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Copyright of Revista Latinoamericana de Ciencias Sociales, Niñez y Juventud is the property of Centro de Estudiso Avanzados en Ninez y Juventud alaianza Cinde, Universidad de Manizales and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Concreta is the property of Editorial Concreta and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Cuadernos de Música, Artes Visuales y Artes Escénicas is the property of Pontificia Universidad Javeriana and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Aula Abierta. Revista de Investigación, Formación e Innovación en Educación (RIFIE) is the property of Universidad de Oviedo, Servicio de Publicaciones and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Arte y Políticas de Identidad is the property of Servicio de Publicaciones de la Universidad de Murcia and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Aula Abierta. Revista de Investigación, Formación e Innovación en Educación (RIFIE) is the property of Universidad de Oviedo, Servicio de Publicaciones and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Haus-Rucker-Co was a group of architects and artists known for their inflatable and experimental architectural proposals. Founded in Vienna in 1967, its members were Laurids Ortner, Günter Zamp Kelp, Klaus Pinter, and Manfred Ortner. Their work took place in Austria, the United States, and Germany, and was characterized by creating distinct atmospheres and seeking sensory alteration through individual helmets, couple's habitats, and bubbles attached to facades. They used provocative advertising aesthetics and employed plastic technology and reduction of construction materials. In an interview with Laurids Ortner, a member of the group, different aspects of HRC's architectural graphic expression are discussed, such as the use of drawings combined with photographs, models, and legends, as well as the use of different drawing techniques and the role of color and collage in their work. The use of inflatable structures and the importance of the connection between architecture and art are also highlighted. [Extracted from the article]

Copyright of Cuadernos del Centro de Estudios de Diseño y Comunicación is the property of Cuadernos del Centro de Estudios de Diseno y Comunicacion and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The article "Illustrated Architectural Vocabulary: The Sevillian House of the 16th Century" presents a forum where different approaches for graphically analyzing disappeared or altered buildings are discussed. The importance of collaboration between architects and historians in the reconstruction of lost buildings is highlighted. Different drawing techniques used by experts in the field, such as Miguel Sobrino González, José Ramón Almeida Olmedo, and Pablo Aparicio Resco, are mentioned. The research is complemented with images to delve deeper into the graphic and documentary language of Sevillian architecture of the 16th century. [Extracted from the article]

Copyright of Contextos Educativos is the property of Universidad de la Rioja, Servicio de Publicaciones and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Laocoonte is the property of Sociedad Espanola de Estetica y Teoria de las Artes and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Dilemas Contemporáneos: Educación, Política y Valores is the property of Dilemas Contemporaneos: Educacion, Politica y Valores and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of 3C Tecnologia is the property of Area de Innovacion y Desarrollo, SL and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The article discusses the techniques of architectural representation of disappeared buildings, highlighting the importance of collaboration between architects and historians. Different approaches and techniques used by drawing experts are mentioned, from classic hand-drawn to digitized and virtual. The seminar was recorded and is available on the YouTube channel of the University Institute of Urbanism of the University of Valladolid. [Extracted from the article]

Copyright of Revista de Arquitectura (1657-0308) is the property of Universidad Catolica de Columbia, Facultad de Arquitectura and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Cuadernos del Centro de Estudios de Diseño y Comunicación is the property of Cuadernos del Centro de Estudios de Diseno y Comunicacion and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Despite its popularity, there is limited information available about the particularities of the anime production model and the tools used during its meticulous creation process, in which traditional drawing and painting techniques are effectively combined with digital tools. One of the possible causes of this ignorance about the process of elaboration of the anime, apart from the strict confidentiality rules of any animation studio, is the difficulty to find original material that shows in detail how an animation is created in Japan and what tools they use to give life to those characters with bulging eyes and pointed hair that have fascinated us for so many years —and still continue to do so. In this article, Antonio Horno —renowned promoter of anime culture in Spain and author of the book El lenguaje del anime. Del papel a la pantalla (Diábolo, 2017)— will show us the different stages that make up this creative process and some of the most used computer programs in Japanese studies, highlighting those particularities that, regardless of the artistic factor or style, come to establish the hallmark of the current anime. [ABSTRACT FROM AUTHOR]

If classical definition of drawing is understood as the delineation of a model, and taking into account that drawing is the main architectural communication tool, according to this axiom, line is the language of architects. This language whose rules were fixed by classical geometry codes have evolved to the extent that drawing, more than a tool of representation, is now understood as a project's mechanism for analysis, development and genesis [ABSTRACT FROM AUTHOR]

El artículo presenta información sobre el proceso de dibujar y el proceso de diseñar proyectos de arquitectura a través del dibujo. Subraya varios aspectos del proceso, como la representación, y compara el proyectar dibujando como una forma de la escritura. El artículo menciona la transferencia de la imaginación y concluye con las características del dibujar en la arquitectura.