Dissertations / Theses on the topic 'ART / Techniques / Drawing'

Advancements in virtual reality (VR) have facilitated a new drawing experience for digital artists. These have provided the experience for artists to have an embodied human-computer interaction (HCI) while drawing. This project focuses on exploring and understanding how analogue life drawing practices can be redefined in the digital realm of virtual reality. In this practice-led project, the analogue life drawing creative practice is the foundation for making immersive drawing artworks in the virtual environment. This is alongside theoretical research into aesthetic experience, embodiment, disembodiment and presence in conjunction with conducting semi-structured interviews to understand other drawing practitioner experiences with immersive drawing.

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Esta dissertação relata uma experiência em arte e educação desenvolvida em uma escola particular em São Paulo, entre os anos de 1984 a 2016. São abordadas, neste relato, quatro práticas: o ateliê livre, o ensino sistemático de desenho, as técnicas e as formas de ver e os rituais de convivência. A análise e a reflexão sobre as práticas desenvolveu-se no caminhar do relato, sob o ponto de vista e o apoio de diversos autores, entre eles, Cecília Salles, Jorge Larrosa, Paulo Freire, Jacques Rancière, Michel de Certeau, Ítalo Calvino, Carl Jung, Thierry de Duve e Celso Favaretto, além de depoimentos dos professores e falas dos alunos. O diálogo entre tantos vetores faz saltar à vista a importância do ensino da arte nas escolas em sua complexidade, em sua vitalidade e em sua contribuição para um crescimento integrado do aluno, com espaço para ser e estar no grupo. A pesquisa analisa documentos produzidos pelas equipes de arte e traz imagens ilustrativas desse processo.
The present dissertation describes an experience on art and education carried out in a private school in São Paulo, between 1984 and 2016. In such report, four practices are broached: free workshop, systematic drawing instruction, different techniques and ways of seeing, and rituals of coexistence. Analysis and reflections on such practices were developed during the course of the report, under the point of view and support of several authors, among them, Cecília Salles, Jorge Larrosa, Paulo Freire, Jacques Rancière, Michel de Certeau, Ítalo Calvino, Carl Jung, Thierry de Duve, Celso Favaretto, in addition to teacher testimonials and student talks. The dialog between so many vectors stresses the importance of art teaching in schools in all its complexity, vitality and in its contribution to an integrated growth of the student, with space to be and relate to the group. The survey analyses documents produced by art teams and presents illustrative images of such a process.

The creative project was a series of three, mixed media drawings created on multiple layers of transparent plexiglass. The artist designed a frame in which three sheets of plexiglass were contained. This unit portrayed a three-dimensional drawing. The artist then experimented with a variety of mediums to determine which material was best suited for successful rendering on plexiglass. The artist then did a number of sketches to determine what images would best convey the idea of humankind's close connection to the land, air, and sea.The primary accomplishments achieved in this project were the knowledge gained in the experimentation of materials and the ability to create a composition on multiple layers of plexiglass. Through these successes, the artist was able to effectively create a series of three three-dimensional mixed media drawings.
Department of Art

Projective tree drawing techniques are used by clinicians and therapists to assess the personality and emotional state of patients. This study compares the results of administering a computerized projective tree drawing technique with the results obtained by a pencil and paper counterpart. Both techniques are based upon the tree drawing component of the House-Tree-Person technique and related tests. With Compute-A-Tree, subjects created tree pictures from a menu of preselected imagery while subjects taking the conventional form of the technique produced spontaneous tree drawings. A post-drawing questionnaire (PDQ) employing a Likert scale was used to measure subjects attitudes regarding their tree images. The mean score for computer rendered trees was higher than the mean score for conventionally rendered images. Similarities were found between responses to the images obtained through the two forms of administration.

The creative project dealt with the artist creating a vocabulary of images derived from past and present cultures in order to create a series of highly personalized anthropological narratives. The artist intended the narrative drawings to invoke archaic moods rather than summon literal responses.The accomplishments of this creative project were further development of the artist's personal imagist style, success in relating personal anthropological observations through narratives, and progress in media experimentation. By creating more contrast between forms, by varying value against value and deep space against shallow space, the artist was able to achieve superior compositional studies.
Department of Art

This project was funded by the Department for Families and Communities A collaboration between Ibrahim Sefer, newly arrived boys and girls aged between 4 and 14 years from Culturally and Linguistically Diverse Backgrounds and the Migrant Health Service (Adelaide Central Community Health Service).

For the American sculptor, David Smith (1906–1965), drawing was a language to replace words. It was the subconscious immediacy of drawing that allowed formal concepts to take shape during the laborious process of welding steel. In the 1950s, Smith’s sculptural output increased dramatically in both scale and quantity. At the same time, his drawings acquired a separate identity, largely independent of his sculpture, yet these drawings, and indeed much of Smith graphic process, have to date not been studied in depth from a technical perspective. Utilising the technical study as its mode of inquiry, this thesis investigates the complex tacit knowledge present in Smith’s work, particularly as it exists in the relationship between the practice of drawing and the practice of sculpture, and applies it to the understanding of his oeuvre. Unravelling this tacit or hidden knowledge reveals that Smith attached much significance to materials. More pertinently perhaps, this approach prompts a hypothesis that argues for a simultaneous and synergistic material relationship between sculptural and drawing in Smith’s practice. The elucidation of the tacit within Smith’s work when framed within recent understanding of the importance of tactile perception in experiencing works of art reveals that Smith may have used materials that both perceptually and physically extended drawing into three dimensions and further, that these materials often had resonance with materials used in his sculpture. Studying the technical aspects of Smith’s process inevitably provides a framework for discussion on durability, damage and authenticity in his work. Smith’s extensive investigation into materials - both industrial and artistic – is discussed as a function of his self-identity not as artist, but rather as industrial worker, with a pragmatic interest in the use of durable materials in his work, both graphic and sculptural. The fact that a significant number of Smith’s painted sculptures and drawings have aged poorly is therefore difficult to reconcile. It raises questions about the true durability of his media, why they have deteriorated and, more importantly, how an understanding of the tacit, and of technique and process might be crucial for decisions made for their conservation. In this context the deterioration of a substantial number of Smith’s iconic drawings from the 1950s is discussed in juxtaposition with the now notorious decision in the early 1970s to completely remove badly deteriorated paint from a number of his unfinished sculptures by the then Executors of Smith’s estate, ostensibly to preserve the integrity of his work. That alteration has occurred in both drawing and sculpture in Smith’s work is highly significant, given Smith’s lack of demarcation between the disciplines. It provides a base for discussion on the meaning of intent, damage and restoration in Smith’s work and suggests that even small changes in surface texture, gloss or colour might irrevocably alter our perception of it. The results of the investigation provide several important observations: Firstly, that there is a considerable tacit dimension to Smith’s graphic work not previously considered in studies of his practice and that in understanding this it becomes clear that Smith used drawing in a more complex and vital manner than previously considered. Secondly, that Smith’s drawings were informed to a great extent by both three-dimensionality and by the materials he chose, that tactility and notions concerning the haptic perception of objects might provide insight into Smith’s work, and that this can be applied equally to drawing as much as sculpture. Thirdly, that Smith’s ideological stance as an industrial worker profoundly affected his process and the materials choices he made, and finally, that change in Smith’s works whether the result of deterioration or deliberate intervention might profoundly alter perception and understanding of such nuanced work.

Thesis submitted in fulfilment of the requirements for the degree Doctor of Technology: Design in the Faculty of Informatics and Design at the Cape Peninsula University of Technology 2013
Digital drawing and animation, using basic computer software, opens up new possibilities in creative practice-­‐led research. The digital medium, with its relative ease of reproduction and storage of images, facilitates a reflective method of thinking-­‐while-­‐ drawing, thereby stimulating the creative process and providing a unique means of reflection-­‐in-­‐action. The computer’s ability to record images allows for temporal disruption, providing possibilities for exploring alternative creative solutions as well as retrospective, reflection-­‐on-­‐action. This thesis presents an interrogation of the researcher’s creative practice, as well as the findings and creative artefacts of other relevant practitioners in the field of digital drawing, animation, and related creative activities. A reflexive methodology was used to investigate the relationship between making, doing, and knowing in creative practice. The findings are supported by creative outputs (making), reflection on the creative process in relation to supporting literature (doing), and knowledge resulting from this reflection together with related theoretical research (knowing). The research revealed that digital drawing and animation supports new modes of making resulting in the production of original creative artefacts. It was further revealed that in relation to “doing”, the digital medium supports reflective practice by enabling the creative practitioner to document and reflect on these outputs both during and after making. The resulting reflexive actions combined with theoretical research lead to revelations concerning the relationship between thinking and drawing when using digital media as well as in a broader sense. The study thus contributes insights concerning art and design thinking, and makes a contribution to new developments in visual arts and design research. Practice-­‐led research introduces a theoretical paradigm that has methodological implications particularly in the context of the current re-­‐structuring and transformation of art and design education at South African Universities of Technology. The findings indicate that digital drawing and animation can encourage a critical and reflective approach not only in the work of creative practitioners by supporting new modes of making, but that it also has positive implications for visual arts research and teaching. In this regard the research highlights the need for promoting the integration of theory and practice in visual arts and design education curricula.

Esta tese investiga as aproximações e os diálogos entre as artes, as técnicas e a cultura e de que modo eles reverberam no processo de formação e na prática dos arquitetos. O espaço aqui privilegiado é a Faculdade de Arquitetura e Urbanismo da Universidade de São Paulo dos anos 1950 a 1970. Trata-se de entender de que maneira a instituição se insere nos campos artístico, intelectual e profissional contemporâneos, especialmente em São Paulo, e, ao mesmo tempo, de que modo as relações com os meios artísticos adentram o espaço acadêmico, definindo não apenas um perfil de formação peculiar no período, mas também uma compreensão da arquitetura como atividade inseparável de outros ramos da cultura. Investigamos essas relações através da trajetória do professor, crítico e historiador da arte Flavio Motta, percorrendo sua carreira intelectual e docente desde a formação em Pedagogia na Faculdade de Filosofia, Ciências e Letras da USP nos anos 40, passando por suas experiências de trabalho com educação artística junto ao Museu de Arte de São Paulo e a Fundação Armando Alvares Penteado, até sua atuação decisiva na construção institucional e na reformulação acadêmica e político-pedagógica do curso de arquitetura da , ao longo dos quase 30 anos em que esteve ligado a esta escola.
This thesis investigates the approximations and dialogues between arts, techniques and culture and how they reverberate in architect\'s process of formation and practice. It is focused on the Faculdade de Arquitetura e Urbanismo da Universidade de São Paulo between 1950 and 1970. What it proposes is an understanding on how that institution inserts itself in the contemporary artistic, intellectual and professional fields, especially in São Paulo, and at the same time in which ways artistic fields entry academic space to the point of defining a particular formation in the mentioned period including architecture as an activity inseparable from other branches of culture. We investigate these relations looking at the trajectory of the professor, critic and art historian Flavio Motta. We go through his intellectual and teaching career from his degree in Pedagogy at the Faculty of Philosophy, Sciences and Letters of the USP in the 1940s, his experiences in artistic education at Museu de Arte de São Paulo and Fundação Armando Alvares Penteado, to his decisive role in the institutional construction and academic/ political-pedagogical reformulation of the architecture degree during almost 30 years he was connected to this school (eu colocaria FAU-USP invés de this school).

Déployant une esthétique tournée vers la claire lisibilité des images garantissant leur performativité narrative, la ligne claire s’est naturellement constituée comme un style graphique idéel pour la bande dessinée. Mais en bâtissant un univers orienté vers la neutralisation de l’empreinte plastique de l’auteur, elle restreint singulièrement les ressources expressives de la représentation. À l’orée des années 70, de nombreux auteurs américains et français participent à redéfinir de façon radicale les canons du neuvième art et explorent le potentiel figural de l’image et du récit : l’icône et la linéarité narrative se trouvent alors perturbées par de multiples expérimentations. Elles sont placées en déséquilibre et accède à travers cette instabilité à une richesse insoupçonnée. La bande dessinée découvre l’équivoque et s’accorde à l’incertitude d’une pratique expérimentale et non plus normée. Tourmentée, l’image atteint à une puissance poétique qui étend le champ d’expression du neuvième art. Nous souhaitons observer les conditions d’émergence de ces auteurs et de production de ces œuvres qui entrent en dissidence avec l’esthétique « classique », afin d’analyser les procédés stylistiques employés pour détourner la bande dessinée des conventions de la ligne claire. Nous verrons ainsi que les diverses stratégies que nous avons relevées conduisent, selon les degrés d’intensité développés par les auteurs, à une conversion des images et des récits qui les amènent progressivement à s’éloigner de la limpidité figurative et narrative pour aller vers une confusion figurale de plus en plus affirmée
The Clear Line naturally constituted itself as an ideal graphic style for the comic strip by deploying an aesthetic turned towards the clear legibility of the images, guarantying their narrative performativity. By building a graphic universe oriented towards the neutralization of the author's plastic imprint, it strangely restricts the expressive resources of the representation. At the dawn of the 1970s, many American and French authors tried to radically redefine the canons of the ninth art and explore the figural potential of the image and narrative: the icon and the narrative linearity are then disturbed by multiple experiments. They are placed in imbalance and access through this instability to an unsuspected wealth. Comics discover this ambiguity and the uncertainty of an experimental practice no longer normed. Tormented, the image reaches a poetic power that extends the field of expression of the ninth art.We wish to observe the conditions of emergence of these dissenting authors and works parting with the "classical" aesthetic, and analyze the stylistic processes used to divert the comics from the conventions of the Clear Line. The various strategies we have identified, to the levels of intensity developed by the authors, lead to a conversion of images and narratives, gradually moving away from figurative and narrative limpidity towards a growingly assertive figural confusion

L’ornement est considéré comme excédentaire à un objet existant et n’a pas de rôle essentiel dans la création artistique. À partir de cette hypothèse, cette recherche se propose de démontrer le contraire de ce consensus. En effet, l’objectif de cette thèse n’est pas de changer la définition de l’ornement, mais de l’orienter vers une autre vision et une nouvelle approche. Comment allons-nous procéder pour prouver ce nouveau point de vue ?Biologiquement, c’est en démontrant comment l’artiste, notamment l’artiste-chercheur, crée et comment son cerveau et ses sens réagissent à la création. Tout en considérant l’étude des connexions neuronales dans son corps, afin de déterminer la relation entre ces « connexions biologiques » et les « connexions artistiques » dans la conception de l’ornement géométrique. Dans le contexte de la conciliation entre la théorie et la pratique dans la recherche, cette analyse est développée en interrogeant des artistes, des scientifiques et des ingénieurs. Il s’agit de suivre et de vérifier, sur les chantiers, le développement des projets artistiques qui se rapportent à notre thèse
Ornament is considered a mere surplus to an existing object and does not have an essential role in artistic creation. Based on this hypothesis, the research proposes to demonstrate the opposite of this consensus. Indeed, the purpose of this thesis is not to change the definition of ornament, but to orient it towards a different vision and a new approach.How are we going to propose this new point of view?Biologically, it is by demonstrating how the artist, especially the artist-researcher, creates and how his brain and senses react to the creation. By considering the study of neural connections in the artist’s body, we may determine the relationship between these ‘biological connections’ and ‘artistic connections’ in the design of geometric ornamentation. In the context of the reconciliation between theory and practice in research, this analysis will be conducted by interviewing artists, scientists and engineers. It will be useful to examine, in concrete examples, the development of artistic projects that relate to our thesis

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.

Drawing in the Visual Arts has been subject of scrutiny, fragmentation, and interpretation. Whether viewed as an objective academic pursuit or subjective experimental and explorative act, drawing can be perceived as largely changeable and mutable. In reflection on art history and art practice, it would seem drawing has been relegated to an unseen space in Visual Art, its role defined by purposes other than those that lead to drawing for drawing’s sake. The aim of this dissertation is to reaffirm the notion that drawing, with all its breadth and influence, is pivotal to the understanding of art-making. This dissertation examines drawing employed by artists following a historically Western discourse of art-making. From an initial look at Renaissance art practice around drawing, this examination tracks the characterisation of drawing to where its newfound status emerges in the 21st century. As a background to this research is established, reference is made to contemporary artists who have enlisted drawing as a contributing factor in their art practice. I then analyse my own art practice in relation to these artists and themes which I have discussed. Drawing has rarely been subjected to theoretical discourse. This dissertation, through an inherent narrative, aims to acknowledge and identify hidden discourses around drawing with reference to authors such as Phillip Rawson, John Elderfield, and Johanna Burton.
Thesis (M.A.)-University of KwaZulu-Natal, Pietermaritzburg, 2010.

M.Tech. (Fine Art)
The research investigates the similarities and differences between the display of selected, mass-produced objects in museums, with special reference to the Victoria & Albert Museum and Melrose House Museum, and in three domestic spaces. A brief historical background to the activity of collecting mass-produced objects is explored in order to reveal the archival function of museum displays and domestic displays, each of which conserve and preserve objects. The public and private meanings attached to objects in different spaces is suggested, and the ability of the selected objects to reflect social issues beyond their function is addressed. Both museum displays and domestic displays provide the source for the altered objects and drawings which form the exhibition. In manipulating the ready-made, mass-produced objects possible new meanings and narratives are suggested.