin izleyicisi olan mücevher; zaman içerisinde değişimler yaşayarak, gelişmeler göstererek günümüzdeki anlamına ulaşır. Üretim aşamasının temel noktası mücevher tasarımı, mücevher tasarım aşamasının da en önemli kısmı; takıya öznel, dokunsal, üç boyut yanılsamasının verildiği desen teknikleridir. Tasarımının doğru ve kolay bir şekilde üretilebilmesi için modeli üreten ustalar tarafından mücevher tasarımı üzerindeki tüm ölçü ve detayların görülmesi gerekir. Dolayısıyla üretim sürecinin yol haritası olan desen teknikleri, mücevher yapımında kullanılan bilgisayar programları ve makine teknolojilerinin gelişmesiyle beraber özgün, yaratıcı tasarımları ortaya çıkarır. Bu çalışmada, tasarımcıların kullandıkları desen teknikleri uygulamalarıyla incelenerek hem sektörel hem de akademik alana katkı sağlaması amaçlanmıştır. Bu araştırma dört bölüme ayrılmaktadır, birinci bölümde mücevherin tanımı ve tasarım kavramına değinilerek antik çağlardan on dokuzuncu yüzyıla kadar mücevher tasarım tarihi incelenir. İkinci bölümde yirminci yüzyıl mücevher tasarımının şekillenmesinde etkili olan isimler ele alınarak, dünya mücevher markalarının desen teknikleri üzerinde durulmuştur. Üçüncü bölümde mücevher tasarımlarında desen teknikleri üzerine odaklanılmış, desenin mücevher tasarımındaki yeri ve önemine değinilmiş, geçmişten günümüze mücevher desenleri ile ilgili bulgular incelenmiştir. Sonuç bölümünde ise elde edilen bulgular doğrultusunda mücevher tasarım süreci ve desen oluşturma aşamaları uygulamalarla gösterilir. The jewel, which is the follower of the historical adventure of humanity from the first ages to the present; by experiencing changes and developments over time, its current meaning is reached.The main point of the production phase is jewelery design, and the most important part of the jewelery design phase; they are drawing techniques in which a subjective, tactile, three-dimensional illusion is given to jewelry. In order for the design to be produced correctly and easily, all the dimensions and details on the jewelery design must be seen by the craftsmen who produced the model. Therefore pattern techniques, the roadmap of the production process,together with the development of computer programs and machine technologies used to make jewelry,reveal orginal, creative designs. In this study, designers are intended to contibute to both the sectoral and academic space by being examined with the pattern techniques applications they use. This research is divided into four parts, in the first part, the definition of jewelery and the concept of design are mentioned and the history of jewelery design from ancient times to the nineteenth century is examined. In the second part, the names that were influential in the shaping of the twentieth century jewelery design are discussed and the pattern techniques of the world jewelery brands are emphasized. In the third chapter, it is focused on pattern techniques in jewelry designs, the place and importance of pattern in jewelry design is mentioned, and the findings about jewelry patterns from past to present are examined. In the conclusion part, the jewelery design process and pattern creation stages are shown with applications in line with the findings.

Die vorliegende Arbeit repräsentiert die zeichnerische Entwicklung bei Kindern und die zeichnerischen Verfahren als diagnostische Methode. Das Hauptinteresse des Diskurses bilden die zeichnerischen Verfahren im Allgemeinen und die zeichnerischen Verfahren aus der Integrativen Therapie. Die empirische Studie orientiert sich an den folgenden vier Schwerpunkten: Den praktizierten zeichnerischen Verfahren, dem Stellenwert der zeichnerischen Verfahren in der Praxis, den Intentionen, die die Experten anstreben, sowie die Gewichtung der Annahmen aus den Zeichnungen für die gesamte Beurteilung. Dazu wurden qualitative Interviews und elektronische Erhebungen mit Psychologen geführt, die zu ihren Erfahrungen mit den Verfahren im diagnostischen Setting berichteten. Die befragten Psychologen wurden von verschiedenen Therapierichtungen rekrutiert. Die rezipierten Interviews wurden anhand der zusammenfassenden Inhaltsanalysen nach Mayring transkribiert und aufgearbeitet. Die Kategorisierung und die übersichtliche Darstellung der bearbeiteten Daten erfolgte mit der Software MAXQDA-11. Die Ergebnisse mit der Beantwortung der Fragestellungen sowie die weiterführenden Gedanken und dem Ausblick bilden den Abschluss., The present study represents the development in drawing with children and the drawing techniques as a diagnostic method. The drawing techniques in general and the drawing techniques of the integrative therapy form the main interest. The empirical study is geared to the following four focusses: The practised drawing techniques, the importance of the drawing techniques in practice, the intentions the experts aim at and the emphasis of the assumptions from the drawings for the entire assessment. Therefor qualitative interviews and electronic enquiries were conducted with psychologists who reported on their experiences with the methods in the diagnostic setting. The questioned psychologists were recruited from various therapeutic approaches. The received interviews were transcribed and reprocessed on the basis of the recapitulatory content analyses according to Mayring. The categorisation and the clear representation of the refurbished data was carried out by the software MAXQDA-11. The results of the answer to the research question posed as well as further thoughts and the outlook represent the conclusion.

В статье представлен опыт исследования проблемы развития умений и навыков младших школьников на уроках изобразительного искусства в результате применения художественных техник рисования. Раскрыты теоретические основы урока «Изобразительное искусство» в начальных классах школ Республики Беларусь. = Тhe article presents the experience of studying the problem of developing the skills and abilities of younger schoolchildren in the lessons of fine art through the use of artistic drawing techniques. The theoretical foundations of the lesson "Fine Art" in primary schools of the Republic of Belarus are revealed.

" Crtanje se ne uči, jer se stvaralački ne može izraziti na osnovi neke gramatike i pravopisa crtanja, već na osnovi vlastite slobodne interpretacije." (Bodulić, 1982, str. 7) Crtežom se služe svi, a naročito djeca. Djeca se likovno izražavaju kako bi prikazala ono što ih zanima. Njihovo likovno izražavanje nije nametnuto od strane društva već je spontano i prirodno te se kao takvo mora poticati. Upravo je u ovom radu opisano dječje likovno stvaralaštvo koje prolazi i razvija se kroz različite faze. Kako bi što bolje predočili dječji napredak iz jedne faze u drugu svaka je faza potkrijepljena dječjim crtežom. Djeca svoj likovni izraz započinju fazom šaranja u kojoj grčevito drže olovku pa ga postupno razvijaju i usavršavaju do faze vizualnog realizma u kojoj djeca pažnju posvećuju i najsitnijim detaljima. Dijete oduševljava ponuda crtačkih materijala, sredstava i tehnike kojima može svoju maštu i emocije prenijeti na papir. Razne crtačke tehnike koje djetetu omogućuju istraživanje njihovih mogućnosti dok dijete doprinosi svom likovnom izrazu navedene su i opisane u ovom radu. Istaknuta je i važnost ponude različitih crtačkih sredstava kojima dijete može manipulirati kako bi stalno napredovao i razvijao svoje likovne vještine. U radu se spominje i odgojitelj čiji je zadatak promatrati dijete i bilježiti promatrano kako bi bili u toku sa djetetovim likovnim razvojem. "Drawing is not learned, because it cannot be expressed creatively on the basis of some grammar and spelling of drawing, but on the basis of one's own free interpretation." (Bodulić, 1982, p. 7) Everyone uses drawing, especially children. Children express themselves artistically to show what interests them. Their artistic expression is not imposed by society but is spontaneous and natural and as such must be encouraged. This final work described children's art that goes through and develops through different stages. In order to better represent children's progress from one phase to another, each phase is supported by children's drawing. Children begin their artistic expression with a phase of coloring in which they hold the pencil convulsively, and then gradually develop and perfect it to a phase of visual realism in which children pay attention to even the smallest details. The child is thrilled by the offer of drawing materials, tools and techniques with which he can transfer his imagination and emotions to paper. Various drawing techniques allow the child to explore their possibilities while the child contributes to his or her artistic expression. The importance of offering various drawing tools that a child can manipulate in order to constantly progress and develop their artistic skills was also emphasized. The final work also mentions an educator whose task is to observe the child and record what is observed in order to keep up with the child's artistic development.

Resumen El dibujo como medio de concepción ideacional es un factor clave para el proyecto arquitectónico y su estudio incide de manera directa en entornos educativos. En consecuencia, en el presente artículo de revisión, se realizó la indagación, organización, estructuración y análisis de documentos científicos y académicos publicados preferentemente con posterioridad al 2000 y disponibles en base de datos. A partir de esto, se realizó una aproximación conceptual, con el propósito de examinar y clasificar las posiciones argumentativas. La información recopilada se clasificó así: 1. Aportes del dibujo para el aprendizaje, los procesos creativos y el pensamiento de los diseñadores en términos de generación de ideas proyectuales, 2. Función que desempeña la relación mano, ojo y mente en relación con la generación de ideas mediante el acto de dibujar y 3. Incidencia en el entorno proyectual en relación con, si el dibujo es realizado de manera manual, digital o combinado. A modo de conclusión se menciona la conveniencia de promover la combinación del dibujo manual y el digital para dar respuesta a las nociones emergentes de la forma y la transmisión de la información acordes a los nuevos modos de representación. Palabras clave: Dibujo arquitectónico; tecnologías digitales; investigación creación; pensamiento creativo; representación arquitectónica; técnicas del dibujo; tecnologías de la información y la comunicación (TIC). Abstract Drawing as a way of ideational conception is a key factor for the architectural project and its study directly affects educational environments. Consequently, in this review article, the investigation, organization, structuring and analysis of scientific and academic documents published preferably after 2000 and available in databases was carried out. From this, a conceptual approach was made, with the purpose of examining and classifying argumentative positions. The information collected was classified as follows: 1. Contributions of drawing for learning, creative processes and the thinking of designers in terms of generating project ideas, 2. Function played by the relationship hand, eye and mind in relation to the generation of ideas through the act of drawing and 3. Impact on the project environment in relation to, if the drawing is done manually, digitally or in combination. In conclusion, the convenience of promoting the combination of manual and digital drawing to respond to emerging notions of the form and transmission of information according to the new modes of representation is mentioned. Keywords: Architectural drawing; digital technologies; creation research; creative thinking; architectural representation; drawing techniques; Information technologies and communication (ICT). Recibido: marzo 12 / 2019 Evaluado: septiembre 30 / 2019 Aceptado: diciembre 12 / 2019 Publicado en línea: diciembre de 2019 Actualizado: diciembre de 2019

During the first decades of the 21st century, scientific illustration was developed mainly in the School of Biology and the Lankester Garden (University of Costa Rica), the National Museum of Costa Rica, and the InBio. En las primeras décadas del siglo XXI la ilustración científica se desarrolló principalmente en la Escuela de Biología y el Jardín Lankester (Universidad de Costa Rica), el Museo Nacional de Costa Rica, y el InBio.

The first formal course of scientific illustration in Costa Rica was given by Julián Monge-Nájera in 1987. The second, in 1999, Andrea Bernecker arrived in 1999 (both at the University of Costa Rica). El primer curso formal de ilustración científica en Costa Rica lo impartió Julián Monge-Nájera en 1987. El segundo, en 1999 llegó Andrea Bernecker, en 1999 (ambos en la Universidad de Costa Rica).

The bachelor thesis deals with the influence of family split experience on pre-school children. The aim is to find out if this influence can be recognised in the family drawing. The research is based on the theoretical part which consists of two broad areas. These areas are preschool age and family. In both of them are highlighted aspects which correlate the most with the practical part. From preschool age, it is thinking, communication, emotion, social development and drawing, which is the most important. The family area begins with the current situation which is followed by essential information about the functions and types of family. The final and the most critical part is the subchapter talking about family split experience and divorces. Research data are obtained by family drawings and by semi-structured interviews. Reason for using interview is to complete information from family drawing and to clarify the description of a child. The highlight of the practical part is the results of the research. The most striking differences were found in the following parameters: the presence of father/mother/child in the drawing, the closest person or thing to the child in the picture, distance of child from father and mother in drawing, added subjects, objects or animals in drawing and talking about...

Freehand sketching is an important part of the design process that allows one to communicate in a quick and gestural way the first ideas about new concepts and is a medium for graphic thinking. It is important for architects and designers because it is a mechanism of representation, conceptualization, and abstraction for the communication between the creators and their audience. All academic courses related to industrial design include subjects aimed at acquiring skills in the use of manual tools of graphic representation, recognizing their importance in the integral training of the designer. However, sometimes the methodologies implemented in some subjects fail to develop adequately the skills of the students, who finish their studies with shortcomings in the field of graphic representation. This paper describes exercises that are part of a methodology designed to help students of industrial design acquire the skills to make an agile and effective use of freehand sketching. Through different uses of the elements of formal expression, the exercises address topics such as shape analysis, composition, light, color, and descriptive illustration. The methodology is applied experimentally in a subject of the bachelor’s degree in industrial design and product development engineering at Universitat Jaume I, introducing the students to different instruments and techniques of sketching and proposing various enriching ways of direct observation of the objectual reality that surrounds them. The paper concludes by evaluating the positive impact of the implemented methodology.

Chinese (Taoist) temples and shrines in Phuket, Thailand have a long and unique history. Although Phuket remains primarily a sun, sea and sand destination, Phuket’s specific cultural tourist attractions such as Chinese temples and shrines lay dormant. Meanwhile, only Phuket’s religious Vegetarian Festival is promoted for tourist’s consumption. This study explores the image of Chinese temples and shrines in Phuket as cultural tourist attractions based on the perspectives of international tourists. The research employed a qualitative approach using open-ended questions, projective questions and projective drawing techniques to capture the image of Chinese temples and shrines in Phuket from 153 international tourists visiting Chinese temples and shrines around Phuket. The data was then analysed using content analysis. The results were triangulated to increase the reliability and validity. The overall results revealed the image of Chinese temples and shrines in Phuket as having statues, figures and gods, while being religious, traditional, fascinating, attractive, mysterious, peaceful and unique. The projective drawings identified the unique features of the Chinese temples and shrines as the altar, calligraphy, columns, the ding, pot or cauldron, objects of divination, the donation safe or box, the firecracker room, lanterns, nature, outside walls, placards, plates and signs, the roof and statues, figures and gods. In addition, Asian and European tourists were found to have different perceptions towards Chinese temples. Asian tourists related to more religious and traditional imagery than European tourists, who experienced greater feelings of peace and fascination. In conclusion, Chinese temples and shrines in Phuket are seen as being unique cultural and heritage attractions. However, the feasibility and profitability needs to be further assessed before the future development of Chinese temples and shrines in Phuket. The managerial implications of this study are also discussed.

234-239 В данной статье рассматривается психическое и эмоциональное состояние детей дошкольного возраста, выявляется уровень их тревожности и беспокойства в семье посредством рисуночных методик "Моя семья" и "Кинетический рисунок семьи". В работе опказано, что взаимоотношения в семье играют важную роль в жизни ребенка. Они влияют на психоэмоциональное состояние детей и их последующее развитие. Хорошая семейная обстановка - это залог психического здоровья ребенка. This article examines the mental and emotional state of children of preschool age, identifies their level of anxiety and worry in the family by means of drawing techniques "My Family" and "Kinetic picture of family".In the work it is said that relationships in the family play an important role in the life of the child. They affect the psychoemotional state of children and their subsequent development. A good family environment is the guarantee of a child's mental health.

U prvom dijelu rada predstavljen je teorijski dio u kojemu su pobliže objašnjeni crtež kao prva pojava u likovnoj umjetnosti, faze u razvoju dječjeg crteža, crtež kao način mišljenja, crtež kao pokazatelj intelektualnog razvoja, povijest crteža, umjetnički crtež i opis crtačkih tehnika u likovnoj umjetnosti te njihova primjena u osnovnoj školi. U drugom dijelu provedeno je istraživanje kako učenici različitih uzrasta koriste crtačke tehnike i kolika je razlika u rukopisu i kreativnosti crteža učenika mlađeg uzrasta nasuprot starijeg. Istraživanje je pokazalo da se stariji učenici bolje služe tehnikom dok se kreativnost u crtežu provlači kroz sve razrede. The first part of the paper presents a theoretical part in which are the explanations of the drawing as the first appearance in the visual arts, stage in the development of a child's drawing, drawing as a way of thinking, drawing as intellectual growth, history of art, art drawing and description of drawing techniques in the visual arts and their use in elementary school. In the second part of the research was carried out how students of different ages use drawing techniques and what is the difference in handwriting and creative art between younger children versus older. Research has shown that older students better use technique while creativity in the drawing is found in all children.

The topic of my diploma thesis is drawing; it follows from the title ? Utilization of Unusual Drawing Techniques in Art at Elementary School. There are two parts in my diploma thesis? the theoretical one and the practical one. The first chapter introduces the phenomenon of drawing ? it is about drawing, its principles and colours. The second chapter is about Art at school - teacher?s duties, children?s personalities and about Art. At the end of theoretical part there is the third chapter about history of drawing. We can see the differences between historical and current styles of drawing in pictures at the end of the diploma thesis. The practical part is focused methodologically and it shows several techniques which can be inspiration for teachers at elementary school. Several photos of children?s drawings included as attachment to my diploma theses.

Risba je osnova v vseh ustvarjalnih postopkih, lahko pa obstaja tudi sama zase. V umetnostni zgodovini so nastajale risbe različnih likovnih umetnikov nekatere so bile pripravljalne, pogosto pa so bile tudi finalne. Vse se med seboj razlikujejo, ne le po motivu in po risarskem materialu, pač pa jih ločujemo tudi po karakterju linije, ki neko risbo zarisuje. Umetniki skozi zgodovino, predvsem pa v 20. stoletju, v risbo vedno bolj vključujejo tudi barvo. Ta lahko risbo poživi in jo naredi atraktivnejšo, a mora biti v njej drugotnega pomena, saj je glavna linija. Zato za risbo uporabljamo predvsem transparentno akvarelno barvo. Tudi glede na izraz obstaja več vrst risb. Za to diplomsko delo je bistvenega pomena kroki, ki ga prav tako uvrščamo med samostojne in finalne umetniške risbe. Zato so v praktičnem delu predstavljeni krokiji, v katerih poleg linije s trdim risarskim materialom gibanje figure prikazuje tudi linija z akvarelom. A drawing is the basis of all creative processes. The drawing may, however, exist on its own as well. The drawings in the history of Art and Design originated from various visual artists. Some of them were preliminary drawings, and often they were final products. They all differ, not only in the motive and art material, but also in the characteristics of a line which outlines a specific drawing. Through the history and especially in the twentieth century, the colour has become increasingly involved in the drawing as well. The colour can invigorate the drawing and make it even more attractive. In the drawing, nevertheless, it is of secondary importance, because the line is vital. For that reason transparent colour (aquarelle) technique has been predominantly used in the drawing. Besides, there are different kinds of drawings, which may exist as well in relation to the expression. In the present diploma paper a kroki (croquis), which may not only exist as a separate, but as a final artistic drawing as well, is of particular importance. For that reason the practical part of the present diploma paper consists of croquis presentation, where the moving of the figure is presented through the hard drawing material line as well as through the aquarelle colour line.

In latest years there is a consisting trend in creating educational opportunities for schools increasingly rich and involving for children. Constructivism and technology represent an important combination to define innovative educational courses. Storytelling is the fundamental link to convey the use of technology in didactic paths purposely conceived and structured for children, exploiting their natural fondness to use elements of their everyday culture and communication. This project paper presents our experience in setting up and using a technology-based communication methodology for learning, so as to let children discover about drawing, one of the most ancient communication techniques. Starting from texts and stories, selected based on their age, children learn how to interpret and translate into images the content they wish to communicate, building the storyboard of their digital tale, and using their creativity on texts, images and other components in order to realize a multimedia application.

Projelendirme, insanoğlunun, tasarlayarak yaratmaya başladığı dönemle birlikte ortaya çıkmış ve belirli evrelerden oluşan bir süreçtir. Proje Sunumu diye adlandırdığımız, beğendirme aşaması da, bu sürecin bir parçası olmuştur.Tarih boyunca proje sunumunda kullanılan malzemeler ve teknikler, değişen beklentiler ve teknolojideki ilerlemeler ile birlikte gelişmiş, bugünkü halini almıştır.Proje sunum teknikleri, tarihsel süreçte irdelendiğinde, veriler bizi yaklaşık 4000 yıl öncesine kadar götürmektedir.Kumtaşı tablet üzerine, yapılan çizimlerden, büyük mermer tabakalara, hayvan derileri ve papirüslerden, kağıda ve oradan da bilgisayarın hayatımıza girmesiyle, büyük projeksiyonlarla dev perdelere yansıtılmasına kadar, çeşitli evrelerden geçmiştir. Bu evrelerde, çizim ve modelleme malzemelerindeki değişimler, 2 boyutlu çizimlerden 3 boyutlu çizimlere geçiş süreçleri, ölçü, ölçek anlayışı, ölçü birimleri, önceleri medeniyetler arasında değişkenlik göstermiş, ticaret ve daha sonra da kürselleşme ile birlikte, mümkün olduğunca ortak bir dil halini almayı başarmıştır.İyi bir tasarımın yanı sıra, çizgisel, yazılı ve sözlü sunumundaki başarı, o projenin de başarısını belirlemektedir. Sunum için seçilmiş doğru malzeme ve teknikler, sunum sırasında tasarımcının anlatım şekli ve beden dili, proje sunumunu etkileyen faktörlerdir.Tasarımcıların gelişen vizyonları, toplumun beklentileri ve hızla değişen teknoloji ile birlikte, sunum teknikleri de doğru orantılı olarak değişmekte ve gelişmektedir.Gelecekteki sunum tekniklerinin, öngörülebilmesi ve gerçekleştirebilmesi, tarihsel sürecin irdelenmesi ve günümüzün iyi bir şekilde değerlendirilmesine bağlıdır. Projecting emerged with the period when human started to create by designing and is a process consisting of certain phases. Selling stage that we call project presentation became a part of this process.Materials and techniques used in project presentation changed depending on varying expectations and progresses in the technology throughout the history and gained today?s status.When project presentation techniques are examined in historical process, data take us about 4000 years ago.Many phases were experienced from drawings on sandstone tablet to large marble plates, animal skins and papyrus to paper and computer introduced to our life to projecting on giant screens with big projections.Variations in drawing and modeling materials in these phases, transition processes from 2-dimension drawings to 3-dimension drawings, measure, scale perception, unit of measures showed variations among civilizations before and then achieved to have a common language as much as possible with globalization.In addition to a good design, the success in linear, written and oral presentation determines the success of that project. Right material and techniques chosen for presentation are the factors effecting expression style and body language of the designer during the presentation are the factors effecting the presentation of the project.Presentation methods changes and develops directly proportional with improving visions of designers, expectations of the society and fast developing technology.Presentation techniques to be foreseen and realized in the future depend on examining historical process and evaluating today well. 125