Relevant bibliographies by topics / Sketchbooks

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Sketchbooks'

Author: Grafiati
Published: 4 June 2021
Last updated: 29 July 2024

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Journal articles on the topic "Sketchbooks"

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Hobbs, James. "Digital and tangible: The accessibility of sketchbooks in the UK's memory institutions." Art Libraries Journal 44, no. 4 (October 2019): 180–84. http://dx.doi.org/10.1017/alj.2019.27.

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How are sketchbooks collected, organized, indexed and made accessible in the UK's memory institutions? My research is outlined, describing how, through interviews and a questionnaire sent to sketchbook-holding institutions, they are acquired, who they are accessed by, problems faced by those accessing them, the extent to which sketchbooks can be handled and examined physically, and the benefits and consequences of digitization and online access of sketchbooks. Finally, institutions offer ideas on how access to sketchbooks can be improved.
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Chancer, Joni, and Gina Rester Zodrow. "Sketches of Life." Voices from the Middle 4, no. 3 (September 1, 1997): 1–8. http://dx.doi.org/10.58680/vm19973752.

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Describes an adventure through writing and art. Discusses the many uses of the blank sketchbooks\journals that students make. Describes an integrated writing and art workshop in which sketchbook\journal items are developed into finished pieces. Describes the evolution of a focused classroom inquiry project (a lunar investigation). Includes students drawings, poems, and observations.
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Marston, Nicholas. "Approaching the Sketches for Beethoven's Hammerklavier Sonata." Journal of the American Musicological Society 44, no. 3 (1991): 404–50. http://dx.doi.org/10.2307/831645.

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Contrary to his usual procedure, Beethoven seems to have composed the "Hammerklavier" Sonata without the aid of a desk (or standard-format) sketchbook: the surviving desk sketches for the sonata are to be found on a number of loose leaves and bifolia only. An examination of the concordances between these sources, some of which are introduced here for the first time, and the pocket sketchbooks containing material for the sonata makes it possible to place the loose desk leaves in a tentative order, and thus lays the foundations for a future study of the genesis of the sonata. The present study also uses the pocket sketchbooks to identify previously unsuspected desk sketches for the sonata, and traces the persistence in these of early plans for the tonal structure of the work.
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Hall, Emese. "‘Beanz Meanz Professional Learning’: Beginning a Pedagogical Reflective Sketchbook1." International Journal of Education Through Art 16, no. 3 (September 1, 2020): 372–79. http://dx.doi.org/10.1386/eta_00039_3.

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I was attempting to write a traditional text-based article defining what I have come to term a ‘Pedagogical Reflective Sketchbook’. The aim was to consider what insights might be gained from existing research on teachers’ use of reflective sketchbooks ‐ and similarly named books ‐ for their professional learning, leading to my definition of a Pedagogical Reflective Sketchbook. However, I told myself (aloud) ‘I can’t say what I want to say in words’. Although not a totally surprising revelation, it was a call to action. I, therefore, began to develop my own visual musings centred on the analogy of being like a Michelin-starred chef serving baked beans on toast ‐ a pedagogical frustration in my current academic role. In order to better understand a Pedagogical Reflective Sketchbook, it made perfect sense to begin one, in keeping with the spirit of my research intentions. This visual essay explains more…
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Pedler, Caroline. "Sketchbook as therapist: Self-authorship and the art of making picturebooks." Journal of Illustration 7, no. 1 (August 1, 2020): 147–77. http://dx.doi.org/10.1386/jill_00029_1.

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To self-author means to have the capacity to make coherent and informed decisions based on one’s internal beliefs and to not rely on, or be swayed by, external sources; to trust one’s internal voice and identity. In this article, I look to self-authorship as a framework to enable the illustrator to better understand personal engagement and experience of practice and visual identity through critically informed decision-making based on one’s internal beliefs; using self-authorship as a phenomenological approach to practice, encouraging the exploration of and reflection on the individual facets of process and self with a more reflective and critical eye. Two case studies set the foundation of this article, and in case study one, I reflect on using personal sketchbooks created on a master’s degree and later during a period of great personal distress. As an established illustrator, I explore the way these sketchbooks have revealed the lengthy steps of redefinition of my practice over the past decade or more. Presenting a renewed ‘sense of identity’ for me as practitioner and for the work I create. Case study two is a prelude to the conclusion and sets in place a context for my own self-authorship as a picturebook maker. Building on Fauchon and Gannon’s Manifesto for Illustration Pedagogy, through personal exploration of self-authorship and the role of the sketchbook, this article presents the use and analysis of the sketchbook and mark making as a route to 'visual self-discovery' towards a more authentic picturebook practice.
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Ahmed, Tanveer. "Are fashion sketchbooks racist?" Fashion, Style & Popular Culture 00, no. 00 (February 18, 2021): 1–15. http://dx.doi.org/10.1386/fspc_00055_1.

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Drawing on scholar Marc Augé’s concept of non-place, this article contributes to growing studies that focus on the ways in which fashion produces racism. Recent years have shown a rise in the scrutiny by social media of racist fashion garments and campaigns that problematically stereotype, appropriate and Other marginalized cultures. However, less attention has been given to how racism is constructed through design practices in education and curricula, such as through the different activities and techniques that constitute the fashion ideation process. Indeed, few studies to date have examined how commonplace design tools such as sketchbooks, measuring tapes or mannequins reinscribe forms of Othering. This article sets out to critically examine representations of Othering in fashion design sketchbooks and discuss the role this ubiquitous fashion tool might play in encouraging racist fashion representations. The sketchbooks of undergraduate fashion design students were chosen for this study due to the importance of fashion education as a catalyst for future fashion cultures. From an initial sample of seventy sketchbooks, twelve sketchbooks showed representations of cultural difference through an over-reliance on excessive imagery, with limited text. These strategies showed a pattern of reproducing ahistorical static ideas which reinforce cultural hierarchies. Marc Augé’s concept of non-place is used in this study to refer to how time and space are mobilized using various design techniques and employed within sketchbooks. Such techniques show paradoxical representations of cultural differences, which lack context-specific histories and identities. The study identifies two key strategies used within fashion sketchbooks: firstly, the de-contextualization of cultural difference, and then the re-contextualization of cultural difference. Combined, these strategies show how using collaging techniques in sketchbooks in the fashion design process erases meaning by compressing time and space.
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Restrepo-Quevedo, Diego Aníbal, Juanita González Tobón, Roberto Cuervo, Jorge Camacho, and Edgar Hernández-Mihajlovic. "Metacognitive Transcendence in the Learning of the Project Activity of Design through the Sketchbook Visuality." Kepes 19, no. 25 (January 1, 2022): 295–324. http://dx.doi.org/10.17151/kepes.2022.19.25.11.

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This article aims to report the transition from intuitive to intentional projective activities in design recorded in the visual modes of sketchbook to analyze the metacognitive processes of design students. Phenomenography was used as an empirical sampling method to diagnose the sketchbooks of industrial design and graphic design students. The observation criteria focused on describing the metacognitive characteristics of the students with respect to the way they recorded their ideas visually, which showed design-specific projective actions. This research demonstrated and codified how students externalize intentional approaches in their sketchbook iterations, which can be grouped into three representation strategies: technical, methodological, and reflective; they are related to their experiences in projective activity. Consequently, we propose a new category called metacognitive transcendence, which refers to a strategy for controlling and regulating cognitive processes to transform an intuitive action into an intentional action mediated by a cognitive artifact: the design sketchbook. Three ways of metacognitive transcendence are suggested: instrumental (technical aspects), procedural (related to projection), and comprehensive (own reflection about the project itself).
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RAMKALAWON, JENNIFER. "THE SKETCHBOOKS OF POWYS EVANS." Archives: The Journal of the British Records Association 19, no. 82 (October 1, 1989): 67–73. http://dx.doi.org/10.3828/archives.1989.8.

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Turkmen, Banu Bulduk. "Use of experimental materials in illustrations: Illustrated notebook designs." New Trends and Issues Proceedings on Humanities and Social Sciences 5, no. 6 (September 14, 2018): 44–52. http://dx.doi.org/10.18844/prosoc.v5i6.3694.

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The illustration is a field kneaded with contemporary interpretation languages and finds a new breath with the forms used in new media environments. Similarly, this doesn’t substitute for the traditional materials so artists continue to describe what is intended on various surfaces and encourage artists to develop alternative languages in their illustrations. When the tendency of illustrator’s interpretation is combined with the idea of bringing paper and material together, the formation of originally designed areas is the result of this orientation. This article focuses on the diversity of the areas in which paintings are expressed. With the illustrations that also come to life on the surfaces of different textures, sketchbooks are transformed into valuable objects of design. The examination of this situation is covered by the method of the article, the formal analysis of the design objects is presented with examples, and the research is completed by examining the place of the experimental materials in the illustrations.Keywords: Illustration, illustration language, illustration techniques, sketchbook, illustrated notebook.
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Sturdee, Miriam. "Keeping Things Real with Peter Kariuki." Interactions 31, no. 1 (January 2024): 10–11. http://dx.doi.org/10.1145/3636549.

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Dissertations / Theses on the topic "Sketchbooks"

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Alaluusua, Elisa. "Sketchbooks : a comparative analysis of the use of sketchbooks by contemporary artists." Thesis, University of the Arts London, 2016. http://ualresearchonline.arts.ac.uk/12167/.

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This qualitative research project aims to gain a theoretical and practical understanding of what role sketchbooks play in the creative practice of contemporary artists, and what their shared and individual sketchbook methods are. A comparative analysis of thirteen contemporary artists’ sketchbook practices is offered. During the course of the research the private and public nature of sketchbooks emerged as an important and engaging area of inquiry that helped narrow the focus of the research process and offered an entry point for the analysis. The methodology used was fundamentally that of artistic research that drew heavily upon the characteristics of artistic practice in the field of drawing; as well as from hermeneutics, (auto)ethnography, and phenomenological analysis, each of which informed my practice and processes. This research aims to be useful for those conducting research into sketchbooks, drawing, drawing and writing, the nature of artistic process, creativity and pedagogy. The outcomes of this research are presented in two parts, in the thesis text and the documentation of an exhibition. In the final analysis the outcome is a multi - layered and multi - voiced story that identifies individual and shared practices used by contemporary artists during the compilation of their sketchbooks. Both the research and resultant artwork aim to bring to the foreground the largely overlooked public aspect of the sketchbook and contribute to knowledge in the fields of drawing research, video installation art, archival research and interviewing in the context of artistic research. Throughout the project I used drawing and video practices as methods of investigating, interrogating and disseminating knowledge. Thirteen contemporary artists’ interviews were recorded as a core element of the primary research, then reconfigured as an artwork / video installation called Thirteen Narratives By Thirteen Artists About Their Sketchbooks.
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DiFuria, Arthur J. "Heemskerck's Rome antiquity, memory, and the Berlin sketchbooks /." Access to citation, abstract and download form provided by ProQuest Information and Learning Company; downloadable PDF file, 308 p, 2008. http://proquest.umi.com/pqdweb?did=1654490551&sid=4&Fmt=2&clientId=8331&RQT=309&VName=PQD.

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Price, William T. "Crow." Thesis, Virginia Polytechnic Institute and State University, 1994. http://hdl.handle.net/10919/94510.

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Pereira, Marcelo Eugênio Soares. "Acumular tesouros : um olhar sobre os cadernos de desenho." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2015. http://hdl.handle.net/10183/131745.

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A pesquisa intitulada Acumular tesouros: um olhar sobre os cadernos de desenho analisa um conjunto de cadernos de desenho, elaborados por mim, entre 2006 e 2015. O objetivo desse estudo é investigar de que modo a utilização frequente dos cadernos de desenho constitui uma poética e de que forma os cadernos são abordados na história da arte. A metodologia, de ordem qualitativa, possui por principal ação a continuidade da produção prática, assim como as relações estabelecidas entre os meus cadernos e os de outros artistas. Neste estudo, evidencio o aspecto heterogêneo dos cadernos, já que estes comportam e agregam grande quantidade de elementos gráficos, além dos desenhos, tais como colagens e escritos. É explorada a hipótese de que os cadernos não são apenas instrumentos para obras futuras; mas que são, principalmente, veículos que possibilitam experimentações artísticas das mais variadas naturezas. São abordados os conceitos de hupomnêmata a partir de Michel Foucault (2004; 2010; 2011); colagem por Antoine Compagnon (1996); e desenho a partir de John Berger (2010).
The present research entitled Accumulating treasures: a look upon sketchbooks analyzes a set of sketchbooks, created by myself between 2006 and 2015. The main objective of this research is to investigate in what way the frequent use of sketchbooks constitutes a poetics and how sketchbooks are addressed in Art History and in contemporary artistic production. The methodology – which follows a qualitative approach – has as main procedure the continuity of practical production as well as the establishment of relations among my sketchbooks and other artists’. I emphasize, in this study, the heterogeneous aspect of the sketchbooks, considering that they contain and aggregate a considerable amount of graphic elements besides the drawings, as well as collages and writings. The hypothesis explored is that the sketchbooks are not just an instrument to future works, but they are mainly means that allow artistic experiments of several kinds to be carried out. The concepts of hupomnêmata by Michel Foucault (2004; 2010; 2011); and collages by Antoine Compagnon (1996) are addressed along with the concept of drawing according to John Berger (2010).
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Jones, Rita A. "Developing High School Students' Ability to Write about their Art through the Use of Art Criticism Practices in Sketchbooks: A Case Study." Ohio : Ohio University, 2008. http://www.ohiolink.edu/etd/view.cgi?ohiou1213056907.

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Delgado, Eduard. "A thesis of architecture." Thesis, Virginia Tech, 1994. http://hdl.handle.net/10919/40814.

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Kerns, Shawn Allan. "SHAWN KERNS." Kent State University / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=kent1398093330.

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León, Luque José Ignacio. "Recorrido y conquista. Registros de una experiencia extranjera en la ciudad de Barcelona, 2016-2018." Doctoral thesis, Universitat de Barcelona, 2019. http://hdl.handle.net/10803/667095.

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Se trata de una investigación que se desarrolla a partir de la práctica del dibujo a mano alzada in situ y su reflexión procedimental y funcional, considerados desde el punto de vista de la experiencia del autor, asumiendo así un enfoque subjetivo o desde una psicología respecto del habitar temporalmente en tanto extranjero la ciudad de Barcelona. Sobre esta experiencia en una ciudad extranjera, para comprenderla y comprenderse en ella, se siguió una metodología que consideró la reflexión práctica y teórica a partir del trabajo de campo y de revisión/reflexión de bibliografía pertinente, considerando el recorrido como estrategia para su vivencia, asunto que reflexionamos desde una temporalidad que se construye a partir de secuencias e interrupciones, es decir, que se produce en duración. Se registró in situ diversas zonas de la ciudad de Barcelona, mediante dibujos a mano alzada a partir de recorridos que se fueron definiendo o descubriendo al azar, los cuales constituyen y configuran una huella gráfica de observaciones e interpretaciones relativas a la percepción del espacio urbano, sus cualidades y características formales y de uso. Mediante el recorrer y el dibujar para registrar, de la práctica y la teoría aunadas en una búsqueda que se fue ampliando y ramificando para aproximarnos a una imagen conquistada de la experiencia, se intentó dar cuenta del cómo se comprende, construye, expresa y organiza esta experiencia para ser comunicada.
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Souza, Luciano Mendes de. "Do objeto à camada intersubjetiva : o sketchbook como estrato do pensar gráfico." reponame:Repositório Institucional da UnB, 2015. http://dx.doi.org/10.26512/2015.12.T.19365.

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Tese (doutorado)—Universidade de Brasília, Faculdade de Comunicação, Programa de Pós-Graduação em Comunicação, 2015.
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Esta pesquisa tem como objeto o caderno de esboço, mais conhecido na atualidade como sketchbook. Partindo de uma análise primeiramente material e constitutiva do sketchbook enquanto artefato, buscou-se um entendimento do objeto como uma porta de entrada para construção de novas possibilidades de leitura dos meios de comunicação, de seus produtos e subprodutos. Na sequência, tencionou-se os aspectos estéticos do sketchbook no esforço de entendê-lo como agente de persistência do pensamento gráfico tradicional na atual cultura digital. Com a aproximação entre os atributos materiais e estéticos, chegou-se à proposição de que os sketchbooks insistem no pensar gráfico como camada de percepção para se confrontar a atualidade e suas dinâmicas virtuais. Nessa aproximação, as noções que ajudaram na estruturação do objeto e sua posterior análise foram a memória, o imaginário, a narrativa e o devir. Com isso, ficou evidente que o sketchbook é uma ponte entre o pensar e o fazer, que se estabelece como um importante vínculo intersubjetivo, ligando pessoas a experiências estéticas e também a experiências comunicacionais. Por fim, a tese propõe que o cenário que se estabelece nessa relação seja uma cultura do esboço onde não se pretende a finalização nem tampouco a forma definitiva.
The object of this research is the sketchbook. Starting from the material and constitution analysis of the sketchbook as an artifact, it was intended to understand the object as a door to the construction of new reading possibilities of the media, its products and subproducts. Afterwards, it was studied the esthetic aspects of the sketchbook in order to understand it as a persistence agent of traditional graphic thinking in nowadays digital culture. By approaching the material and esthetic characteristics, it was possible to conclude that sketchbooks continue the graphic thinking as a perception layer to confront present time and its virtual dynamic. In this approach, the notions of memory, imagery, narrative, and becoming contributed to the structure of the object and its further analysis. It was evident, then, that the sketchbook is a bridge between thinking and doing, that establishes itself as an important intersubjective link, connecting people to esthetic and communication experiences. Finally, the thesis proposes that the stage that appears in this relationship is the sketch culture in which the conclusion is not aimed, and not even a definitive form.
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Griffin, Kelvin. "An investigation into students' understanding of sketchbook annotation in art and design." Thesis, University College London (University of London), 2002. http://discovery.ucl.ac.uk/10020381/.

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This thesis is based on the observation that annotation in Art and Design Education has received little attention as a device for developing student understanding. As an Art and Design teacher I have, therefore, taken what I see as the predominance of 'labelling' practice further, exploring the potential of annotation by looking at the responses of five students to a number of questions designed to identify levels of understanding. This research has highlighted a number of issues concerning why and how annotation is used in sketchbooks, and what value these students attach to it. A desire to develop the effectiveness of annotation is the driving force behind this investigation. I have minded to understand the perceptions of those who teach, as well as the perceptions of those who are taught. By analysing both perspectives, different needs are addressed as part of an in depth examination of the data collected. I argue that annotating is the counterpart to sketching. By definition, both these activities are 'short-lived', and 'rapid', implying a longer time spent thinking, thinking that is not usually immediately available for consideration. Analysing particular language is crucial. I also argue that the process of condensing thought creates inferential gaps for us to consider. Furthermore, what happens during the time taken to annotate at different speeds is important to establish, in order to understand the reasons for its production. A developing theory emerges to suggest that further consideration of these aspects would enable students' concerns to be identified more clearly. This investigation sets out to articulate the understandings of students for the purpose of establishing meanings. This is achieved by considering two parallel lines of enquiry, relating time and intention. This triangulates thoughts about what motivates students to shorten written information to support their visual communications. Three main outcomes emerge. They relate to the language used by students, inferences inherent within their notes, and the pace of their annotation to indicate further significance. These outcomes make significant contributions to current awareness of the value of sketchbook annotation, and recommendations are made, about how to access this understanding, with a view to implementation.
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Books on the topic "Sketchbooks"

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Guy, Davenport, and Matthew Marks Gallery, eds. Artists' sketchbooks. New York (1018 Madison Avenue, New York,10021): Matthew Marks, 1991.

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Lita, Talarico, ed. Typography sketchbooks. New York: Princeton Architectural Press, 2011.

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Lita, Talarico, ed. Typography sketchbooks. London: Thames & Hudson, 2011.

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Davis, Stuart. Stuart Davis sketchbooks. New York: Grace Borgenicht Gallery, 1986.

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1890-1918, Schiele Egon, ed. Egon Schiele sketchbooks. New York: Rizzoli, 1989.

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West Sussex (England). Education Department. Advisory and Inspection Service., ed. Art: Using sketchbooks. Chichester: Education Department, West Sussex County Council, 1997.

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Day, Harold A. E. Old sketchbooks & albums. Hobart, Australia: Hobart Press, 2002.

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author, Landers Rick, ed. Infographic designers' sketchbooks. New York: Princeton Architectural Press, 2014.

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Gallery, Grace Borgenicht, ed. Stuart Davis sketchbooks. New York: Grace Borgenicht Gallery, 1986.

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1881-1973, Picasso Pablo, and Museo Picasso, eds. Picasso: The sketchbooks. Barcelona: Fundació Museu Picasso de Barcelona, 2020.

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Book chapters on the topic "Sketchbooks"

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Hastings-Clarke, Elizabeth. "Exploring musical sketchbooks." In Creative and Critical Projects in Classroom Music, 197–202. Abingdon, Oxon; New York, NY : Routledge, 2020.: Routledge, 2020. http://dx.doi.org/10.4324/9780367816179-22.

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Christiansen, Henning, and Bjørn Laursen. "Widening the Experience of Artistic Sketchbooks." In Lecture Notes of the Institute for Computer Sciences, Social Informatics and Telecommunications Engineering, 220–27. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-55834-9_26.

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Salgado de la Rosa, María Asunción, Javier Fco Raposo Grau, and Belén Butragueño Díaz-Guerra. "Thinking with the Hands. The Sketchbooks of the Architects." In Graphical Heritage, 381–92. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-47983-1_34.

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"Sketchbooks:." In Picasso's Demoiselles, 300–304. Duke University Press, 2019. http://dx.doi.org/10.2307/j.ctv11smjdg.15.

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"Sketchbooks: New Dating." In Picasso's Demoiselles, 300–304. Duke University Press, 2020. http://dx.doi.org/10.1515/9781478002048-012.

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"Albums and Sketchbooks." In Drawing: The Invention of a Modern Medium. Harvard Art Museums, 2017. http://dx.doi.org/10.37862/aaeportal.00039.012.

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"Innovative/Interactive Sketchbooks." In The Fashion Designer’s Sketchbook, 182–205. Bloomsbury Publishing Plc, 2016. http://dx.doi.org/10.5040/9781474222242.ch-006.

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Dagenbach, Udo. "FROM MY SKETCHBOOKS." In Sketch for Green, 7–10. De Gruyter, 2021. http://dx.doi.org/10.1515/9783868599473-001.

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"Sketchbooks (1940s–1990s)." In Richard Diebenkorn: The Catalogue Raisonné (Volume 4: 1967–1992). Yale University Press, 2016. http://dx.doi.org/10.37862/aaeportal.00337.9.

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"BEETHOVEN'S SKETCHES BEFORE GRASNICK I." In The Beethoven Sketchbooks, 511–23. University of California Press, 1985. http://dx.doi.org/10.1525/9780520324169-021.

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Conference papers on the topic "Sketchbooks"

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Urdziņa-Deruma, Māra, Austra Avotiņa, Inguna Karlsone, and Austra Celmiņa-Ķeirāne. "Sketching for Value-Embedded Learning." In 81th International Scientific Conference of the University of Latvia. University of Latvia Press, 2023. http://dx.doi.org/10.22364/htqe.2023.45.

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Sketching as a graphic record of the results of thinking is essential as a design presentation and can help develop design thinking and behaviour, creativity, problem-solving and communication skills. The aim of this study is to find the learning approach in which sketching can become a self-determined value for students. The data were collected through focus group interviews (n = 12) and a survey (n = 55) from three undergraduate programmes. The focus group interview results were analysed using the content analysis method. It was concluded that the lack of experience and skills, the limited time available for learning and the student’s desire to demonstrate perfect results in their coursework hindered their interest in learning to sketch. In order to make sketching more successful, it is essential to explain the importance and purpose of sketching. Assignments related to students’ future professional activity are recommended. Using methods that create a sense of freedom, including play, is also recommended. It is necessary to suggest and use different materials suitable for sketching, encourage the study of artists’ sketches and give regular assignments to promote interest in sketching. Regularly completing sketchbooks (portfolios), quick sketching exercises and balancing free and given assignments are required to make sketching a self-determined value for students.
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Lee, Jeehyung. "SketchBook." In SIGGRAPH07: Special Interest Group on Computer Graphics and Interactive Techniques Conference. New York, NY, USA: ACM, 2007. http://dx.doi.org/10.1145/1280720.1280753.

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Wijnen, Josje, and Elise van den Hoven. "Connected sketchbook." In Procedings of the Second Conference. New York, New York, USA: ACM Press, 2011. http://dx.doi.org/10.1145/2079216.2079221.

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Kondo, Nanako, Saori Goto, and Shinji Mizuno. "Amazing sketchbook." In ACM SIGGRAPH 2013 Posters. New York, New York, USA: ACM Press, 2013. http://dx.doi.org/10.1145/2503385.2503404.

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Zhang, Chao, Zili Zhou, Jiayi Wu, Yajing Hu, Yaping Shao, Jianhui Liu, Yuqi Hu, Fangtian Ying, and Cheng Yao. "Bio Sketchbook." In IDC '21: Interaction Design and Children. New York, NY, USA: ACM, 2021. http://dx.doi.org/10.1145/3459990.3465197.

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Mizuno, Shinji, and Kenji Funahashi. ""Amazing sketchbook advance"." In SIGGRAPH '17: Special Interest Group on Computer Graphics and Interactive Techniques Conference. New York, NY, USA: ACM, 2017. http://dx.doi.org/10.1145/3102163.3102210.

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Liapis, Antonios, Georgios N. Yannakakis, and Julian Togelius. "Designer modeling for Sentient Sketchbook." In 2014 IEEE Conference on Computational Intelligence and Games (CIG). IEEE, 2014. http://dx.doi.org/10.1109/cig.2014.6932873.

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Perlin, Ken. "The web as a procedural sketchbook." In ACM SIGGRAPH 2005 Courses. New York, New York, USA: ACM Press, 2005. http://dx.doi.org/10.1145/1198555.1198579.

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Smith, Jeffery. "Fusion 360 and sketchbook as partners." In SIGGRAPH '19: Special Interest Group on Computer Graphics and Interactive Techniques Conference. New York, NY, USA: ACM, 2019. http://dx.doi.org/10.1145/3306306.3329893.

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Nam, Changhyun (Lyon), and Eulanda A. Sanders. "Footwear Design Sketchbook Practice for a Portfolio." In Pivoting for the Pandemic. Iowa State University Digital Press, 2020. http://dx.doi.org/10.31274/itaa.11814.

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