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1
Dal Fovo, Alice, Jana Striova, Enrico Pampaloni, and Raffaella Fontana. "Unveiling the Invisible in Uffizi Gallery’s Drawing 8P by Leonardo with Non-Invasive Optical Techniques." Applied Sciences 11, no. 17 (August 29, 2021): 7995. http://dx.doi.org/10.3390/app11177995.
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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.
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Alviana, Fibri Ledia, Istri Romawanti, Shirly Rizki Kusumaningrum, and Radeni Sukma Indra Dewi. "ELEVATING THE STUDENTS CREATIVITY BY ART DRAWING." SENTRI: Jurnal Riset Ilmiah 1, no. 3 (November 9, 2022): 834–39. http://dx.doi.org/10.55681/sentri.v1i3.294.
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Through art education, students can develop their potential, hone their intelligence, exercise their creativity, and form their personality. Drawing activities in general are activities that are in great demand by elementary school students. To increase student creativity, teachers want to apply the use of grattage techniques. The grattage technique is one of the drawing techniques in fine arts. This study aims to find out how the grattage technique is applied and whether there is an increase in creativity after drawing using this grattage technique. This research is a class action research consisting of 2 cycles, which was conducted on grade 4 students of UPT SD Negeri Talun 03. From the results of the study, there was an increase in student creativity in using grattage techniques which was shown by an increase in the percentage of learning completion in cycle 2. And more than 70% of students are declared complete learning.
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Kustiawan, Usep. "Drawing, Cutting, Sticking to Improve Early Childhood Art Skills." Scholars Journal of Arts, Humanities and Social Sciences 9, no. 12 (December 30, 2021): 643–49. http://dx.doi.org/10.36347/sjahss.2021.v09i12.007.
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Art education is given to children with various purposes but all of them are based on the belief that art shapes children's sensitivity in life. Fine art is a branch of art that is created using visual elements and can be appreciated through the senses of the eye. One of the art activities for early childhood can be done through drawing collage techniques or pasting techniques. Drawing collages can be developed using one of the M3 techniques, namely drawing activities that begin withdrawing activities, which are then continued by cutting and then continuing with the activity of pasting the work on the prepared media. The purpose of this research and development is to develop collage drawing activities through the Drawing Cut and Stick (M3) technique in terms of attractiveness, convenience and safety in improving the fine arts abilities of early childhood group B according to the type of theme of activities in kindergarten.
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Kennedy, Hailey, and Hugh McKenzie. "Art and Archaeology." Pathways 4, no. 1 (December 30, 2023): 27–44. http://dx.doi.org/10.29173/pathways50.
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Observational skills provide the foundation for both drawing and archaeological techniques. Drawing was frequently employed within archaeology as a recording technique or to produce technical illustrations for published academic papers. However, in recent years the widespread use and adoption of digital photography and 3D imagery has resulted in a decline of its use and such skills are now only briefly considered in archaeological teaching as practical and worthwhile endeavors. This paper considers the role drawing can have within archaeology and suggests that drawing is a useful tool to aid in critical observation. With the integration of specialist interviews, an art workshop experiment was created. This workshop experiment was created to explore drawing as a learning technique in which to aid in developing the observational skills of undergraduate archaeology students. The results of this study suggest that drawing is a useful mode of observation, one that enables researchers to gain a deeper understanding of what they observe, that it can be used to see.
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Husanov, Raximjon. "Techniques for teaching students realistic visualization of presence in the lessons of fine arts." Общество и инновации 3, no. 4/S (May 15, 2022): 217–21. http://dx.doi.org/10.47689/2181-1415-vol3-iss4/s-pp217-221.
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It is the basis of all types of Fine Arts. The artist is based on painting, regardless of which of the types of Fine Arts he creates. He expresses his observations, his research on the compositions of the great works, first with the first lines in the pen. As for the creation of works of art, these executed drawings serve as an auxiliary resource to the artist. The artist begins the creation of this or that picture with a pencil. After that, this work of art gives the viewer an aesthetic pleasure through a palette of colors. In other words, without pencil drawing, no artist can make his work mature. Realistic painting teaches to master the basics, methods and skills of drawing, to know the sequence in describing and to be able to use various illustrative tools. Learning the basics of drawing, it is worth noting that the drawing is built on the principle of drawing in stages, depending on the thing itself. In this article, the lessons of Fine Arts give students an idea and feedback on the methods of teaching realistic images of existence.
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Sukharev, A. I., G. S. Baymukhanov, and T. Y. Pozdnyakova. "PRACTICAL RECOMMENDATIONS FOR MASTERING CHARCOAL DRAWING TECHNIQUES BY ART STUDENTS." Современные проблемы науки и образования (Modern Problems of Science and Education), no. 6 2023 (2023): 5. http://dx.doi.org/10.17513/spno.33047.
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Liang, Ruohan, and Elis Syuhaila binti Mokhtar. "Teaching For Art Criticism: Application of Feldman’s ‘Method of Art Criticism’ to Students' Expressive Ink Figure Paintings." International Journal of Education and Humanities 12, no. 2 (February 1, 2024): 29–34. http://dx.doi.org/10.54097/fv2k8m75.
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This study collected artworks from 30 first-year art education students and conducted critical analysis using Feldman’s ‘Method of Art Criticism’. Visual data were analyzed quantitatively; descriptive statistical techniques were used. Scores are viewed as mean scores and frequencies to determine how students' critical abilities are reflected. Use the Pearson correlation coefficient to find correlations between students' expressive ink figure drawings and art critical ability scores. Research indicates, Most students performed slightly better than average in critical analysis and performed best in selected analysis among the four areas of assessment (Description, Analysis, Interpretation, Judgment). In the context of students' expressive ink figure drawing and critical skills, the findings indicate that there is a certain connection between students' art critical skills and expressive ink figure drawing.
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Triana, Rizki Sevi, and Joko Pamungkas. "Drawing and Coloring Using Crayon with Gradation Technique at Kindergarten." Jurnal Obsesi : Jurnal Pendidikan Anak Usia Dini 6, no. 5 (July 19, 2022): 5165–70. http://dx.doi.org/10.31004/obsesi.v6i5.2761.
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As an Early Childhood Education teacher, you are required to be able to understand the world of art and develop interesting art lessons for children. This research was conducted to understand the process of learning art to students at the Institute. By using this type of qualitative descriptive research, the researcher will examine the facts in the field with detailed interpretations. Data collection techniques using observation, documentation, and interviews. The data analysis uses data collection, data reduction, data display, verification, and affirmation of conclusions. The research proves that the results of introducing art learning concepts to students through drawing and coloring activities using gradation techniques using crayon at kindergarten in Jember can be developed well. From the results of this study, it has a positive impact on students and is beneficial for developing their faith, honing their talents, and creativity to be even more enthusiastic in the art learning process.
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Olivero, Lucas Fabian, and António Bandeira Araújo. "Desiderata for a Performative Hybrid Immersive Drawing Platform." i-com 21, no. 1 (April 1, 2022): 33–53. http://dx.doi.org/10.1515/icom-2022-0009.
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Abstract We discuss the design requirements of a software platform for constructing immersive environments through handmade spherical perspective drawings in a performative setting, with concurrent interactive live feed of the spherical drawing’s VR visualization. We investigate current best practices and available software in order to extract functionalities, requirements, improvements, possible integrations and future developments. We map the base requirements of the software from three sources: the state of the art of drawing techniques for spherical perspectives (equirectangular, azimuthal equidistant and cubical), the available software for their practice and the experimentation with novel hybrid artefacts. For the latter, we use a node-based program that allows us to prototype the workflow before entering a pure coding stage. The desired software platform should integrate well within digital art practices, stimulate and facilitate the practice of anamorphic handmade spherical drawings, and expand spherical perspectives’ applications through the emerging media of Hybrid Immersive Models (HIMs).
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Cui, Ziwei. "Application of Line Integral Convolution Techniques in the Generation of Fine Art Painting Effects." Mobile Information Systems 2022 (July 4, 2022): 1–7. http://dx.doi.org/10.1155/2022/6872214.
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Since the 1980s, nonrealistic drawing techniques have become one of the main focuses of research in computer graphics. In recent years, with the rapid development of computer graphics, nonrealistic drawing techniques have become capable of rendering any digital image into an image with an alternative artistic style. As a result, many scholars have focused on the pencil sketch style. Against this backdrop, research into how to create more realistic art drawings has become a hot topic. Although the rapid development of computer technology has led to advances in art drawing techniques, traditional fine art painting methods are not yet able to simulate realistic pencil sketches in a quite realistic way. In other words, the following issues have been noted. For example, they fail to simulate the gradation of shades and densities of real sketches, the direction of the shadows does not conform to the general rules of sketching, and the results produced are not artistic and realistic. After all, unlike realistic graphics, which seeks a photo-like realism, nonrealistic graphics wants to highlight the message of the image with the help of computer simulations. As a result, nonrealistic graphics often ignores unimportant details in the image. On the other hand, nonrealistic graphics can also simulate an artist’s painting to a certain extent, thus producing an artistically effective image. Many nonrealistic drawing methods have been devised to simulate the styles of oil, watercolour, and ink, but not many algorithms have been developed to generate colour sketches. In order to address this topic, this study improves a fine art drawing generation approach based on the line integral convolution techniques. To be specific, this investigation begins by segmenting the colour images through cluster analysis. Two basic colours are then assigned to each region by calculating the colour variability, and the density of each colour is calculated using a two-tone mapping technique. After that, the line integral convolution technique is applied to generate sketch textures for each of the two basic colour layers, and the two layers are fused to produce the coloured textures. At the same time, a neon transform is used to generate the sketch contour lines. Eventually, the contours are blended with the coloured textures to obtain the coloured sketch effect. The experimental results show that the art painting generation method designed in this paper is able to automatically transform from colour images to coloured pencil drawings, thus improving the efficiency of the process as well as meeting the real-time requirements.
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Brewer, Evelyn. "Geometry and Op Art." Teaching Children Mathematics 6, no. 4 (December 1999): 220–36. http://dx.doi.org/10.5951/tcm.6.4.0220.
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An activity in which students use computers and techniques of Op-art to learn various geometry concepts. Writing, speaking, and drawing skills are reinforced in creating slide shows related to the project.
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Giolla, Erik Mac, Pär Anders Granhag, and Zarah Vernham. "Drawing-based deception detection techniques: a state-of-the-art review." Crime Psychology Review 3, no. 1 (January 2017): 23–38. http://dx.doi.org/10.1080/23744006.2017.1393986.
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Voloshenko, Anna. "HISTORY OF METHODOLOGICAL DEVELOPMENT OF PASTEL TECHNIQUES IN DRAWING AND PAINTING." Academic Notes Series Pedagogical Science 1, no. 192 (March 2021): 155–61. http://dx.doi.org/10.36550/2415-7988-2021-1-192-155-161.
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The process of reforming and modernizing higher education involves raising the level of professionalism of future professionals and in particular artists-teachers. The motivation of this article is the need to create methodological and pedagogical conditions for the formation of the foundations of artistic skills of students in the process of professional training. The methodical development of pastel technique on the basis of research of historical and pedagogical literature is considered in the article. An analysis of the work of artists of primary schools of pastels in many countries around the world, who used the technique of pastels in their works. Its semantic part and significance in the system of educational process in art-pedagogical establishments of higher education are covered. Pastel technique, its methods and techniques are quite complex, so they need to develop a separate training course to master it. The acquisition of future artists-teachers of professional skills and knowledge in the learning process directly depends on their mastery of various art techniques. The formation of professional artistic skills in the use of soft materials is possible only with the integrated application of methods and techniques and the creation of pedagogical conditions for creative activity. The pastel technique is unique and thanks to its technical capabilities it is possible to solve creative tasks of any level of complexity. It is convincingly proved that there is an urgent need to include work with soft materials in the educational program of training of the future artist-teacher. And training of students of art techniques and their combination in drawing and painting gives a push for development of creative imagination and imagination. Analysis of the historical experience of the development of the technique of pastels in drawing and painting highlights the importance of teaching students this technique in classes in major art disciplines. It can be argued that the pastel technique is an important part of the educational process in institutions of higher art education. The importance of her education lies not only in the diversification of students' technical experience, but also in the holistic formation of their artistic and creative skills. The problem of creating a sound system of teaching pastel techniques for students of higher education institutions requires further in-depth study.
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Maksimova, Olena. "UNCONVENTIONAL TECHNIQUES OF FINE ARTS IN WORKING WITH PRESCHOOL CHILDREN." Scientific Bulletin of Uzhhorod University. Series: «Pedagogy. Social Work», no. 1(50) (May 31, 2022): 182–85. http://dx.doi.org/10.24144/2524-0609.2022.50.182-185.
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Culture is an integral part of a child's socialization. Getting acquainted with various techniques of fine arts enriches the child's experience, worldview, ideas about the properties of the surrounding world, develops imagination, increases interest in productive activities. The article analyzes educational programs for young and preschool children in terms of their recommendations to use unconventional techniques in children's art activities; the peculiarities of the organization of teaching children unconventional techniques of fine arts in preschool education are considered; techniques available to preschoolers are offered and their essence is revealed. We used research methods such as analysis and comparison to identify the degree of attention paid by current educational programs to the introduction of unconventional techniques in children's art work; analysis, synthesis, generalization of literature, video material, observation of the activities of educators to find out the essence of unconventional techniques used today in kindergarten, their advantages and possible disadvantages. Features of work in such techniques as stamping (half of a mushroom, apple, potato, Beijing cabbage, leaves, cork, polyfoam, etc.), monotype (reflection of half of symmetrical drawing on a pure half of a sheet), aquatipia (drawing on glass, film and reflection on coated paper), drawing on snow, drawing on crumpled paper, drawing with a fork, toothbrush, cotton swabs, candle, drawing with soap bubbles, three-dimensional paints, sand, poppy, application of stabilized moss, technique «water printing», ebru technique (creating a picture on water and transferring it to paper). Uncoventional techniques of art contribute to the fact that children are more interested in this process. After all, pupils with different levels of development of artistic abilities easily get a beautiful image, feel success.
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Veryawan, Veryawan, and Ade Tursina. "GRAFFITI TECHNIQUE DRAWING ACTIVITIES: IMPLICATIONS FOR CHILDREN'S CREATIVITY." JEA (Jurnal Edukasi AUD) 8, no. 1 (July 6, 2022): 1. http://dx.doi.org/10.18592/jea.v8i1.5915.
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Creativity is the ability to provide new ideas that can be applied in problem solving or as the ability to see new relationships between previously existing elements. There are many types of art activities that can stimulate the development of creativity in early childhood such as: playing with plasticine or playdough, finger painting (swab blur), printing, sewing, drawing, coloring, collage, finger painting, blowing color bubbles, painting with thread pulling techniques. , drawing with grafito techniques and so forth. In early childhood the development of art can be developed through drawing activities. Drawing is a basic form of art. Drawing activities can be done with the graffito technique. This research was conducted at RA Al-Ikhlas which is located at Jl. Gg Mosque. Meliala Rantau Utara, Labuhanbatu Regency. This study consisted of 2 cycles and started from 07 to 26 October 2019. The subjects of this study were students of RA Al - Ikhlas group B, totaling 15 people consisting of 7 men and 8 women with the theme being developed was plants. . This study uses a classroom action research (CAR) model which consists of 2 cycles. Each cycle is carried out according to the themes and factors studied. The procedure of this research is planning, implementation, action and reflection. In interpreting the results of the analysis carried out during the process of drawing activities with the grafito technique, the researcher used percentage analysis to obtain results about increasing the development of creativity in early childhood through the application of drawing activities with the grafito technique and analysis tests using the average child and the criteria for mastery learning of children.
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Graham, Mark, and Fidalis Buehler. "Figure drawing and alternate narratives of artistic mastery." Drawing: Research, Theory, Practice 6, no. 1 (April 1, 2021): 171–87. http://dx.doi.org/10.1386/drtp_00058_1.
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Figure drawing is a rich and problematic context for exploring drawing conventions with many connections to contemporary art and visual culture. The human figure can inspire students to more fully develop their own artistic practice and to critically engage with contemporary art and visual culture. Representations of the human body in art and visual culture are also relevant to important issues in the lives of students. Figure drawing has a long history associated with technical skills, ideas about mastery and the artist’s training. Skill, knowledge and drawing techniques, when combined with critical conversations about representing the human body, provide rich topics for discussion and reflection. How the human form is dressed, undressed and depicted in art and popular visual culture reflects vital issues about gender, race, identity, beauty, compliance and agency. This paper describes a range of different methods to give the skills associated with drawing the human form context within contemporary issues and to disrupt conventional and uncritical approaches.
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Putra, I. Gede Jaya. "WORKSHOP MENGGAMBAR DENGAN CHARCOAL DI CUSH CUSH GALLERY DENPASAR." Jurnal Lentera Widya 2, no. 1 (December 22, 2020): 15–21. http://dx.doi.org/10.35886/lenterawidya.v2i1.100.
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This journal discusses the drawing workshop using charcoal techniques and materials. Based on observations in the field, many children who still do not understand themselves related to the creativity that can be produced. Children are a very free phase, full of honesty, passionate and brave in doing actions that are able to express themselves. However, there are several factors that cause many expressions of children to not surface. Expressions related to emotions and feelings lead to one understanding, namely art. One type of art that is able to bring out the expression of children is drawing. Drawing has many techniques, one of which is by using charcoal as a way of expressing it. So drawing with charcoal is used as a workshop approach for children, as a means to understand themselves and bring out their creativity. Workshop activities initiated by the Cush Cush gallery and again Bali were held on July 13, 2019 at the Cush Cush gallery, aimed at educating children, providing awareness of art, to understanding life and making art as a provision for the future, in taking on the work world its orientation on creative people.
Keyword : Charcoal, Creativity, Drawing, Expression, Workshop.
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Hendri, Zulfi, Tjetjep Rohendi Rohidi, and Suminto A. Sayuti. "Contextualization of Children’s Drawings in the Perspective of Shape and Adaptation of Creation and the Model of Implementation on Learning Art at Elementary School." Mediterranean Journal of Social Sciences 8, no. 5 (September 1, 2017): 93–102. http://dx.doi.org/10.1515/mjss-2017-0027.
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Abstract The research focused on the contextual problem contained in children’s drawing activity. The subjects of the research are the forms (themes, objects, media, and techniques) of drawings made by elementary school-aged children spread over four regencies of Yogyakarta Special Region. In addition, the research also discussed adaptation that influenced the selection of themes, objects, media, and techniques in the work. The study on form and adaptation were subsequently formulated into concepts that can be implemented in art education in elementary schools. The research implemented naturalistic inquiry approach with consideration of the social situation of children when drawing, which is the aspect of places, actors, and activities that interact synergistically. In addition, it also used qualitative method that is an interpretive approach that aims to gain an in-depth knowledge of a phenomenon that occurs at the time the research took place from various point of view of the known subject. The research found that objects drawn by children were drawn from direct and indirect experiences of mountains, beaches, planes, homes, trees, and humans. The themes that appear in children’s drawing are themes that are sourced from their daily life (micro cultural) such as playing at a friend’s house, fighting, taking a beach vacation, wildfire, and playing at the garden. This happens because of the various backgrounds of residential areas, preferences, television influences and electronic games. Based on these findings, the micro cultural concept becomes a part that should be prioritized in art education for elementary school students to maintain the child’s individualism attitude and instill local cultural values.
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Fomicheva, Daria Vladimirovna. ""Picturesque graphics": three pencil technique, multi-layered charcoal drawing." Secreta Artis, no. 1 (July 11, 2021): 16–46. http://dx.doi.org/10.51236/2618-7140-2021-4-1-16-46.
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The article describes methods of achieving painterly qualities while drawing with soft materials, which include: 1) creation of a polychrome image effect using an extremely limited color palette (white, black and red chalk (sanguine)); 2) thorough work on a multi-layer charcoal drawing employing techniques similar to those of multi-layer watercolor, oil and pastel painting, as well as papier-pelle drawing. The study was first conducted by analyzing drawing manuals, catalogs of manufacturers and suppliers of art materials from France, Great Britain, Germany, USA and Russian Empire in the second half of the 19th – early 20th century. What is more, the author of the article assembled a collection of antique tools and materials for drawing with charcoal, black chalk or crayon, stumping chalk (pulverized charcoal), sanguine and white chalk, the use of which was widespread in the aforementioned period. The annex to the article provides photographs of the described instruments and materials accompanied by the aggregate data from art manuals, catalogs and price lists of drawing material suppliers from London, Paris, New York, St. Petersburg, Moscow and Kazan, published over a period from 1851 to 1913. The drawing tradition of the second half of the 19th century is among one of the most complex and challenging in the entire history of graphics, as it peculiarly combines in itself a variety of instruments and delicate thoroughness of techniques. As a result of the research, the author was able to expand and complement the existing knowledge about graphic techniques, which allows for teaching academic drawing and studying the history of drawing by applying new data and unique illustrative material.
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Pamuklu, Aysegul Gurdal, and Arzu Dursin. "Botanical illustration techniques." New Trends and Issues Proceedings on Humanities and Social Sciences 2, no. 1 (February 19, 2016): 298–302. http://dx.doi.org/10.18844/prosoc.v2i1.311.
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In this study, basic techniques which are used in botanical illustration are examined. Undoubtedly the most basic and accessible technique for the illustration artists is pencil and ink. Artists who have been drawing for years have used this technique with the decorations on the books and although technological developments present us unlimited opportunities today, basic illustration techniques; pencil, ink and watercolour technique has kept its place. It is necessary for this basic illustration technique to contain main features such as line, tone, colour, texture, shape, size. Just as all the artists who are dealing with illustration, artists-scientists who are dealing with botanic have also benefited from these techniques. as a result, no matter if it serves for art or for science, these techniques have always had an important place in creation of visual data for the development of humanity.    Keywords: Botanical Illustration, botanical illustration techniques, watercolour techniques, charcoal drawing technique, ink technique, gouache painting technique, ekolin.
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Artyukh, E. A. "THE USE OF MODERN ART-THERAPEUTIC TECHNIQUES IN THE FORMATION OF EMOTIONAL STABILITY OF FIRST-YEAR CADETS IN EDUCATIONAL INSTITUTIONS OF THE PENAL SYSTEM." Educational Psychology in Polycultural Space 61, no. 1 (2023): 6–15. http://dx.doi.org/10.24888/2073-8439-2023-61-1-6-15.
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The presented work describes the experience of using modern art therapy techniques in order to form emotional stability within the framework of psychological support for first-year cadets in educational organizations of the penal system (hereinafter referred to as the PS). The article examines the concept of emotional stability as a subject of scientific research, examines the psychological features of its formation in adolescence, describes the specifics of the educational environment of universities of the Federal Penitentiary Service of Russia (hereinafter FPS), defines and describes methods of using modern art-therapeutic techniques in order to form and increase emotional stability as a basic characteristic of a person and professionally important qualities of cadets. Significant advantages of the use of art-therapeutic techniques in comparison with other psychocorrective methods are highlighted. Based on extensive theoretical and practical experience in the use of art therapy in Russia and abroad, the possibilities of using modern art therapy techniques in the work of a psychologist of educational organizations of PS are considered. The paper describes the techniques of meditative drawing (fractal drawing, zentangle), exercises combining visual creativity and music therapy ("Drawing music"), as well as the experience of using metaphorical associative maps. The main purpose of using these techniques is to form the desire for self-knowledge and self-expression, as well as the ability to work with their own feelings, emotions and moods. The accuracy and reliability of empirical research are confirmed by the theoretical and methodological validity of the initial provisions using a set of complementary, repeatedly tested in psychology psychodiagnostic techniques. According to our observations, as a result of the use of art-therapeutic techniques in the work of a psychologist of educational organizations of the PS system, it was possible to optimize the socio-psychological conditions of educational activity. In this regard, the conducted research makes it possible to use the experience gained in psychodiagnostic, psychopreventive, and consulting and psychocorrective work of psychological services of educational institutions of the Federal Penitentiary Service of Russia.
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SVIRIDKINA, E. O., K. M. ZUBRILIN, and L. A. RAZDOBARINA. "TEACHING GRAPHOMOTOR SKILLS TO CHILDREN BY MEANS OF FINE ART." Scientific Notes of Orel State University 98, no. 1 (March 26, 2023): 345–49. http://dx.doi.org/10.33979/1998-2720-2023-98-1-345-349.
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The article is devoted to the study of the role and content of ISO tools in teaching graphomotor skills. Which in turn affect the activation of development. The principle of developing writing skills through drawing is based on visual analysis and subsequent copying as the only way to develop the mental function of translating visual information into a motor-graphic analogue. Drawing allows startibg the process of setting graphomotor skills at a younger age, starting with the simplest elements - lines, as well as with acquaintance with visual activity. In the development of graphomotor functions, it is worth noting the development offine motor skills, which occurs gradually in the process of various types of artistic activity. Graphomotorics by means of iso positively affects the imagination, attention, memory, speech and general coordination of the child. Graphomotor skills influence the formation of mental processes. Hence the relevance of visual drawing techniques are gaining particular popularity in correctional techniques.
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Меньшикова, Елена Александровна, and Анастасия Александровна Макарова. "Using non-traditional drawing techniques to develop the creative abilities of children of primary school age." Pedagogical Review, no. 2(54) (April 17, 2024): 7–16. http://dx.doi.org/10.23951/2307-6127-2024-2-7-16.
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Исследуется влияние нетрадиционных техник рисования на уроках изобразительного искусства на уровень развития творческих способностей детей младшего школьного возраста. Проанализированы основные направления в изучении данной проблемы, выявлено противоречие, побудившее к исследованию влияния нетрадиционных техник рисования на развитие творческих способностей обучающихся. В ходе исследования выявлены и экспериментально проверены условия развития творческих способностей детей младшего школьного возраста на уроках изобразительного искусства средствами нетрадиционных техник рисования, разработаны технологические карты уроков изобразительного искусства. Представлены результаты экспериментального исследования, проведенного с детьми младшего школьного возраста, показавшими положительную динамику развития творческих способностей. Предлагаемые рекомендации могут быть использованы в педагогической практике учителями начальных классов. The article is devoted to the study of the influence of non-traditional drawing techniques in art lessons on the level of development of creative abilities of children of primary school age. The authors analyzed the main directions in the study of this problem, such as the study of creative abilities and the development of creativity tests, the identification of the level of development of creative abilities of primary school children, the development of non-traditional drawing techniques, as well as the use of non-traditional drawing techniques for the development of creative thinking of primary school students. A key contradiction has been revealed that prompted the authors to study the influence of non-traditional drawing techniques on the development of creative abilities of primary school children. In the course of the study, the conditions for the development of creative abilities of primary school-age children in fine art lessons by means of non-traditional drawing techniques were identified and experimentally tested, technological maps of fine art lessons for students were developed. The results of an experimental study conducted with children of primary school age who showed positive dynamics of the development of creative abilities are presented. The recommendations proposed in the article can be used in pedagogical practice by primary school teachers.
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Ulinnuha, Muhammad Khirzan. "Eksplorasi Mandala dalam Seni Drawing." Journal of Contemporary Indonesian Art 7, no. 2 (October 30, 2021): 64–73. http://dx.doi.org/10.24821/jocia.v7i2.6079.
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Penelitian ini merupakan pengamatan dan eksplorasi aspek-aspek dalam mandala untuk dijadikan ide dalam menciptakan karya seni. Penelitian bertujuan menghasilkan karya seni yang inovatif dan eksploratif yang bisa memicu pentingnya menjaga pikiran serta hubungan antara manusia dan Penciptanya. Metode penelitian artistik ini adalah penelitian berbasis praktik. Peneliti menyatu dengan benda-benda yang diamati dengan imajinasi secara timbal-balik; serta merujuk pada metode kreasi yang diterbitkan dalam jurnal-jurnal untuk membuat penelitian yang bebas dari subjektivitas dan guna menghasilkan paparan yang lebih rinci. Hasilnya dalam bentuk beberapa karya seni sebagai representasi kreatifitas dalam mendefinisikan mandala dan filosofinya. Karya ini secara teknis merupakan hasil amatan atas berbagai referensi visual dan paduan berbagai teknik dan mendigitalisasi sebagai sentuhan akhir. Karya juga diterapkan dalam bentuk wallpaper gawai untuk menghadirkan makna baru atas mandala.This artistic research is an effort to observe and explore aspects in mandalas to be used as ideas in creating artwork. The purpose of this art creation research is to create innovative and exploratory works of art to spark the importance of taking care of our minds and maintaining the relationship between man and his Creator. This artistic research method is practice-based research. The researcher fused with objects observed by imagination reciprocally; he has also referred to the methods of published creations in current journals to make the research free from subjectivity and exposure is more detailed. The results are in the form of works art as representations of how the researcher creatively defines the mandala and the philosophy of mandalas. This work is technically the result of various visual references, blending techniques between Drawing-painting and digitization as the finishing touch. This work is also applied in the form of gadget wallpaper to present a new meaning over mandalas.
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Khudayberdievich, Babadjanov Akhmadjan. "The Role of Physiognomics in Teaching Students to Draw Portraits." Emergent Journal of Educational Discoveries and Lifelong Learning (EJEDL) 3, no. 1 (February 21, 2024): 12. http://dx.doi.org/10.47134/emergent.v3i1.38.
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In the article, it is true that a teacher of fine arts should have high technical knowledge in drawing portraits in the field of pencil drawing, and also have sufficient knowledge in the field of psychology thought about. This study investigates the role of physiognomics in the instruction of portrait drawing to students. Physiognomics, as the study of facial features and character, has long been believed to be a tool for understanding and capturing human expressions. However, its practical application in teaching portrait drawing has not been fully explored. The research employs a qualitative method, conducting in-depth interviews with art faculty members and experienced art students who are involved in teaching and learning portrait drawing techniques. The findings highlight that the application of physiognomic principles in instruction can assist students in developing a deeper understanding of facial structure and character expression. These findings suggest that integrating physiognomic concepts into the art curriculum can enhance students' portrait drawing skills and enrich their overall artistic experience. This research provides new insights into the importance of incorporating psychological and philosophical aspects into art education, offering a foundation for the development of a more holistic teaching approach in portrait drawing instruction at the higher education level.
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Dewi, Maria Ruswita, and Dyah Yuni Kurniawati. "Gangguan Kecemasan Masa Remaja sebagai Sumber Ide Penciptaan Karya Seni Lukis." Acintya Jurnal Penelitian Seni Budaya 15, no. 1 (August 25, 2023): 32–42. http://dx.doi.org/10.33153/acy.v15i1.4379.
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The idea raised in this paper is Anxiety Disorder. Anxiety disorders experienced by the author since her youh until now. Anxiety disorders arise from past trauma due to bullying in the family and in society. Anxiety disorders which experienced by the author are related to excessive fear and anxiety accompanied by behavioral disorders. Events that are imprinted on the memory give rise to noisy thoughts and feelings. The problems to discuss in this article with the following. problem formulation are 1) What is an anxiety disorder 2) Why the concept of anxiety disorder is the source of the idea of creating a painting 3) How is the visualization of a painting with the concept of an anxiety disorder as the source of the idea for creating a work of art. The purpose of this Art Creation Thesis is to be the concept of painting creation that visualized by a drawing technique using drawing pen and charcoal on linen paper. Black and white works are applied to convey thoughts, feelings and everyday experiences. The works present using black frames with passepartout along with performance art video. Performance art that includes in this artwork is to be used as a medium to convey honesty through the body. This art work creation practice produces novelty in terms of the concepts, techniques and presentation.Keywords: Anxiety Disorder, Art Painting, Drawing Techniques.
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Johnson, María Cecilia. "Assisted Reproductive Techniques and Catholicism(s) in the US." Religion and Gender 9, no. 2 (December 10, 2019): 147–69. http://dx.doi.org/10.1163/18785417-00902001.
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Abstract Assisted Reproductive Techniques (ART s) have proposed a new way of understanding notions of sexuality, reproduction, gestation, and family, and these transformations have arguably been a challenge in the religious field. This study aims to analyze the stances taken within the Catholic spectrum in the United States on ART s. Catholicism in the United States is an internally heterogeneous space, and different agents have taken diverse stances on ART s, with an impact on health care regulations, Catholic facilities administrations, and Catholics’ and non-Catholics’ reproductive rights. Drawing from a qualitative, interpretive, and documentary analysis of three organizations (the US Conference of catholic bishops, the Catholic Health Organization, and Catholics for Choice), this article proposes some guidelines to analyze and understand the arguments and strategies of various Catholics actors in the United States regarding reproductive healthcare and ART s in the United States.
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Davlashyan, Alla Razmikovna. "On teaching portraiture as part of pre-vocational and higher art education." Secreta Artis 5, no. 3 (March 28, 2023): 74–85. http://dx.doi.org/10.51236/2618-7140-2022-5-3-74-85.
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Unlike other art education institutions, the Academy of Watercolor and Fine Arts of Sergey Andriaka applies the method of visual instruction – the teacher performs tasks from the curriculum in the classroom. The scientific and methodological journal Secreta Artis unveils never published before graphic portraits made by the teacher of the Academy A. R. Davlashyan during her classes on academic drawing as part of pre-vocational and higher education courses. Portrait drawings are done quickly, in three to four hours, with the usage of various graphic techniques. As a result, students not only get insight into the methodology behind sequential development of the portrait composition, proportions, volume, transmission of light and air, etc., but also observe the process of drawing from the perspective of multiple techniques.Moreover, it is important to underline that one of the fundamental principles at the Academy is the continuity of education. Such an approach, in turn, allows one to organize teaching by formulating a logical sequence of progressively more complex tasks, which are first to be performed by students in the pre-vocational programme. Likewise, more advanced assignments are devised for higher art education courses. The author of the article shares her personal experience of working on a portrait, enumerates effective author’s techniques and original principles of interaction with students; she further outlines diverse drawing exercises, as well optimal task sequence at the first stages of teaching portraiture with their gradual complication (namely, depiction of the emotional world of the person, creation of a portrait with a composed background). Seemingly, the methods of teaching portraiture have long been elaborated. Nonetheless, there always remains a necessity for unconventional creative approaches to teaching, accumulation of personal pedagogical experience and search for alternative tools of interaction with students.
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Білий, В. Д. "АКАДЕМІЧНІ ДИСЦИПЛІНИ У ПІДГОТОВЦІ ФАХІВЦІВ ДЕКОРАТИВНО-ПРИКЛАДНОГО МИСТЕЦТВА: РИСУНОК." Art and Design, no. 2 (August 11, 2021): 75–84. http://dx.doi.org/10.30857/2617-0272.2021.2.7.
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Purpose: to analyze the value of theoretical and practical knowledge and skills obtained in the study of Academic Drawing by students of the Decorative and Appling Art`s Department of the Kosiv Institute of Applying and Decorative Art LNAA. Methodology. Analytical and comprehensive approaches to the subject of research, structural analysis, observation and modeling methods, as well as comparative analysis were used, which made it possible to identify the features of drawing techniques` using in the realization of decorative and applied art projects. Results. The importance of the Drawing in the process of creating and making of decorative and applied art`s projects has been determined. It was revealed that for the realization, analysis of the form, its design (architectonics) and material is of particular importance, while the graphic means characteristic of a drawing is most often used to apply an ornament to the surface of the item. It is also important to sketching, aimed at theoretical comprehension of existing forms; search for new forms and designs in accordance with the previous idea. Special attention to the importance of the drawing in the education of students' aesthetic ideas and the creation of artistic and expressive works of art is paid. Scientific novelty of the paper lies in identifying the theoretical and practical skills and abilities that students of decorative and applied art`s specialties receive in the study of Academic Drawing and how they use them in the creating projects and art works based on the Kosiv Institute of Applying and Decorative Art LNAA. Practical significance. The obtained results into account in the process of teaching special disciplines can be taken, developing guidelines for them, in further scientific research.
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Wastyn, Gert, Steven Malliet, and Bart Geerts. "Inside the virtual art classroom: Using VR design software to support drawing courses in higher education." Drawing: Research, Theory, Practice 8, no. 2 (October 1, 2023): 219–33. http://dx.doi.org/10.1386/drtp_00116_1.
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Little research exists regarding the possibilities of using virtual reality (VR) to teach drawing skills. This report aims to compare traditional methods of teaching drawing techniques with methods for teaching digital drawing using VR design software such as Gravity Sketch and MultiBrush. Based on our experiences in a variety of workshops and courses, we observe that the VR drawing classroom can enrich existing educational formats as it offers advantages such as increased student focus, collaboration and balance between group instruction and individual feedback.
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Jeon, Youn Sug. "A Study on the Design of Nail Art by Converging Vincent van Gogh's Expression Techniques." Korean Society of Culture and Convergence 45, no. 10 (October 31, 2023): 947–57. http://dx.doi.org/10.33645/cnc.2023.10.45.10.947.
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The purpose of this study is to derive unique nail art designs through the convergence of famous paintings and beauty design. Accordingly, theoretical and empirical studies were conducted at the same time. As a theoretical studies examined the expression techniques that appeared in Vincent van Gogh's paintings. For an empirical study, Vincent van Gogh's expression technique and nail art design were combined to derive designs on actual nail tips, and nail art designs according to line drawing, color techniques, and impasto techniques were derived. Through the use of repetitive lines, the shape was expressed using yellow, blue, green, and grayish brown Gogh's colors, and expressed as nail art designs using repeated colors and embossed gel by gel hand painting techniques. The convergence of famous paintings and nail art can be used as a way to improve artistic value and promote new design development.
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Turpie, Edward Jonathan. "Drawing Ed Ruscha." Drawing: Research, Theory, Practice 5, no. 2 (December 1, 2020): 291–303. http://dx.doi.org/10.1386/drtp_00038_1.
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This project aims to discuss drawing as a method of bridging the void between digital imaging technologies and physical drawing in the fine art domain. It does so by investigating the role of drawing and printing in contemporary portraiture. Drawn and printed silkscreen portraits are made from a synthesis of graphite marks, digital pixels and water-based ink deposited on paper surfaces. The practice-led research described here explores the materiality of the emergent image when drawing is impressed on an electronic media trace. This investigation is timely in the context of the unprecedented impact of digital technologies on contemporary culture that tend to displace the physicality of drawing. By taking an approach to portraiture whereby artist and sitter do not meet in person, the project initiates a portrait of Ed Ruscha using the medium of video images. Digital electronic images held pixel by pixel in smartphone camera and computer hard disks are interpreted into physical drawing environments to make an expressive representation of a human form. Tactile gestural mark-making is contrasted with electronic imaging to create a pensive image where techniques are blended. The process and methodology are described, and the artistic outputs are shared across the globe through digital and analogue communication systems.
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Jain, Sudha. "IMPORTANCE OF DRAWING IN SOCIAL DEVELOPMENT OF PERSONS IN SOCIETY." International Journal of Research -GRANTHAALAYAH 7, no. 11 (November 30, 2019): 99–103. http://dx.doi.org/10.29121/granthaalayah.v7.i11.2019.3715.
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Drawing is used to express one's creativity, and therefore has been prominent in the world of art. Throughout much of history, drawing was regarded as the foundation for artistic practice. Initially, artists used and reused wooden tablets for the production of their drawings. Following the widespread availability of paper in the 14th century, the use of drawing in the arts increased. At this point, drawing was commonly used as a tool for thought and investigation, acting as a study medium whilst artists were preparing for their final pieces of work. The Renaissance brought about a great sophistication in drawing techniques, enabling artists to represent things more realistically than before,[and revealing an interest in geometry and philosophy.
The invention of the first widely available form of photography led to a shift in the hierarchy of the arts. Photography offered an alternative to drawing as a method for accurately representing visual phenomena, and traditional drawing practice was given less emphasis as an essential skill for artists, particularly so in Western society. The 14th century, the use of drawing in the arts increased. At this point, drawing was commonly used as a tool for thought and investigation, acting as a study medium whilst artists were preparing for their final pieces of work. The Renaissance brought about a great sophistication in drawing techniques, enabling artists to represent things more realistically than before, and revealing an interest in geometry and philosophy. It plays very important role in development of persons in society.
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Bailey, Colin B. "Renoir’s Bathers (Study for The Great Bathers): A Recent Acquisition at the Morgan Library and Museum." Nineteenth Century Studies 33, no. 1 (December 1, 2021): 78–91. http://dx.doi.org/10.5325/ninecentstud.33.0078.
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Abstract This essay focuses on the Morgan Library and Museum’s recently acquired drawing Bathers (1886–87), made in preparation for Pierre-Auguste Renoir’s painting The Great Bathers (1885–87; Philadelphia Museum of Art). It is the first in-depth study of the drawing and also reexamines the artist’s process in developing and refining his celebrated painting. Considering the visual and written sources of Renoir’s creative processes as well as the artist’s intellectual concerns during the mid-1880s, I discuss Bathers together with Renoir’s other large-scale preparatory figure drawings, which adopted similar graphic techniques. I hope not only to clarify the chronology of Renoir’s production of The Great Bathers but also to offer a fresh appraisal of the role drawing played in Renoir’s working practice in the decade following his emergence as one of the leading figures in the Impressionist movement.
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Nam, Ki-Sun. "A Study on Art Make-Up Designs Applying Formative Images of Marc Chagall -Focusing on Practical Training Cases-." Journal of the Korean Society of Cosmetology 28, no. 3 (June 30, 2022): 540–52. http://dx.doi.org/10.52660/jksc.2022.28.3.540.
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This Study is about art make-up designs applying formative Images of Marc Chagall focusing on practical training cases. The art makeup designs express aesthetical and emotional aspects of human mind. And the art make-up designs are in need of drawing skills and aesthetic sense. All the art make-up works were done by distortion, modifications and exagerations. The unique colors and the shapes of Marc Chagall’s art works were expresses in body torso through brush techniques. From this practical training cases, I expect that Marc Chagall’s painting skills could be applicable to the art make-up works. Finally, Six art make-up designs were created by six college students in Daejeon. The making process of art make-up designs were recorded every weeks by the students. Art make-up designs production method works with colors and geometric patterns inspired by flat art techniques hand-painting techniques. The results of this practical training cases contained different art make-up techniques and colors of Chagall's work. Formative characteristecs of Marc Chagall were applied to an expression method. New six art make-up designs were developed and the ides, types and expression method of art make-up were examined. In the future, we expect unique and beautiful high quality of art-make up designs.
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Putri, Helce Marisa, Hasnawati Hasnawati, and Nani Yuliantini. "Pembuatan Karya Seni Menggambar Dekoratif pada Caping dalam Mata Pelajaran SBK Siswa SD Kota Bengkulu." JURIDIKDAS: Jurnal Riset Pendidikan Dasar 2, no. 3 (January 31, 2020): 218–28. http://dx.doi.org/10.33369/juridikdas.2.3.218-228.
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This study aims to describe the process of making and drawing decorative work of caping in the subjects of Art Culture and Skills (SBK) class III A SD Negeri 07 Kota Bengkulu. The type and method of this research is skin research and descriptive method with participant observation technique. The research subjects were all students of class III A SD Negeri 07 Kota Bengkulu which amounted to 31 people. The research instrument is a human instrument, using obsevation guidelines, interview guides, and guidelines of the work. Data collection techniques such as observation, interview, and documentation / work. The data analysis of the process of making works is done by studying the data and then reducing, display, and drawing conclusions. Analysis of the work data will be discussed by looking at the elements and principles of art that exist. The process of making six works of decorative drawing art on the caping begins with a discussion determines the motive to be chosen in making the work. Followed by preparing tools and materials. After that give the basic paint on the caping. Selanjunya make motif design and thicken motifs and then coloring motifs. Six pieces of artwork drawing decorative on the caps made students contain elements and principles of fine art that contains elements of lines, fields, and colors. Placement of these motives on the caping contains the principles of art that is the principle of unity, balance, rhythm, emphasis and harmony.This study aims to describe the process of making and drawing decorative work of caping in the subjects of Art Culture and Skills (SBK) class III A SD Negeri 07 Kota Bengkulu. The type and method of this research is skin research and descriptive method with participant observation technique. The research subjects were all students of class III A SD Negeri 07 Kota Bengkulu which amounted to 31 people. The research instrument is a human instrument, using obsevation guidelines, interview guides, and guidelines of the work. Data collection techniques such as observation, interview, and documentation / work. The data analysis of the process of making works is done by studying the data and then reducing, display, and drawing conclusions. Analysis of the work data will be discussed by looking at the elements and principles of art that exist. The process of making six works of decorative drawing art on the caping begins with a discussion determines the motive to be chosen in making the work. Followed by preparing tools and materials. After that give the basic paint on the caping. Selanjunya make motif design and thicken motifs and then coloring motifs. Six pieces of artwork drawing decorative on the caps made students contain elements and principles of fine art that contains elements of lines, fields, and colors. Placement of these motives on the caping contains the principles of art that is the principle of unity, balance, rhythm, emphasis and harmony.
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Craig, James. "The Autobiographical Hinge: Revealing the self in architectural drawing." Drawing: Research, Theory, Practice 6, no. 2 (December 1, 2021): 273–89. http://dx.doi.org/10.1386/drtp_00065_1.
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Some argue that the tendency to ignore the self as an aspect of the relationship between architects and their drawings is a consequence of the hegemony of digital modes of representation, others that it is inherent to traditional perspectival and projective techniques. It is in this repressive context that architects struggle to consider their subjectivity in relation to the drawings they produce. This article aims to divert this subjective distance by proposing a method for revealing the unconscious forces that abide between architects and architectural drawings. Through a comparative analysis of this intermediate space with the psychoanalyst Donald Winnicott’s theory of the Transitional Object, the author considers his own relationship to perspective drawing and materializes this through the production of a drawing apparatus titled: the autobiographical hinge. Bilaterally, the conception of this drawing apparatus is founded on examples of visual art practice that challenge the repressive qualities of linear perspective, this includes the work of Penelope Haralambidou (2003); Lawrence Gowing (1965) and Marion Milner (1950). In a time of dissolved agency for the architect, this article presents a method through which to mine one’s own relationship to architectural drawing, through which a disturbance to those codified regimes occurs as a consequence of one’s own subjectivity being recognized.
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Gildersleeve, Ryan Evely, and Kelly W. Guyotte. "Readymade Methodology." Qualitative Inquiry 26, no. 8-9 (October 24, 2019): 1122–30. http://dx.doi.org/10.1177/1077800419881661.
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Neither inside, nor outside. Between art and non-art. Visual artist, Marcel Duchamp’s readymade art installations of the early 20th century mapped a space of between-ness, of liminality, through previously drawn boundaries in the art world. In this article, we put forth readymade methodology as a liminal approach to (post)qualitative research. Drawing from Duchamp’s readymade art installations, we situate dominant methodological practices as collections of ready-made techniques and technologies for interpreting the world (research as instrumentation); such processes, we argue, are distinct from readymade inquiry (research as immanent and multiplicitous). Readymade methodology disorients knowings and illustrates lines of flight produced from inversions of taken-for-granted technical application of research methods. In this article, we think methodology differently, not limiting ourselves to the constraints/comforts of conventional qualitative methodology. Just as Duchamp interrogated the in-between of art and everyday life, readymade methodology flourishes in/with the potentiality of twisted liminal spaces in (post)qualitative inquiry.
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Ponelienė, Reda. "Preschool-age children’s education by art: problems and possibilities." Problemy Wczesnej Edukacji 42, no. 3 (September 30, 2018): 134–43. http://dx.doi.org/10.26881/pwe.2018.42.14.
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In the preschool age, one of children’s favourite activities is drawing, playing with colours, shapes, various techniques. The empirical study conducted in March, 2018 (N=182) demonstrated that respondents evaluated preschoolers’ education by art as significant for children’s educational achievements, self-development of value approaches and abilities. The teachers who participated in the research disclosed the possibilities provided by art in the educational process and pointed out the problems that hindered appropriate organization of art activities for preschoolers.
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Kay-Jones, Simon. "The rupture as a drawing-in of experience." Drawing: Research, Theory, Practice 4, no. 2 (November 1, 2019): 311–25. http://dx.doi.org/10.1386/drtp_00010_1.
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Abstract The rupture as a drawing-in of experience constructs perspectives on architectural education, as an act of architectural discourse proper in order that architectural education might facilitate the learning of how to draw-in experience as a process. This paper unpacks material engagement theory from the vantage of drawing and elicits three levels of engagement; of action, object and meaning together with a fourth proposed here, that of experience. It goes on to follow a student-led project using rupturing as a methodological approach to understand the role of drawing and the four aspects that influence practitioners: the act of drawing as a means to illuminate fields of learning as distinct paradigms of design strategies; the process of drawing as a strategy of architectural work; the construction of a drawing process and Learners Journey as a sequentially mapped out procedure of work; and the experiencing of drawing in broadening the context to develop a new terroire or theory of drawing. These four aspects of drawing evidence an emergent theory and methodological approach in using drawing to engage with cultural and architectural conversations, materially. Through the process of rupture, this text positions drawing at the heart of a reframing of the interactions with things and experiences of material agency and material imagination through the act of drawing. Rupturing as a method therefore offers the potential for significant and insightful opportunities in understanding the role of drawing and its ability to further MET theory's main aims. The paper also puts forward the notion that the role of drawing more broadly may sit along materiality, material turns and its techniques to interact into and through a wider anthropological study of drawing as a comparative study in the materiality of art; the way drawing affects our learning, our thinking and our understanding of culture and matter.
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Lytov, Maxim S. "CULTURAL MEANINGS OF FORWARD AND REVERSE PERSPECTIVES IN FINE ART." Russian Studies in Culture and Society 7, no. 3 (September 29, 2023): 80–101. http://dx.doi.org/10.12731/2576-9782-2023-3-80-101.
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The relevancy of addressing the problem of forward and reverse perspective in the depiction of space on the plane when teaching drawing to children and students is due to the dominance of geometric stereotypes in their pictures, reflecting the photographic character of the surrounding video environment.
The aim of the study: in the conditions of increasing trends of standardization and unification of the global society – to substantiate the cultural meanings of including the forward and reverse perspectives in the content of teaching drawing – to master the cultural heritage of Old Russian art, to study and preserve the diversity of visual techniques of small ethnic groups of the country, to develop the creative potential of self-expression in drawing “as I see it”.
The methods of analysis, generalization, comparison, contrast, as well as cultural, ecological and complex approaches were used.
The result of the study was the revealed contradiction between the fact of dominance of reverse perspective in the perception of children of different nationalities and representatives of indigenous peoples who have not been exposed to civilization, on the one hand, and the teaching in modern schools of direct linear perspective in drawing as the only “correct”, the formation of stereotypes of geometric representation of the surrounding world in students.
The conclusion is made about the importance of nature- and culture-oriented orientation of teaching drawing to give it individuality, interest in the cultural heritage of the country and the desire to develop modern domestic fine arts. Area of application of the results: pedagogical process of teaching drawing at school and university.
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Shestobuz, Olha. "FORMATION OF AESTHETIC TASTES OF JUNIOR SCHOOLCHILDREN IN ART LESSONS." Problems of Modern Teacher Training, no. 2(24) (October 29, 2021): 44–50. http://dx.doi.org/10.31499/2307-4914.2(24).2021.244190.
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The article reveals the peculiarities of the formation of aesthetic tastes of junior schoolchildren in art lessons. The content and tasks of artistic and aesthetic development of students are determined by the categories of aesthetic culture, in particular the formation of aesthetic tastes, knowledge, needs, ideals, feelings, development of creative abilities, artistic and aesthetic skills. It was found that the creative nature of the process of formation of aesthetic tastes in the study of art, during art activities as part of the diverse development of personality, requires pedagogical conditions: an acquaintance of junior students with aesthetic, artistic and social content of art as an object of aesthetic tastes; mastering visual knowledge, practical skills and abilities in various types of art activities; use of non-traditional techniques and materials for mastering visual arts; creating a favourable, emotionally rich, humane learning environment in the classroom.The article also highlights the importance of artistic activity in the formation of aesthetic tastes of children of primary school age. During the creation of a certain image or product, students develop artistic taste, observation, creativity, aesthetic perception. In the process of artistic activity, children have the opportunity to embody in works their emotional state, their attitude to the surrounding reality, learn to create the beauty of the world, to notice it in life and in works of fine arts.It is claimed by the author that for the development of imagination, fantasy, creative activity of students, mastering certain knowledge and skills, ability to think, fantasize, it is advisable to use non-traditional drawing techniques that demonstrate an unusual, original combination of materials and tools.
Keywords: aesthetic education; aesthetic tastes; art lesson; junior schoolchildren; art activities; pedagogical conditions; means of art; non-traditional drawing techniques.
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Aulia, Fitri. "ART THERAPY BENCANA SEBAGAI UPAYA PENANGANAN TRAUMA ANAK PASCA GEMPA LOMBOK." Sarwahita 16, no. 02 (November 29, 2019): 116–28. http://dx.doi.org/10.21009/sarwahita.162.03.
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This activity aims to treat psychologically the victims of earthquakes in Lombok which occurred in mid-2018. The targets were chosen based on the location of the earthquake affected in severe status, namely in SDN 1 Sembalun. Children become important victims to be given care so as not to experience prolonged trauma. Art Therapy is the right method to be applied to children. The disaster art therapy carried out in this activity is, (1) Free drawing on the clouds. (2) Drawing feelings. (3) Free writing techniques. (4) Free storytelling techniques. Based on the results of the evaluation of activities it was found that children became calmer. It is expected that through this activity elementary teachers are able to have skills in overcoming students' anxiety and trauma in the event of aftershocks. First, post-earthquake trauma in children is easy to return to if aftershocks occur. Secondly, a continuous psychological assistance program is needed from all teachers and the community. Third, it is necessary to improve physical facilities and play environments in the community and schools.
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Žmukić, Maja. "Representation of spatial design in teaching of art culture od III and IV grades of primary education." Post Scriptum 10, no. 10 (November 12, 2021): 141–54. http://dx.doi.org/10.52580/issn.2232-8556.2021.10.10.141.
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The subject of this paper is the application of sculptural studies in the primary school. The goal of the research is to examine and determine the prevalence of the application of techniques in the primary school grades. The problem of the research is whether the teaching of art studies is realized according to the current curriculum in the primary school grades III and IV. The sample consists of 214 students and 10 teachers. The research methods selected for deriving relevant conclusions are: descriptive method, theoretical analysis method, historical method. Results obtained through a survey questionnaire, related to the surveyed teachers, about whether they represent fields of art equally in their art classes, are that they answered in the representation of 100%, as well as the majority of students (96.26%) who answered affirmatively to the same question. In answering the question what the most art classes are about, the majority of students (82.71%) answered drawing, while the remaining 18.69% answered that they usually paint.According to the students, the areas of art are not equally represented in teaching, as shown by the results of a survey conducted among teachers. With this paper, it has been determined that is not fulfilled or equally represented in the art studies. And that the two fields of art, drawing and painting, are the most represented, while the often left out or insufficiently processed, continue to introduce students to other techniques.
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Qian, Wenhua, Dan Xu, Zheng Guan, Kun Yue, and Yuanyuan Pu. "Simulating Chalk Art Style Painting." International Journal of Pattern Recognition and Artificial Intelligence 31, no. 12 (September 17, 2017): 1759026. http://dx.doi.org/10.1142/s0218001417590261.
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Different kinds of illustrations and artistic imagery can be generated or simulated through the nonphotorealistic rendering (NPR) technique. However, designing and simulating new NPR artistic styles remains extremely challenging. Chalk art style is a very famous artistic work all over the world, and few algorithms have been put forward to illustrate this style. This paper presents a novel NPR technique which generates a chalk art drawing from a 2D photograph automatically. We aim at obtaining a set of lines surface with coarse appearance and generating stroke textures of the real chalk painting. Firstly, the edge of the source image is extracted by difference-of-Gaussian filter method. To simulate chalk painting’s lines, image diffusion and enhancement techniques are proposed to produce coarse and rough lines. Secondly, we developed an improved line integral convolution and dilation operation methods to produce the chalk stroke texture. Finally, the edge image, stroke texture image and color image will be mapped to another background image to generate the chalk art drawing. Experimental results are presented to show the effectiveness of our method in producing the color chalk stylistic illustrations, and the methods can simulate the characters of the real chalk art painting. The proposed method of this paper will enlarge the research and application fields of NPR. Meanwhile, it provides a tool for the user to create chalk art paintings via computers even without painting skill.
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Rina Wati, Nova, Bambang Parmadie, and Pebrian Tarmizi. "PEMBUATAN KARYA SENI MENGGAMBAR DEKORATIF PADA TALENAN KAYU DI KELAS IIIB SDN 04 KOTA BENGKULU." JURIDIKDAS: Jurnal Riset Pendidikan Dasar 7, no. 1 (April 30, 2024): 41–46. http://dx.doi.org/10.33369/juridikdas.v7i1.11769.
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AbstractThis study aims to describe the process and decorative drawings on a wooden cutting board in class III B Public Elementary School 04 Bengkulu City. The types and methods are qualitative research and descriptive methods with participatory observation techniques. The subjects in this study were students of class III B Public Elementary School 04 Bengkulu City, totaling 30 people. The research instrument is a human instrument. Data collection techniques using observation, interviews, and documentation. Data analysis is performed by analyzing the data then displaying the data, data condensation and drawing conclusions. Data analysis of the work is discussed by looking at the elements of fine arts and the principles of art. The research results obtained by researchers are that of the 15 students' work there are plant motifs, animal motifs, stylation motifs, and geometric motifs. The process of making decorative artwork on a wooden cutting board by students begins with preparing tools and materials, giving basic paints, making design motifs, and coloring the motifs as a solution. The works of decorative drawing on wooden cutting boards have used fine arts elements and fine arts principles. but the dark light element is not used. Kata Kunci: Descriptive study, Decorative drawing, wooden cutting board.
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Bilhorodska, Olena, and Valentina Hrihorieva. "METHODOLOGICAL AND TECHNICAL ENVIRONMENT OF WATERCOLOR PAINTING FOR STUDENTS-ARCHITECTORS." Current problems of architecture and urban planning, no. 61 (October 29, 2021): 57–68. http://dx.doi.org/10.32347/2077-3455.2021.61.57-68.
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The article considers that watercolor technique is the most advanced one for the transfer of living architectural forms of structures in the drawing. Drawings of architectural projects should give a full understanding of the correct purpose, about the cost-effectiveness, strength and beauty of the future building. Therefore, drawings must be clear, understandable, expressive, their graphic performance must be based on the high foundations of realistic art. Watercolor is a professional and traditional visual means of an architect. Watercolor is an amazing material that combines the ability to comprehend both the pictorial, color organization of the image and the graphic, sign-tonal one. The architect, referring to the picturesque development of the drawing, first of all, must determine its purpose and choose from all the numerous visual techniques of watercolor painting those that will better contribute to the expressiveness of this drawing. Then they will be correctly used: the perfect visual equipment, a large arsenal of tools, a wide range of techniques, a large palette of colors, various possibilities of tools and materials. These features allow you to cope with multitasking in a wide variety of visual arts. The main features of watercolor painting are high airiness and transparency. However, architectural watercolor has its own specific conventions, some generalization, laconicism, business simplicity, clarity, a certain limited palette of colors, but at the same time it successfully fulfills its task only when it proceeds from the position of realistic painting.Such watercolor techniques as: “wet”, “dry”, “glaze”, “ά la prima” are considered The technique of watercolor painting is a visual reflection of the main theoretical postulates of the composite space organization on the plane. Watercolor techniques solve these problems and clearly show the interaction of tonal and color characteristics of all elements of the composition.
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Tkachenko, G. A. "ART THERAPY IN COMPLEX REHABILITATION OF CANCER PATIENTS." Physical and rehabilitation medicine, medical rehabilitation 1, no. 3 (September 15, 2019): 37–39. http://dx.doi.org/10.36425/2658-6843-2019-3-37-39.
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Experimental psychological study of 112 patients using the scale of HADS showed that after 5 individual sessions lasting from 45 to 60 minutes the level of anxiety decreases from 12.1 ± 2.1 to 8.6 ± 1.2 points, the number of patients with a high level of depression decreases significantly and the number of patients without depressive symptoms increases. We used techniques of drawing "health" and "disease", "self-portrait", "tree of life". Art therapy reduces anxiety and depression, helps to overcome the crisis situation associated with the disease, and adapt to a new life situation.
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Robertson, Emma. "A sense of coherence: Drawing for the mind." Drawing: Research, Theory, Practice 5, no. 2 (December 1, 2020): 333–50. http://dx.doi.org/10.1386/drtp_00042_1.
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As part of the award-winning Big Anxiety Festival in Australia, an exhibition of mixed-media drawings of plants and seeds was displayed at the University of Sydney, at the same time as two public drawing workshops in the Royal Botanic Garden Sydney. This paper describes and summarizes the various drawing techniques used in these workshops, and discusses the feedback from participants, who self-identified as having anxiety. Drawing using different types of approaches allowed workshop participants to mediate their tacit knowledge of the symptoms and solutions of living with anxiety, and to transition to a lived experience of proactively using drawings to improve their individual cognition, mindsets and mental health. Utilizing the platform afforded by the promotion of Mental Health Month in New South Wales, allowed the drawing exhibitions and workshops to be understood more broadly within an interdisciplinary context, which embedded their impact on other fields of research, including ecopsychology and biophilia, in a salutogenic model of practice. Specific to this approach, a ‘sense of coherence’ was deliberately embedded in both of the workshops’ sequential drawing exercises, which were observational and objective in intent. The exhibitions in 2017 and 2019 also consciously deployed a ‘sense of coherence’ in their design. Documentation drawings have recently been used as a tool to alleviate anxiety and promote wellness in medical staff working in a UK Emergency Department during the COVID-19 pandemic. This demonstrated the widespread potential applications for drawings to provide an antidote and a method of communication to proactively and positively assist mental health. Further research and exploration of the role that drawing plants and nature can play in the construction of learning in the context of individuals struggling with anxiety may offer routes to new knowledge and better understanding and potentially enhance connections between art and health researchers and institutions globally.
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Piwowarska, Ewa. "ABILITY OF CHILDREN TO DRAW AND SPATIALLY MODEL “A TREE”." SOCIETY. INTEGRATION. EDUCATION. Proceedings of the International Scientific Conference 2 (May 21, 2019): 555. http://dx.doi.org/10.17770/sie2019vol2.3785.
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Many well-known educationalists and psychologists noticed that children included “a tree” in their drawings very early, which usually occurred next to a figure or a building. The drawing of the tree, which was treated as a substitute of graphical picture of a figure, constituted material for the research they conducted. Artistic activity is also one of the determinants of diagnosing child’s development and one of many opportunities to say about particular topics, which are preferred by the child. Another precious activity is -next to the drawing-spatial modelling of soft material. The research conducted with the use of the technique of analysis of the artistic works aimed at defining the course of development of “a tree” drawn and spatially modelled by children at preschool age. It was important for the conducted studies to distinguish models of “a tree” – created in two art techniques – typical of particular age along with their characteristic features (clarity of the message, colouring, details used). The subject of the study concerned artworks on flat surface and three dimensional models of a tree formed by children aged 3 to 6 years. Distinguished characteristic features of the drawn and spatially modelled “tree” may become helpful for teachers in assessing development of children.