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Copyright of Kufa Studies Center Journal is the property of Republic of Iraq Ministry of Higher Education & Scientific Research (MOHESR) 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 Al-Academy is the property of Republic of Iraq Ministry of Higher Education & Scientific Research (MOHESR) 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 Electronic Turkish Studies is the property of Electronic Turkish Studies 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 Journal of Art History / Sanat Tarihi Dergisi is the property of Ege University 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.)

This article explores the anthropological, socio-cultural and artistic manifestations of drawing and considers it as a basic cultural technique for which art education bears a special responsibility because art teaching is the place where drawing must be taught, practiced, cultivated. Since drawing has many facets and functions, a systematization will be undertaken. It should become clear that teaching drawing cannot be reduced to its illustrative function but rather has an imagination-forming and perception-sharpening potential. [ABSTRACT FROM AUTHOR]

The following text is an extract from the book, published in 2017, „Entwurf und Entgrenzung. Kontradispositive der Zeichnung 1955-1975". With his book, which deals with the description of graphic processes and discourses during the period from 1955 to 1975, Toni Hildebrandt presents a far-sighted examination of drawing that takes an interdisciplinary approach in its enquiries, perspectives and proposals and also provides stimuli for art education, respectively drawing-didactic considerations. He emphasises that the ability to draw is not ‚given' to people/children, but is learnt, and examines the role played by the hand, respectively handedness, as ‚docta manus' (taught, trained hand) in the process. [ABSTRACT FROM AUTHOR]

The illumination of a scene influences how that scene is scanned and how it is depicted. This premise, together with assumptions regarding implications for teaching observational drawing, was the basis for a pilot study in the Nova Scotia College of Art and Design (NSCAD) Drawing Laboratory. The pilot provided evidence that helped refine the question and methods described in this expanded study. As in the pilot, participants worked from common stimuli that were lit in two distinct ways. The participants drew for a predetermined period of time while their hand movements were recorded digitally and the entire process was observed firsthand. Over a period of 7 days, five participants each completed four drawings. The 20 drawings were compared and the recordings analyzed. Digital analysis generated the most informative data in that, while light's influence on drawing strategies proved to be less significant than anticipated, changes in drawing behavior were observed with implications for teaching and learning. [ABSTRACT FROM AUTHOR]

This article examines the nature of drawing as a cognitive tool and how the framework of a virtual learning environment can be used to extend its capacity to externalize creative ideas. The preparatory drawings a student makes often remain private, considered secondary to the completed artwork itself. Within such paperwork however, lies evidence of their articulation of thought. This external expression onto paper, can transform the most tentative of possibilities into expansive and refined ideas by entering into cycles of inspection, re-conception and re examination. This paper identifies parallels between this iterative and developmental activity and the social and conversational structures of a website. Specifically, it examines how a community of shared practice can reinforce understanding of the activity of creative thinking itself. [ABSTRACT FROM AUTHOR]

This experimental evaluation of the art education techniques proposed by Betty Edwards compared the post treatment drawing performance of volunteers randomly assigned to three groups: an Edwards' training procedure group (n=19), a placebo control group (n=18), and a waiting-list control group (n=16). A one-way analysis of variance revealed that the experimental Edwards' and placebo control procedures were equally effective in promoting improved drawing performance, and that both treatments were more effective than no treatment. Implications for the neuropsychological training rationale offered by Edwards and for future research on techniques to improve drawing are discussed. [ABSTRACT FROM AUTHOR]

The article examines the role of modeling the contour drawing process. It is stated that proper technique has to be implemented for teaching the art of contour drawing to the children. It is suggested that only through proper training of contour art the children are able to produce drawings that contain higher visual information. Different strategies for teaching contour drawing lesson includes modeling of predrawn examples of contour drawing and viewing of an object from different point of views.

The author reflects on scale of expression and graphic expression as alternative approaches to art education. The author stated that among art educators, drawing or painting large is better for children than working small. He recalled how his personal experience of painting and drawing through imitation gave him no inhibitions in expressing his art. He suggested that having children experience an action consciously can aid in problems of representational expression.

The article presents an outline of classroom activities related to the study of nature. In the Pedagogic School, the students will each select a tree or shrub for especial study and make drawings in pencil and in water-color to mark each stage of the development process. Students will do some work in colored and grazed pottery using simple processes. After that, the study of spring buds and blossoms will be integrated to designs for ornamenting the customers of the first grade in their play of the "Sleeping Beauty."

The article focuses on a study that examined the types of instructions for drawing, keeping in mind certain area properties, that is, shape perception and certain properties of border, that is, edge perception. 174 pupils from a public school were selected. They were divided into six equal-sized groups on the basis of group intelligence and a sample reproduction of a lozenge. The study concluded that skill in reproducing a simple figure can be improved within the limits set by maturation. The study suggests that one way to do so is by instruction method, and another way of improvement is through self-criticism. It showed that the drawing abilities and inabilities of the first grade were stereotyped.

In this article … Gryszkowiec suggests activities for primary students to learn about Beatrix Potter and her artwork. "Once Beatrix Potter started using color, she couldn't paint fast enough; she loved it!" [ABSTRACT FROM AUTHOR]

This paper looks at recent examples of how drawing is advancing into the digital age: in London: the annual symposium on Thinking Through Drawing; in Paris: an exhibition at the Grand Palais, Artistes et Robots; a conference at the Institut d'études avancées on Space-Time Geometries and Movement in the Brain and in the Arts; and, at the Drawing Lab, Cinéma d'Été. These events are contrasted to a recent decline in drawing instruction in pre-professional programs of art, architecture, and design as well as in pre-K12 art education due largely to the digital revolution. In response, I argue for the ongoing importance of learning to draw both in visual art and in general education at all levels in the digital age. [ABSTRACT FROM AUTHOR]

The article offers information on the curriculum "Art, Grade Eight: Appreciating, Creating, Designing" developed by the art teachers of Baltimore County in Maryland. It offers program for exploration and creative designing in media and techniques to improve the junior high school education. It provides basic design approach in drawing, painting, sculpture, printmaking, posters and letterwriting. Furthermore, the bulletin has been circulated to encourage students to work expressively as individual, and help find creative actions to work and leisure.