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Journal articles on the topic 'Sketchbooks'

Author: Grafiati

Published: 4 June 2021

Last updated: 29 July 2024

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1

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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2

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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3

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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4

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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5

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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6

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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7

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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8

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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9

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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10

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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11

Staehelin, Martin, C. Meyer, Alan Tyson, Robert Winter, and Douglas Johnson. "The Beethoven Sketchbooks. History, Reconstruction, Inventory." Revue de musicologie 72, no. 2 (1986): 298. http://dx.doi.org/10.2307/928383.

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12

Hatch, Christopher, Douglas Johnson, Alan Tyson, and Robert Winter. "The Beethoven Sketchbooks: History, Reconstruction, Inventory." Notes 43, no. 1 (September 1986): 39. http://dx.doi.org/10.2307/897833.

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13

Adams, Courtney S. "Satie's Nocturnes Seen through His Sketchbooks." Journal of Musicology 13, no. 4 (1995): 454–75. http://dx.doi.org/10.2307/763895.

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14

Wechsler, James. "Winifred Milius Lubell's Depression-Era Sketchbooks." Archives of American Art Journal 45, no. 1/2 (January 2005): 33–41. http://dx.doi.org/10.1086/aaa.45.1_2.25435102.

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15

Adams, Courtney S. "Satie's Nocturnes Seen through His Sketchbooks." Journal of Musicology 13, no. 4 (October 1995): 454–75. http://dx.doi.org/10.1525/jm.1995.13.4.03a00020.

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16

van der Wolk, Johannes. "The Seven Sketchbooks of Vincent van Gogh." Leonardo 21, no. 2 (1988): 218. http://dx.doi.org/10.2307/1578580.

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17

Christiansen, Henning, and Bjorn Laursen. "Interactive Installations for Spatial Access to Artistic Sketchbooks." EAI Endorsed Transactions on Creative Technologies 4, no. 12 (October 3, 2017): 153156. http://dx.doi.org/10.4108/eai.3-10-2017.153156.

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18

BLOCK, GEOFFREY. "Frank Loesser's Sketchbooks for The Most Happy Fella." Musical Quarterly 73, no. 1 (1989): 60–78. http://dx.doi.org/10.1093/mq/73.1.60.

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19

Chlebowska, Edyta. "From the Kraków collection: two pencil sketches by Norwid." Studia Norwidiana 38, English Version (2020): 133–44. http://dx.doi.org/10.18290/sn.2020.38-9en.

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The article presents two drawings: Odpoczynek podczas ucieczki do Egiptu and Starzec z laską i dwie siedzące postaci, which shall be included in the register of Cyprian Norwid’s artistic heritage, discussing their origin and themes, and attempting to place the sketches in the context of Norwid’s early work contained in his sketchbooks and Album berliński.

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20

Lomtev, Denis G. "Karl Wirth’s Notebooks: The MusicalInstrument Maker and His World of Ideas." Observatory of Culture, no. 4 (August 28, 2014): 112–17. http://dx.doi.org/10.25281/2072-3156-2014-0-4-112-117.

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Addresses the work of German musicalinstrument maker Karl Wirth (1800-1882) who lived in St. Petersburg. The research is based on analysing Wirth’s sketchbooks and his grand pianos that are currently may be found in Russian museums. Particular attention is given to the sketches that often provide even more insight into Wirth’s thoughts and ideas than the accompanying texts.

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21

Brooks, H. Allen. "Review: Voyage d'Orient Sketchbooks by Le Corbusier, Giuliano Gresleri." Journal of the Society of Architectural Historians 50, no. 2 (June 1, 1991): 207–8. http://dx.doi.org/10.2307/990601.

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22

Thompson, Christine Marmé, and Christine Marme Thompson. ""What Should I Draw Today?" Sketchbooks in Early Childhood." Art Education 48, no. 5 (September 1995): 6. http://dx.doi.org/10.2307/3193527.

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23

Kirwin, Liza. "Visual Thinking: Sketchbooks from the Archives of American Art." Archives of American Art Journal 27, no. 1 (January 1987): 21–29. http://dx.doi.org/10.1086/aaa.27.1.1557478.

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24

Kirwin, Liza. "Visual Thinking: Sketchbooks from the Archives of American Art." Archives of American Art Journal 30, no. 1/4 (January 1990): 155–63. http://dx.doi.org/10.1086/aaa.30.1_4.1557653.

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25

Scharff, Samuel. "Sketchbooks & Sutures: A Blog about Learning to Heal." Journal of Medical Humanities 36, no. 4 (August 6, 2015): 391–94. http://dx.doi.org/10.1007/s10912-015-9351-7.

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26

Coevert, Femke, and Henni van Beek. "‘Sensitive’ Book Cradle for Digitising Friable Media in Sketchbooks." Journal of Paper Conservation 16, no. 4 (October 2, 2015): 138–42. http://dx.doi.org/10.1080/18680860.2015.1127456.

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27

Becker, Anne-Grit. "Marks and Material in Cy Twombly’s North African Sketchbooks." Nka Journal of Contemporary African Art 2017, no. 41 (November 1, 2017): 60–73. http://dx.doi.org/10.1215/10757163-4271652.

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28

Martino, Jacquelyn A. "The Immediacy of the Artist's Mark in Shape Computation." Leonardo 43, no. 4 (August 2010): 330–39. http://dx.doi.org/10.1162/leon_a_00006.

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This paper contributes to the area of computation in the production of artistic form. The author-artist describes a computational system in the form of a curvilinear, parametric shape grammar. Based on an analysis of over 3,000 entries in her traditionally hand-drawn sketchbooks, she describes the grammar that synthesizes drawings in the design language of her evolving style and serves as a tool for self-understanding of her artistic process.

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29

Kirwin, Liza. "Fabulous at 50: the Smithsonian’s Archives of American Art celebrates a Golden Anniversary." Art Libraries Journal 31, no. 1 (2006): 28–32. http://dx.doi.org/10.1017/s0307472200014358.

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Founded in 1954, the Smithsonian’s Archives of American Art collects, preserves and makes available primary sources documenting the history of the visual arts in the United States. More than 16 million items strong, its collections comprise the world’s largest single source for letters, diaries, financial records, unpublished writings, sketchbooks, scrapbooks and photographs created by artists, critics, collectors, art dealers and art societies – the raw material for scholarship in American art.

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30

Sener, Bahar, and Guzin Sen. "Transitioning from Physical to Digital Sketchbooks for Industrial Design Education." Design Principles and Practices: An International Journal—Annual Review 8, no. 1 (2015): 31–41. http://dx.doi.org/10.18848/1833-1874/cgp/v08/38305.

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31

MAYS, DEBORAH. "Design Inspiration from Abroad: A Review of Three Continental Sketchbooks." Architectural Heritage 2, no. 1 (November 1991): 99–108. http://dx.doi.org/10.3366/arch.1991.2.1.99.

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32

MAYS, DEBORAH. "Design Inspiration from Abroad: A Review of Three Continental Sketchbooks." Architectural Heritage 2, no. 2 (January 1991): 99–108. http://dx.doi.org/10.3366/arch.1991.2.2.99.

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33

Williams, Rebecca, and Elizabeth Debban. "Learning From Traveling Sketchbooks Between Today's Students and Tomorrow's Teachers." Art Education 73, no. 2 (February 11, 2020): 15–23. http://dx.doi.org/10.1080/00043125.2019.1695484.

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34

Fishman, Maggie. "Alzheimer's through the Looking Glass: The Sketchbooks of Dana Walrath." American Anthropologist 114, no. 1 (March 2012): 142–44. http://dx.doi.org/10.1111/j.1548-1433.2011.01404.x.

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35

Gilbert, Jean. "Legitimising Sketchbooks as a Research Tool in an Academic Setting." Journal of Art & Design Education 17, no. 3 (October 1998): 255–66. http://dx.doi.org/10.1111/1468-5949.00134.

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36

O’Neill, Ciarán Rua. "Column bodies: the caryatid and Frederic Leighton’s Royal Academy sketchbooks." Sculpture Journal 25, no. 3 (December 20, 2016): 421–32. http://dx.doi.org/10.3828/sj.2016.25.3.9.

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37

Evans, Brad. "Cushing's Zuni Sketchbooks: Literature, Anthropology, and American Notions of Culture." American Quarterly 49, no. 4 (1997): 717–45. http://dx.doi.org/10.1353/aq.1997.0032.

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38

Bobick, Bryna, and Jennifer Hornby. "Community Art Academy: A Public/University Library Collaboration." Children and Libraries 15, no. 2 (June 15, 2017): 16. http://dx.doi.org/10.5860/cal.15n2.16.

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In early 2016, the Memphis (TN) Public Library and Information Center collaborated with The University of Memphis’s art education faculty and undergraduate students on the Community Art Academy. Twenty-three youth, ages nine to twelve, participated in the six-week program, which was funded by the public library’s Friends group. (The budget of eight hundred dollars covered the cost of the art supplies, snacks, closing reception, sketchbooks for the participants, and T-shirts for the participants, library staff, and faculty.)

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39

Lipatov, Vladislav A. "Demobilized Culture as Non-Manual Representative Subculture of Russian Conscription Soldiers." Izvestia Ural Federal University Journal Series 1. Issues in Education, Science and Culture 28, no. 4 (2022): 167–75. http://dx.doi.org/10.15826/izv1.2022.28.4.074.

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Based on the long-term field studies and stationary research of sketchbooks and notepads of demobilized soldiers, notebooks of soldiers (mariners), internet forums, personal memories of service and conversations with informants who had completed their military service, the author comes to the conclusion that certain phenomena, which are various in kind and quality (non-manual hierarchy of conscription soldiers and rites of passage, text materials and extravagant changes in full dress uniform, and, finally, deviant behavior of certain groups of military men) have common or similar causes.

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40

Delacruz, Elizabeth, and Sandy Bales. "Creating History, Telling Stories,and Making Special: Portfolios, Scrapbooks, and Sketchbooks." Art Education 63, no. 1 (January 2010): 33–39. http://dx.doi.org/10.1080/00043125.2010.11519051.

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41

Cooper, Barry. "New Work on Beethoven's Sketchbooks – And a New Work in Them." Journal of the Royal Musical Association 138, no. 1 (2013): 175–85. http://dx.doi.org/10.1080/02690403.2013.771982.

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42

HIRAYAMA, Ikuo. "STUDY ON THE HISTORY OF J. CONDER'S SKETCHBOOKS AND DESCRIBED YEARS." Journal of Architecture and Planning (Transactions of AIJ) 85, no. 771 (2020): 1089–95. http://dx.doi.org/10.3130/aija.85.1089.

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43

Averett, Paige, Allison Crowe, and Taylor Johnson. "Using Sketchbooks to Facilitate the Group Process with At-Risk Youth." Social Work with Groups 41, no. 1-2 (February 3, 2017): 125–38. http://dx.doi.org/10.1080/01609513.2016.1273694.

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44

Taricani, JoAnn. "A Renaissance Bibliophile as Musical Patron: The Evidence of the Herwart Sketchbooks." Notes 49, no. 4 (June 1993): 1357. http://dx.doi.org/10.2307/899359.

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45

Loftus, Belinda. "Henry Moore, Shelter Sketchbooks, Ardhowen Centre, Enniskillen 22 April - 11 May, 1986." Circa, no. 28 (1986): 28. http://dx.doi.org/10.2307/25557093.

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46

Kramer, Richard. "The Beethoven Sketchbooks: History, Reconstruction, Inventory . Douglas Johnson , Alan Tyson , Robert Winter ." Journal of the American Musicological Society 40, no. 2 (July 1987): 361–67. http://dx.doi.org/10.1525/jams.1987.40.2.03a00080.

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47

Watson, Jan S. "Comfortably Uncomfortable: A Study of Undergraduate Students’ Responses to Working in a Creative Learning Environment." LEARNing Landscapes 6, no. 1 (June 1, 2012): 443–62. http://dx.doi.org/10.36510/learnland.v6i1.596.

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This article, which draws on a study of undergraduate students’ perceptions of working in a creative learning environment, is underpinned by the idea that everyone has the potential to be creative. Empirical data was obtained from semi-structured interviews with students in Year 3 BA in Education Studies, their reflective sketchbooks, and notes from observations undertaken in the campus-based Visual Arts Centre studio. The findings support the view that students benefit from having access to creative opportunities which involve self-examination and risk-taking in a supportive, collaborative space. The evidence suggests there is a need for lecturers to discuss and share creative pedagogical strategies designed to support student learning in different settings.

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48

Thadani, Dhiru. "Drawn to travel." Journal of Traditional Building, Architecture and Urbanism, no. 1 (November 20, 2020): 261–66. http://dx.doi.org/10.51303/jtbau.vi1.348.

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Drawing is integral to the profession of architecture, urbanism, and building. Being a design professional requires a commitment to lifelong learning and the constant pursuit of knowledge. Drawing and writing help catalog knowledge gained. The collection of experiences and memories serve as a design resource to draw upon. Taking photographs or reading magazine articles is a poor substitute for the well of ideas one collects while making an in situ drawing. It is not only a visual exercise, but a sensory immersion in sound, smell, feeling, and light. Drawing is experience. Drawing is research. Sketchbooks are stored experiences. Drawn ideas are remembered ideas, and travel is a design generator — especially if we draw.

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49

Wong, Hertha D. "Pictographs as Autobiography: Plains Indian Sketchbooks of the Nineteenth and Early Twentieth Centuries." American Literary History 1, no. 2 (1989): 295–316. http://dx.doi.org/10.1093/alh/1.2.295.

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50

Jones, Martha S. "Emancipation’s Encounters: The Meaning of Freedom from the Pages of Civil War Sketchbooks." Journal of the Civil War Era 3, no. 4 (2013): 533–48. http://dx.doi.org/10.1353/cwe.2013.0076.

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