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Drawing instruction in Ghanaian high school art education traditionally emphasizes observational and technical skills grounded in realism. However, contemporary drawing has evolved to prioritize innovative techniques, conceptual thinking, and process-oriented approaches. This phenomenological study aimed to understand Bolgatanga high school students' experiences learning contemporary drawing practices and their engagement with these methods. Data collected through interviews, reflections, and observations with 12 Bolgatanga high school students completing a contemporary drawing unit revealed initial discomfort yet excitement when departing from realism, pride in mastering unfamiliar techniques, deeper engagement through personal material and subject choices, and appreciation for expression over replication. Findings suggest contemporary drawing instruction enhances student engagement in art by shifting focus to experimentation, conceptual thinking, and meaningful self-expression. The study concludes with recommendations for high school art educators to introduce contemporary approaches effectively that engage students in diverse artistic possibilities of drawing. [ABSTRACT FROM AUTHOR]

Around 1526, Emperor Charles V decided to build a new Renaissance palace in addition to the Nasrid palaces in the Alhambra of Granada, a monumental site currently included in the United Nations Educational, Scientific and Cultural Organisation (UNESCO) World Heritage List. In that period, a large floor plan, which is preserved today at the Library of the Royal Palace of Madrid, was drawn to represent the building and its surroundings. Although this anonymous drawing has attracted considerable historiographic interest, a study of the graphical aspects analysed here, namely, paper assemblage, drawing technique, representation system, metrology, graphical scale, dimensioning, and labelling, is lacking. To accomplish this analysis, the original document was carefully examined and digitalised with high definition. This process allowed a comprehensive graphic analysis, utilising other drawings from the same period as a comparative reference and studying for the first time the major characteristics of one of the most relevant architectural drawings of the 16th century. [ABSTRACT FROM AUTHOR]

Copyright of Revista Foco (Interdisciplinary Studies Journal) is the property of Revista Foco 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 need to embrace unstructured approaches to explore holistically the way in which people conceive places has been underscored by many researchers. Yet, few attempts have drawn from an arts-based method such as the drawing technique. This paper, therefore, presents the way drawings were used to explore Austrian past visitors' and non-visitors' images of Singapore. Content analysis of rich and idiosyncratic drawings revealed clear images differences between past visitors and non-visitors. Past visitors could better identify and represent features of Singapore's tangible and intangible heritage than non-visitors. Overall, Singapore is conceived as a modern, urbanized and disciplined destination that primarily offers conspicuous consumptive experiences. The value of the drawing technique to identify a destination's attributes and to bring out participants' subjectivities is highlighted. [ABSTRACT FROM AUTHOR]

Feeling is difficult to put into words. Anthropologists have been seeking ways to articulate feeling or other bodily experiences, looking beyond words and borrowing from artistic methods. Drawings, for instance, have been used to make visible what words cannot describe and attributed with qualities associated with feeling or the body. Instead of placing drawing in opposition to words, and words in opposition to bodies, this article presents different ways of using drawing as an ethnographic technique to tentatively find practice-specific words to articulate practices of feeling the body. Rather than evaluating drawings based on their ability to capture feeling bodies, the author reflects on the drawing process as a way to learn about her research subjects in unexpected ways. Thereby, the author learns from artistic practices, not about making drawings, but about making methods. Acknowledging that methodologies are always generative, the author dives into the making of her methodologies to learn about her research subjects.. [ABSTRACT FROM AUTHOR]

Copyright of Sociologia & Antropologia is the property of Sociologia & Antropologia 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 research uses 3D drawing techniques to create a re-composition of the lost April 11 Memorial, a contested monument which commemorated the deportation of Armenian intellectuals from Istanbul in 1915. We use the only photograph of the monument remaining in the public record as a witness to inform this re-composition and multiply the possibilities of remembering through the medium of drawing. The memorial's absence in the archive can be viewed as an extension of the violence Armenians endured during the deportations and subsequent massacres of the twentieth century, as well as a prolonged suppression of the Armenian people's right to memory within Turkey's unequal historical geography. For this reason, we represent the monument in a new way, in a new medium. Our research explores the value of non-physical reproductions of lost monuments. The re-composition takes place through making a visual and spatial analysis of the photograph, and reveals how drawing techniques, that use 3-dimensional projections, can be used to overcome the absence of knowledge. This method allows us to speculate on the lost monument, to reappropriate and carry it to the present by producing a new visual archive. This act also calls for the profanation, in Agamben's sense, of the memorial by unsettling and removing this forbidden object from the realm of the sacred and the inviolable. Through play and design, we open up a new use and space for the lost memorial. • Documents the one-hundred-year absence of a memorial to the Armenian Intellectuals killed in 1915. • Uses re-composition, isometric projection, and mapping as a framework for visualising archival absences. • Discusses the lasting impact that the erection and removal of monuments can have on the urban landscape. [ABSTRACT FROM AUTHOR]

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 Teka Committee of the Architecture, Town Planning & Landscape Studies / Teka Komisji Architektury, Urbanistyki i Studiów Krajobrazowych is the property of Lublin University of Technology 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 South African Journal of Art History / Suid-Afrikaanse Tydskrif vir Kunsgeskiedenis is the property of Art Historical Work Group of South Africa 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 Iluminuras is the property of Revista Iluminuras 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 addresses related issues surrounding the artistic biography and production of Gregorio Vásquez, the most important painter of colonial Colombia, active in the latter part of the seventeenth and the first decade of the eighteenth century. Vásquez is a unique figure in Latin American art historiography because local historians researched and wrote about his life and works since at least the nineteenth century. His vast catalogue consists of almost five hundred paintings and includes a unique corpus of over a hundred drawings. Based on published and unpublished primary sources and chronicles, and the analysis of his painterly style and drawing techniques, it is argued that the painter's abundant production and fame were both the means and result of artistic strategies devised by Vásquez and his followers throughout the eighteenth century in order to capitalize on the painter's regional success. [ABSTRACT FROM AUTHOR]

Until recently, the study of drawings by old masters has been confined to the art history conservation field. More specifically, scientific investigations of Leonardo's drawings are still very few, possibly due to the latter's extreme fragility and artistic value. However, analytical data are crucial to develop a solid knowledge base of the drawing materials and techniques used by artists in the past. In this work, we report on the application of non-invasive optical techniques on a double-sided drawing by Leonardo belonging to the Uffizi Gallery (8P). We used multispectral reflectography in the visible (Vis) and near-infrared (NIR) regions to obtain a spectral mapping of the drawing materials, to be subsequently integrated with technical information provided by art historians and conservators. Morphological analysis by microprofilometry allowed for the identification of the typical wave-like texture impressed in the paper during the sheet's manufacture, as well as of further paper-impressed traits attributable to the drawing transfer method used by Leonardo. Optical coherence tomography revealed a set of micrometric engraved details in the blank background, which lack any trace of colored material, nor display any apparent relation to the drawn landscape. The disclosure of hidden technical features allowed us to offer new insights into Leonardo's still under-investigated graphic practices. [ABSTRACT FROM AUTHOR]

The technique of drawing to learn has received increasing attention in recent years. In this article, we will present distinct purposes for using drawing that are based on active, constructive, and interactive forms of engagement. In doing so, we hope to show that drawing to learn should be widely used and that there is good evidence to support its use in many situations. To make the most of these distinct purposes, teachers should note that what learners draw matters and that this needs to be assessed in relation to task demands. Drawing to learn will also require learners to be supported to engage meaningfully in ways that are matched to these pedagogical purposes. [ABSTRACT FROM AUTHOR]

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 illustrates the potential of drawing as a creative method to document and analyse the shifting insider-outsider status of the researcher during fieldwork. I draw on my experiences conducting field-based research at night around outsourced call centres in Mumbai, India, where I examined how women made decisions regarding night-time urban mobility and household social reproduction. While conducting research, I analysed my fluctuating position as an insider or outsider, and how these shifts impacted research dynamics. Furthermore, I relied on boundary-making to alter my relative distance from research participants, thus shaping my positioning on the insider-outsider spectrum. I used hand drawing as a representational technique to document the site, as well as to analyse my positionality within it. This article places feminist methodological insights in conversation with geographic scholarship on drawing to make the following contributions. I show how drawing as a technique can enrich feminist claims about the complex relations between researcher and research participants, challenging a static and dichotomous framing of the researcher as insider or outsider. I also contend that feminist concerns about power dynamics can shape the use of drawing as a critical methodological tool. [ABSTRACT FROM AUTHOR]

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]

Node-link diagrams are widely used to facilitate network explorations. However, when using a graph drawing technique to visualize networks, users often need to tune different algorithm-specific parameters iteratively by comparing the corresponding drawing results in order to achieve a desired visual effect. This trial and error process is often tedious and time-consuming, especially for non-expert users. Inspired by the powerful data modelling and prediction capabilities of deep learning techniques, we explore the possibility of applying deep learning techniques to graph drawing. Specifically, we propose using a graph-LSTM-based approach to directly map network structures to graph drawings. Given a set of layout examples as the training dataset, we train the proposed graph-LSTM-based model to capture their layout characteristics. Then, the trained model is used to generate graph drawings in a similar style for new networks. We evaluated the proposed approach on two special types of layouts (i.e., grid layouts and star layouts) and two general types of layouts (i.e., ForceAtlas2 and PivotMDS) in both qualitative and quantitative ways. The results provide support for the effectiveness of our approach. We also conducted a time cost assessment on the drawings of small graphs with 20 to 50 nodes. We further report the lessons we learned and discuss the limitations and future work. [ABSTRACT FROM AUTHOR]

Electron beam melting(EBM) is a useful technique to obtain high-purity metal ingots. It is also used for melting refractory metals such as tantalum, which require melting techniques employing a high-energy heat source. Drawing is a method which is used to convert the ingot into a wire shape. The required thickness of the wire is achieved by drawing the ingot from a drawing die with a hole of similar size. This process is used to achieve high purity tantalum springs, which are an essential component of lithography lamp in semiconductor manufacturing process. Moreover, high-purity tantalum is used in other applications such as sputtering targets for semiconductors. Studies related to recycling of tantalum from these components have not been carried out until now. The recycling of tantalum is vital for environmental and economic reasons. In order to obtain high-purity tantalum ingot, in this study impurities contained in the scrap were removed by electron beam melting after pre-treatment using aqua regia. The purity of the ingot was then analyzed to be more than 4N5 (99.995%). Subsequently, drawing was performed using the rod melted by electron beam melting. Owing to continuous drawing, the diameter of the tantalum wire decreased to 0.5 mm from 9 mm. The hardness and oxygen concentration of the tantalum ingot were 149 Hv and less than 300 ppm, respectively, whereas the hardness of the tantalum wire was 232.12 Hv. In conclusion, 4N5 grade tantalum wire was successfully fabricated from tantalum scrap by EBM and drawing techniques. Furthermore, procedure to successfully recycle Tantalum from scraps was established. [ABSTRACT FROM AUTHOR]

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. [ABSTRACT FROM AUTHOR]

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]

Media is one of the important factors that form current societies. We should ensure our children who will establish the society of tomorrow to perceive the media and media literacy very well. At this point, it is important how they perceive the media which should attain an important place in the children's lives. In this research using a pattern of phenomenology, one of the qualitative research approaches; it is aimed to determine how the media perceptions of the 5th grade elementary school students were reflected to the drawings. This study was performed during 2016-2017 school year. Study group consists of 5th grade students (10 students) studying in an elementary school selected by taking transportation and working opportunities into consideration in central Tokat. Research data were collected by using drawing and interview techniques together. In the study, data obtained with drawing technique were analyzed using a content analysis method; whereas data obtained as a result of the interviews were analyzed using a descriptive analysis method. [ABSTRACT FROM AUTHOR]

Copyright of Estúdio (1647-6158) is the property of Revista Estudio 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 paper will consider instances of the interweaving of theory and practice within drawing research, in order to suggest potential approaches to the development of hybrid methodologies in fine art practice-led research. The paper is written from the position of two current supervisors and creative research collaborators: Deborah Harty and Phil Sawdon (aka humhyphenhum from 2007), who historically were supervisee/supervisor. The paper will make reference to Harty's experience as a Ph.D. researcher undertaking practice-led research within a fine art context (completed 2010) and supervised by Sawdon. A discussion of Harty's hybrid methodology: action theoria, will provide an instance of the interweaving of theory and practice. Action theoria incorporates the cyclical and iterative process of action research - intention; action; review - with a process of theoria - the dialogue of both practice and theory's relationship to a given subject matter. Following this, the paper will discuss the interweaving of action theoria into humhyphenhum's collaborative research methodology: meaningful play. This interwoven methodology evolved during collaborative practice-led research projects from 2005 to the present. The paper will make reference to several of humhyphenhum's projects as a means to identify the interweaving of theory and practice within collaborative research. As current supervisors (2015), the paper will conclude with a discussion of how reflection on these experiences has informed our position as supervisors. We will consider, for example, how this has impacted on our ability, as individual supervisors, to offer insights into the interweaving of theory and practice, without defaulting to the position of compelling our supervisees to adopt our methodology. [ABSTRACT FROM AUTHOR]

We developed a scoring scale for the method of total impression of projective drawing. We focused especially on the Synthetic House-Tree-Person (S-HTP) projective drawing technique. First, we asked 7 clinical psychology graduate students to write down key words that they associated with total impressions of S-HTP drawings. Second, we selected 35 items based on these words and developed the Scale for Total Impression of Drawings (STID). Using the STID, 6 clinical psychologists rated 30 S-HTP pictures drawn by Japanese junior high school students. Finally, we selected 12 descriptive words as items and results of confirmatory factor analysis indicated that the STID was divided into 4 subscales we labeled as vitality, reality, themes, and gentleness. These converged with 2 higher factors of emotional stability and context consistency. Fit indexes of the model were sufficient. [ABSTRACT FROM AUTHOR]

Designers frequently draw curvature lines to convey bending of smooth surfaces in concept sketches. We present a method to extrapolate curvature lines in a rough concept sketch, recovering the intended 3D curvature field and surface normal at each pixel of the sketch. This 3D information allows to enrich the sketch with 3D-looking shading and texturing. We first introduce the concept of regularized curvature lines that model the lines designers draw over curved surfaces, encompassing curvature lines and their extension as geodesies over flat or umbilical regions. We build on this concept to define the orthogonal cross field that assigns two regularized curvature lines to each point of a 3D surface. Our algorithm first estimates the projection of this cross field in the drawing, which is nonorthogonal due to foreshortening. We formulate this estimation as a scattered interpolation of the strokes drawn in the sketch, which makes our method robust to sketchy lines that are typical for design sketches. Our interpolation relies on a novel smoothness energy that we derive from our definition of regularized curvature lines. Optimizing this energy subject to the stroke constraints produces a dense nonorthogonal 2D cross field which we then lift to 3D by imposing orthogonality. Thus, one central concept of our approach is the generalization of existing cross field algorithms to the nonorthogonal case. We demonstrate our algorithm on a variety of concept sketches with various levels of sketchiness. We also compare our approach with existing work that takes clean vector drawings as input. [ABSTRACT FROM AUTHOR]

This article presents a particular aspect of a recent investigation through drawing. This was set up with the aim of exploring the potential for the drawn line to ‘record’ (re-present) the present moment as it passed.The aspect discussed here concerns the analysis of rhythm to facilitate the understanding of one ‘recording’ the other. The so called ‘moving present’ is the present moment of time we experience ourselves to live within. Time can be understood as either cyclical or linear in view of its rhythms, yet within the unified present as duration we subjectively experience time to flow by, one moment appearing after the next. Using Henri Lefebvre's criteria for what he termed rhythmanalysis, this article will outline an initial theoretical argument for how rhythm within the spatially drawn line and rhythm within the experience of the temporally extended present can be understood. By ‘thinking about the phenomenon’ (phenomeno-logy) of space and time together in this way, my aim is to present drawings that combined this theory into practice, produced in response to an analysis of these rhythms. This exercise is undertaken in view of the fact that we experience space and timetogetherwithin lived experience, and so I seek to record the essence of that relationship through drawing. [ABSTRACT FROM PUBLISHER]

The oft-repeated, and mis-repeated, phrase on drawing of Paul Klee, – ‘where a line goes out for a stroll’ – provides an insight into the central tensions and tenets of the line's emergence in Modernism as a singular element. Klee's statement historically marks a point where the line is no longer in the service of the description of the observable, and is not put to instrumental purpose. Instead a free, investigative, indeterminate space of play focused on a singularity of presence is articulated that reflects a rich history of thinking on the line. Here the line holds an indeterminate, intermediary status as thing, imbued with presence. [ABSTRACT FROM PUBLISHER]

Critical observation is crucial for appreciating the three-dimensional (3D) form and spatial complexity of anatomical structures. The incorporation of different art-based approaches, including drawing, can be found in the academic literature. The process of observing and drawing anatomical features using any drawing approach is likely to support student learning due to increased time-on-task, attention and focus on the structures under observation. However, recent studies have shown varying success when employing drawing to support students in their learning of anatomy. The authors propose that the elementary essence of 'drawing', has not been investigated or discussed. 'Drawing' is an umbrella term which incorporates a number of drawing approaches that include photorealistic drawing, shading, contour drawing, cross-contour drawing, and gesture drawing. We propose that the application of a specific combination of drawing approaches in anatomy education, can result in alternative pedagogical outcomes. Here we explore why some drawing approaches are inherently more capable of supporting 3D observation and representation of the form of an anatomical structure. In particular, we examine why the combination of cross-contour and gesture drawing approaches employed in the established Haptico-visual observation and drawing (HVOD) method, are most effective for 3D observation and memorisation of the form of anatomical structures. Our definition, and analysis of this drawing approach for anatomical learning will have wide-ranging implications for educators seeking to introduce drawing as an art-based technique into their teaching and will in turn support their students in the critical observation of three-dimensional anatomy. Ethical approval was not required for this work. [ABSTRACT FROM AUTHOR]

An experiment involving 90 students in the 1st, 3rd, and 5th grades investigated how visual examples and grade (our surrogate for age) affected variability in a drawing task. The task involved using circles as the main element in a set of drawings. There were two examples: One was simple and single (a smiley face inside a circle); the other, complex and dual (a fishbowl extending outside a circle and a bicycle using two circles). There were significant effects of both example and grade on variability. Between-grades, 3rd and 5th graders were more variable than 1st graders with the complex (but not the simple) set of examples. Within-grades, 3rd and 5th graders were more variable with the complex (compared to the simple) set of examples. First graders' variability levels did not change with examples. The discussion focuses on how examples have and should be used to increase variability in drawings of both younger and older children. [ABSTRACT FROM AUTHOR]

Sketching is widely used in design to generate creative ideas. Design studies present stimuli during sketching to enhance creativity. This study examines the effect of stimuli presented during different sketching states, especially of those presented during the stuck period. It conducted a sketching experiment that enrolled 41 students with an average of 5.7 years’ practice in industrial design. The sketching with stimuli presented at regular intervals, those with stimuli presented during the stuck period, and those without stimulus were compared. Eye movements during the sketching processes were recorded. The attention to stimuli, and the direct applications of stimuli to design ideas, and the idea connection and idea differentiation were analyzed. Participants sketching with stimuli presented during the stuck period had a higher sketching quality, compared with those in other experimental conditions. They fixated longer on stimuli, built more links among related ideas, and had a more differentiated and balanced exploration. This study then proposed the mechanisms of stimuli processing. The stimuli presented at regular intervals were stored and acted asadditional memory. The stimuli presented during the stuck period were dissected and acted assupporter, inducing a more creative sketching. [ABSTRACT FROM AUTHOR]

This work presents Sketch2Scene, a framework that automatically turns a freehand sketch drawing inferring multiple scene objects to semantically valid, well arranged scenes of 3D models. Unlike the existing works on sketch-based search and composition of 3D models, which typically process individual sketched objects one by one, our technique performs co-retrieval and co-placement of 3D relevant models by jointly processing the sketched objects. This is enabled by summarizing functional and spatial relationships among models in a large collection of 3D scenes as structural groups. Our technique greatly reduces the amount of user intervention needed for sketch-based modeling of 3D scenes and fits well into the traditional production pipeline involving concept design followed by 3D modeling. A pilot study indicates that it is promising to use our technique as an alternative but more efficient tool of standard 3D modeling for 3D scene construction. [ABSTRACT FROM AUTHOR]

Concept sketches are popularly used by designers to convey pose and function of products. Understanding such sketches, however, requires special skills to form a mental 3D representation of the product geometry by linking parts across the different sketches and imagining the intermediate object configurations. Hence, the sketches can remain inaccessible to many, especially non-designers. We present a system to facilitate easy interpretation and exploration of concept sketches. Starting from crudely specified incomplete geometry, often inconsistent across the different views, we propose a globally-coupled analysis to extract part correspondence and inter-part junction information that best explain the different sketch views. The user can then interactively explore the abstracted object to gain better understanding of the product functions. Our key technical contribution is performing shape analysis without access to any coherent 3D geometric model by reasoning in the space of inter-part relations. We evaluate our system on various concept sketches obtained from popular product design books and websites. [ABSTRACT FROM AUTHOR]

We use a data-driven approach to study both style and abstraction in sketching of a human face. We gather and analyze data from a number of artists as they sketch a human face from a reference photograph. To achieve different levels of abstraction in the sketches, decreasing time limits were imposed -- from four and a half minutes to fifteen seconds. We analyzed the data at two levels: strokes and geometric shape. In each, we create a model that captures both the style of the different artists and the process of abstraction. These models are then used for a portrait sketch synthesis application. Starting from a novel face photograph, we can synthesize a sketch in the various artistic styles and in different levels of abstraction. [ABSTRACT FROM AUTHOR]

If, as I have argued elsewhere, architecture and archaeology share homological correspondences of common origin thus enabling analogical relationships of creative juxtaposition, then it becomes possible to characterise those correspondences through their representational drawing practices as they are embodied in the products of those practices and in the instruments which make those products. This characterisation is the subject of this paper, first by examining architecture and archaeology as disciplined suites of practices nurtured and developed within the constraints of their parent profession, and then through the examination of particular drawing techniques and instruments--techniques and instruments either common to each discipline or abandoned by them. These commonalities and abandonments reveal their undisciplinary nature. This loosening of disciplinary constraint is further examined through the analysis of "undisciplined drawing" case studies. [ABSTRACT FROM AUTHOR]

This article explores the relationship between semiotic understanding and gestural drawing practice. Gesture is discussed as an integral drawing strategy in the production of a body of practical research titled extended drawings. Recent debate about whether gestural and embodied practice falls outside the realm of semiotic analysis is addressed, and a selection of the extended drawings series is analysed within a semiotic framework. Specifically, a systemic-functional semiotic model is introduced and explained. Such a model is shown to facilitate the negotiation of a wider range of meanings than otherwise available, particularly revealing underlying assumptions of the model/artist/viewer social relationships. It is concluded that no drawing practice is beyond the realm of the semiotic, and that semiotic analysis is applicable across the whole domain of drawing, including the gestural, as a means of generating meaning. [ABSTRACT FROM AUTHOR]

Catrin Webster is a painter who, over the past 25 years, has consistently used drawing processes as a fundamental part of her practice. In this article, she describes the significance of drawing within her work and its potential as a means of exploration and experimentation. An investigation of place and movement in or around a landscape is central to Webster's work, where she refers to the research of geographers such as Peter Merriman and anthropologists, especially Marc Augé. This has led to the exploration of movement through the development of drawing practices, which have included the study of television and film, tracking the process of looking, drawing while travelling and the development of the Free Drawing system in reference to Henri Lefebvre. Webster's exploration of space includes notions of time and presence, and considers ideas such as the 'unquestioned continuities' explored by Michel Foucault in The Archaeology of Knowledge. For Webster a journey through a particular place, such as a repeated motorcycle circuit, is in itself a form of drawn line. [ABSTRACT FROM AUTHOR]

This article compares a number of drawings and related paintings by the Antwerp artist Joachim Beuckelaer: three drawings of the Adoration of the Shepherds and two related painted versions of the same subject; two oil sketches on paper, each depicting half of a Crucifixion scene, and the associated painting; and a drawing and painting both representing Isaac Blessing Jacob. The paintings were examined with infrared reflectography (IRR), revealing for study the important intermediary step of the underdrawing. The article demonstrates how the artist began with a design on paper and worked toward the final paint stage in a continuous and supple design process that incorporated numerous shifts and changes in composition. It also shows that the use of squaring on drawings and paintings is not as straightforward as might be expected. Similarly, the deft handling of workshop models, as well as certain procedural idiosyncrasies, indicates that in most cases, instead of acting at the behest of his patrons, Beuckelaer himself was the one responsible for the changes. [ABSTRACT FROM AUTHOR]