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Relevant bibliographies by topics / The history of drawing

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Academic literature on the topic 'The history of drawing'

Author: Grafiati

Published: 4 June 2021

Last updated: 3 February 2022

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Journal articles on the topic "The history of drawing"

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Lemaire, David. "Alain Huck. Drawing History.1." Interfaces, no. 37 (January 1, 2016): 99–115. http://dx.doi.org/10.4000/interfaces.290.

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Lycett, Stephen J., and James D. Keyser. "White Swan: On Possible Further Additions to the Oeuvre of a Crow Warrior-Artist." Ethnohistory 68, no. 1 (2021): 1–27. http://dx.doi.org/10.1215/00141801-8702306.

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Abstract Crow warrior-artist White Swan authored more biographic images than any other Historic-period Crow artist. It has even been suggested that he drew one rock art scene at the historically important petroglyphs at Joliet, Montana. Here, the authors evaluate the likelihood that the Joliet scene is a White Swan drawing, and they also evaluate the possibility that one of the “anonymous” ledger drawings in the Barstow collection was drawn by him. Unfortunately, neither drawing has sufficient similarities to known White Swan drawings to be classified as such. Instead, these drawings indicate there were likely far many more Crow men who could execute pictographic narratives of style and content similar to those produced by White Swan than has so far been reported in the anthropological literature.

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Hess, Ingrid. "How drawing helps history remain present." Visual Inquiry 2, no. 1 (2013): 77–86. http://dx.doi.org/10.1386/vi.2.1.77_1.

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In the class 'A history of graphic design' I use drawing as a tool to help students retain what they learn in the lectures and readings. I show examples of how this visual component aids my lessons regarding 'Egyptian books of the dead', 'Industrial Revolution broadsides', 'Modern symbol systems' and a final capstone museum project. My method is applied to more than one cohort of students in different art specialties and design areas. I conclude the article with a summary of my experience using drawing as a tool for retention of historical material and share students' reactions to this method of teaching history.

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Grove, Jaleen. "Drawing Out Illustration History in Canada." RACAR : Revue d'art canadienne 40, no. 2 (2016): 115–29. http://dx.doi.org/10.7202/1035400ar.

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Cette historiographie critique documente la réception des illustrateurs canadiens anglophones par l’histoire de l’art, la cultural theory, la politique culturelle et les collections institutionnelles, de la fin du dix-neuvième siècle au présent. Nous montrons que la préservation de la culture visuelle canadienne a été biaisée en faveur d’un agenda culturel nationaliste qui a mis à l’écart la majorité de la culture visuelle populaire illustrée et qui, par ailleurs, a négligé l’héritage culturel états-unien en faveur des liens avec la Grande-Bretagne. En outre, à cause du manque d’espace pour des archives et des expositions, d’importantes collections d’illustration attendent urgemment un foyer, et les archives existantes sont incapables de gérer les fonds existants. Avec une méthodologie guidée par la pratique, nous proposons un centre de recherche idéal pour l’histoire graphique canadienne qui serait opéré sur un modèle d’affaires autarcique.

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Giron, Javier. "SEEING THE INVISIBLE. ANALYTICAL DRAWINGS BY CONSTRUCTION HISTORY PIONEERS. RESEARCH FIELD OVERVIEW." Architecture and Engineering 6, no. 1 (2021): 03–18. http://dx.doi.org/10.23968/2500-0055-2021-6-1-03-18.

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Introduction: The history of construction is a discipline that began to take shape in the mid-18th century and throughout the 19th century. We as researchers need to pay particular attention to how drawing facilitated progress during this period. This article attempts to provide an overview of the above, which is currently lacking. Methods: In this study, two lines of investigation intersect: the history of construction and the history of drawing, specifically drawing for scientific and technical representation. The main goal is to identify the sources (authors, lines of investigation) relevant to this field, as well as to characterize the role of drawing in the authors’ work, and to describe the spread of drawing as nonverbal thinking. Results: We have identified a number of relevant authors, described their lines of research, and listed the functions fulfilled by drawing in each case. The functions include: hypothesizing about hidden structures, visualizing the construction processes, and providing a virtual definition for elements that make up a vault. We also review how some drawings acted as a visual model of the constructive reality, or how parallel drawings served as a reflection of the different buildings’ size and scale. Discussion: This overview adjusts some points of reference for a general picture. For having a complete understanding of the subject, it will be necessary to identify more sources and to extend the geographical scope of this search in the future. There is still much research to be done on the spread of the drawings in question.

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Christie, John, Mathew Reichertz, Bryan Maycock, and Raymond M. Klein. "To erase or not to erase, that is not the question: Drawing from observation in an analogue or digital environment." Art, Design & Communication in Higher Education 19, no. 2 (2020): 203–20. http://dx.doi.org/10.1386/adch_00023_1.

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Erasing when drawing occurs for a variety of reasons. While the most obvious may be correction of mistakes, at other times erasers are used to create such things as highlights or marks that introduce particular aesthetic elements. When a drawing is made on paper, partial erasure ‘marks’ can provide a useful record of a drawing’s evolution. For the teacher, this historical record can be a catalyst for helpful commentary and criticism. While programmed to simulate an analogue eraser, in a digital environment the erase function can eradicate a drawing’s history with a single click. We studied analogue and digital tool use behaviours (including erasing) to compare the frequency of erasure and the effect of erasing on observational accuracy in adults between the age of 17 and 64 with various levels of drawing experience from less than two years to more than ten years. The study involved participants making one drawing on paper with traditional drawing tools and one drawing on a digital drawing tablet. We then had the drawings rated for accuracy. Among other interesting results, we found that erasing occurs with greater frequency when participants work in a digital environment than in an analogue one and that, while there were significant tool use differences between the environments, those differences did not result in differences in the accuracy of final drawings indicating the adaptability of our participants using different means to achieve the same effect.

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Schmidt, Leoni. "Exposing Society: Contemporary Drawing as History Writing." International Journal of the Arts in Society: Annual Review 1, no. 3 (2007): 31–48. http://dx.doi.org/10.18848/1833-1866/cgp/v01i03/35839.

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KAJIYAMA, Kiichiro. "The History of Drawing Course in Japan." Journal of Graphic Science of Japan 32, no. 1 (1998): 3–8. http://dx.doi.org/10.5989/jsgs.32.3.

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&NA;. "Should the Pain Drawing Recede Into History?" Back Letter 21, no. 8 (2006): 91. http://dx.doi.org/10.1097/00130561-200608000-00008.

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Bald, Sunil. "Oblique Drawing: A History of Anti-Perspective." Journal of Architectural Education 67, no. 2 (2013): 316–17. http://dx.doi.org/10.1080/10464883.2013.817192.

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Dissertations / Theses on the topic "The history of drawing"

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Stokes, Caitlin C. "Re-Drawing History: the Artist as Author and Historian." The Ohio State University, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=osu1343046777.

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Phillips, Antonia. "Life-drawing in training and practice." Thesis, University of Reading, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.340425.

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Quick, Jennifer Eileen. "Back to the Drawing Board: Ed Ruscha 1956 – 68." Thesis, Harvard University, 2015. http://nrs.harvard.edu/urn-3:HUL.InstRepos:17467368.

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This dissertation considers Ed Ruscha’s work through the theoretical lens of tacit knowledge, thereby making the argument that the commercial artist’s drawing board, and the world that it embodies, constitutes the material and conceptual framework of his 1960s art. Educated at Los Angeles’s Chouinard Art Institute, where he studied advertising design from 1956–60, Ruscha received extensive instruction in all aspects of two-dimensional design, from layout to typography. As he began to pursue a fine art career, the mechanics and methods of drawing board production became a model for art making as reflective upon and transformative of the designed world. It was through his drawing board methods that Ruscha addressed foundational concerns of post World War II art, such as the nature of the picture plane, art’s relationship to consumer culture, the workings of vision and perception, and the mechanics of printed matter. Alongside histories of the avant-garde and mass culture, the dissertation proposes a new narrative of Ruscha’s art, from the point of view of practice and in regard to the technical skills and conceptual operations of mid-century design. The dissertation concludes with a reflection on the history lessons and contemporary relevance of Ruscha’s work.<br>History of Art and Architecture

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Ayrton, Rachel Elizabeth. "History, drawing and power : essays towards reflexive methodological pluralism in sociology." Thesis, University of Southampton, 2017. https://eprints.soton.ac.uk/415350/.

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There is growing consensus around pluralism as the orientation of the social sciences in general, and British sociology in particular, towards research methodology. However, the profession of methodological pluralism, is not always apparent in research practice. This thesis seeks to explore the dimensions of a truly pluralistic sociology. It takes as its starting point Pierre Bourdieu’s central methodological arguments for pluralism and reflexivity in all aspects of research practice, which involves using “all the techniques that are relevant and practically usable, given the definition of the object and the practical conditions of data collection” (Bourdieu and Wacquant, 1992, p. 227). Each paper explores the implications of this mandate for a different facet of research methodology. The first paper examines the social survey method in the UK and the US and its relationship to the social world that it sought to account for. Through a secondary review of historical literature, I observe how the social problems that demanded explanation, practical/technological constraints and advances, and the cultural climate shaped the development of the method, with the processes of institutionalisation, professionalisation and economisation shaping its trajectory in recent history. Methodological history, I argue, enables survey practitioners to reflectively appraise the idiosyncrasies of the method’s development, current practices and future prospects. The second paper problematises the compartmentalisation of sociology’s diverse methodological repertoire within the data collection stage of research. I explore how a creative, multi-modal method – storyboarding – can serve as a useful tool to the researcher in the pre-empirical processes of conceptualisation and research design. This is exemplified through examining the challenge of operationalising trust. Using Bourdieu’s notion of the construction of the sociological object, I argue that the use of creative, visual/multimodal methods serves to highlight where conceptual slippages, suggests new aspects of that concept and approaches to its investigation, and facilitates the researcher’s reflexive exploration of their own relation to the object of research. For Sociology to achieve genuine methodological pluralism, it is not sufficient to apply a wide range of methods: the implications of those methods in practice must also be continually questioned. The third paper argues that there lacks a sufficient theoretical account of the micro-dynamics of power in focus group discussions, while much of the standard guidance on their conduct serves to control interactions in a way that sanitises them of these dynamics. I exemplify an approach using Bourdieu’s concept of fields to address these deficiencies, based on focus group discussions which used photo elicitation to examine national identity among South Sudanese diaspora in the UK. These papers indicate that the attitude of ‘relentless self-questioning’ that Bourdieu describes as reflexivity is key to the achievement of pluralism. Pluralism sits in the tension between a permissive view as to what constitutes knowledge, and the constraints of methodological reflexivity and ethics: issues that are bound up in the relationship between the researcher and the researched.

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Baran, Kemal Mustafa. "Travelling/writing/drawing: Karl Friedrich Schinkel." Master's thesis, METU, 2011. http://etd.lib.metu.edu.tr/upload/12613886/index.pdf.

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Wood, Toni A. "The Tornado Tree: Drawing on Stories and Storybooks." BYU ScholarsArchive, 2011. https://scholarsarchive.byu.edu/etd/3187.

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Storytelling has been used by many cultures to record events, research genealogy, and to teach moral lessons. Some cultures passed on their histories and important events through oral narration, papyrus, or cathedral stained glass windows. More modern cultures write personal histories, and use modern technology to communicate with each other. This study is an arts based project based on writing a storybook. It is an exploration of why storytelling is important from a cultural point of view using my experiences to write a storybook based on a true event from my family history.

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dos, Anjos Afonso Manoela. "Language and place in the life of Brazilian women in London : writing life narratives through art practice." Thesis, University of the Arts London, 2016. http://ualresearchonline.arts.ac.uk/12000/.

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Studies on Brazilians living in Britain show that, along with loneliness, unemployment and cost of living, the lack of proficiency in English is a key problem. However, there is little qualitative information about how the host language affects their daily lives. This interdisciplinary practice-based research asks how an art practice activated by experiences of displacement and dislocation in language can become a place of enunciation for decolonial selves. To this end, this research includes not only individual practices, but also collective activities carried out with a group of Brazilian women living in London, as a research focus. The endeavour to deal with English language has engendered writing processes in my visual work, which became a place for experimenting bilingual and fragmentary voices against the initial muteness in which I found myself on arrival in London. Using photography, printmaking, drawing, postcards, and artist’s books I have explored life-writing genres of diary, language memoir, and correspondence to raise an immigrant consciousness, explore accented voices and create practices for writing life individually and collectively. Assembling words and turning their meanings became strategies for expanding limited vocabularies. Once an impassable obstacle, the host language was transformed into a territory for exploring ways to know stories about language and write life narratives through art practice. This research is informed by humanist and feminist geographical approaches to space and place, postcolonial life writing, border thinking and a context of practice ranging from transnational art, accented cinema, visual poetry, conceptual art, and socially engaged art. It provides insights about English language in the lives of Brazilian women in London and offers a view on a practice in visual arts as place of enunciation for decolonial selves.

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Ryu, Jae Hyung. "Reality & effect a cultural history of visual effects /." unrestricted, 2006. http://etd.gsu.edu/theses/available/etd-03292007-172937/.

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Thesis (Ph. D.)--Georgia State University, 2006.<br>Title from file title page. Ted Friedman, committee chair; Kathy Fuller-Seeley, Angelo Restivo, Jung-Bong Choi, Alisa Perren, committee members. Electronic text (249 p.) : digital, PDF file. Description based on contents viewed Oct. 29, 2007. Includes bibliographical references (p. 236-249).

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Webb, Joel C. "Drawing Defeat: Caricaturing War, Race, and Gender in Fin de Siglo Spain." Amherst, Mass. : University of Massachusetts Amherst, 2009. http://scholarworks.umass.edu/theses/283/.

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Hutton, Ailsa Kate. "Re-viewing history : antiquaries, the graphic arts and Scotland's lost geographies, c.1660-1820." Thesis, University of Glasgow, 2015. http://theses.gla.ac.uk/7361/.

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This thesis examines topographical art depicting Scotland’s natural scenery and built environments, architecture, antiquities and signs of modern improvement, made during the period 1660 to 1820. It sets out to demonstrate that topography and topographical art was not exclusively antiquarian in nature, but ranged across various fields of learning and practice. It included the work of artists, geographers, cartographers, travel writers, poets, landscape gardeners, military surveyors, naturalists and historians who were concerned with representing the country’s varied, and often contentious, histories within an increasingly modernising present. The visual images that are considered here were forms of knowledge that found expression in drawings, paintings and engravings, elevations, views and plans. They were made on military surveys and picturesque tours, and were often intended to be included alongside written texts, both published and unpublished, frequently connecting with travels, tours, memoirs, essays and correspondence. It will also be argued that topography was a social practice, involving networks of artists, collectors, publishers and writers, who exchanged information in drawings and letters in a nationwide, and often increasingly commercial enterprise. This thesis will explore some of the strands of such a vast network of picture-making that existed in Scotland, and Britain, between 1660 and 1820, as visual images were circulated, copied, recycled and adapted, and topographical and antiquarian visual culture emerges as a complex, synoptic form of inquiry.

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Books on the topic "The history of drawing"

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Raphael, Elaine. Drawing history: Ancient Greece. F. Watts, 1989.

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Raphael, Elaine. Drawing history: Ancient Rome. F. Watts, 1990.

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Raphael, Elaine. Drawing history: Ancient Egypt. Watts, 1989.

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1824-1904, Gérôme Jean Léon, Ackerman Gerald M, Parrish Graydon 1970-, Dahesh Museum of Art, and Musée Goupil, eds. Drawing course. ACR Edition, 2003.

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Oblique drawing: A history of anti-perspective. MIT Press, 2012.

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Drawing for architecture. MIT Press, 2009.

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Parramón, J. M. The complete book of drawing: The history, materials, techniques, theory and practice of drawing. Phaidon Press, 1993.

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Stanbridge, Ralph. Daumier and dystopia (drawn from history, drawing from the present): Ralph Stanbridge. Art Gallery of Greater Victoria, 2004.

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Drawing the Line. John Wiley & Sons, Ltd., 2001.

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Newfeld, Frank. Drawing on type. Porcupine's Quill, 2008.

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Book chapters on the topic "The history of drawing"

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Kruja, Eriola, Joe Marks, Ann Blair, and Richard Waters. "A Short Note on the History of Graph Drawing." In Graph Drawing. Springer Berlin Heidelberg, 2002. http://dx.doi.org/10.1007/3-540-45848-4_22.

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Wrobel, Jasmin. "Narrating other Perspectives, Re-Drawing History." In Literature and Ethics in Contemporary Brazil. Routledge, 2017. http://dx.doi.org/10.4324/9781315386386-8.

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Piedmont-Palladino, Susan C. "Introduction: An Irresponsibly Brief History of Drawing(s)." In How Drawings Work. Routledge, 2018. http://dx.doi.org/10.4324/9781315531410-1.

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Kaiser, Marie I. "Drawing Lessons from the Previous Debate." In History, Philosophy and Theory of the Life Sciences. Springer International Publishing, 2015. http://dx.doi.org/10.1007/978-3-319-25310-7_3.

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Schöneburg-Lehnert, Silvia. "The Pantograph: A Historical Drawing Device for Math Teaching." In Mathematics, Education and History. Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-73924-3_16.

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Parente, Susan C. "Early Adolescent Case Study—Teen With Relational Trauma History." In The Multiple Self-States Drawing Technique. Routledge, 2019. http://dx.doi.org/10.4324/9781351272605-8.

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Bolondi, Giorgio. "Drawing Geometry: A Laborious History in Italian School." In Advances in Intelligent Systems and Computing. Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-95588-9_130.

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Chare, Nicholas. "Shanawdithit’s Drawings." In History and Art History. Routledge, 2020. http://dx.doi.org/10.4324/9780429288623-6.

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Pettersson, Bo. "Between the Street and the Drawing Room." In The Materiality of Literary Narratives in Urban History. Routledge, 2019. http://dx.doi.org/10.4324/9780429325052-2.

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Ranjan, Amit. "Drawing a Line Between Two Bengals: History and Politics." In South Asia Economic and Policy Studies. Springer Singapore, 2018. http://dx.doi.org/10.1007/978-981-10-8384-6_3.

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Conference papers on the topic "The history of drawing"

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Silva, José. "The Drawing and the intuitive action on knowledge acquisition - Empowering design though reasoning with drawing." In 9th Conference of the International Committee for Design History and Design Studies. Editora Edgard Blücher, 2014. http://dx.doi.org/10.5151/despro-icdhs2014-0099.

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Magalhães, Graça. "Discussing the design through drawing. Transitional desire and procedural trajectories." In 9th Conference of the International Committee for Design History and Design Studies. Editora Edgard Blücher, 2014. http://dx.doi.org/10.5151/despro-icdhs2014-0096.

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Alexandre De Souza, Diego, and LYGIA ARCURI ELUF. "Study of the history of drawing: heterotopic research on artistic praxis and creative processes in Visual Arts." In XXIV Congresso de Iniciação Científica da UNICAMP - 2016. Galoa, 2016. http://dx.doi.org/10.19146/pibic-2016-51699.

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Najafi, Ali, and Masoud Rais-Rohani. "Coupled Sequential Process-Performance Simulation and Multi-Attribute Optimization of Thin-Walled Tubes." In ASME 2011 International Design Engineering Technical Conferences and Computers and Information in Engineering Conference. ASMEDC, 2011. http://dx.doi.org/10.1115/detc2011-47686.

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Coupling of material, process, and performance models is an important step towards a fully integrated material-process-performance design. In this study, sheet-forming simulation is coupled with crush simulation to investigate the effect of manufacturing process and product design parameters on energy absorption characteristics of thin-walled tubes. The coupled process-performance simulation is integrated with a multi-objective design optimization approach for finding the optimum process and performance responses. Geometric attributes including the cross-sectional dimensions as well as manufacturing process parameters such as holder force, punch velocity, and friction coefficient are considered as design variables. Rupture and thinning are measured based on the result of deep drawing simulation in ABAQUS/EXPLICIT and the springback distortion is extracted from ABAQUS/STANDARD solver by including the residual stresses and dynamic and contact responses from deep drawing simulation. Energy absorption is measured by the mean and maximum crush force values from ABAQUS/EXPLICIT simulation that includes all the history variables from deep drawing and springback analyses. Surrogate models using radial basis functions are developed and used in multi-attribute process-performance optimization. Pareto optimal solutions are found and the sensitivity of process and performance responses to the selected design variables is evaluated. The results of coupled simulation and optimization are presented and discussed.

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Chen, Aihua, Brian McGinnis, David G. Ullman, and Thomas G. Dietterich. "Design History Knowledge Representation and its Basic Computer Implementation." In ASME 1990 Design Technical Conferences. American Society of Mechanical Engineers, 1990. http://dx.doi.org/10.1115/detc1990-0124.

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Abstract This paper gives an introduction to the implementation of a Mechanical Design History. This history is a record of the constraints developed and decisions made in the evolution of a product from initial specification to final, detailed design. This history allows design, management, and manufacturing personnel to query not only the final drawings representing the design, but also the rationale behind each object in the design.

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Montgomery, David. "Creating aviation history by quantification - A case study from plan-view drawings." In 37th Joint Propulsion Conference and Exhibit. American Institute of Aeronautics and Astronautics, 2001. http://dx.doi.org/10.2514/6.2001-3955.

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Xia, Z. C., and F. Ren. "An Investigation of Wall Curl Reduction Through Post-Stretch Forming." In ASME 2004 International Mechanical Engineering Congress and Exposition. ASMEDC, 2004. http://dx.doi.org/10.1115/imece2004-60604.

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When sheet metals go through drawbeads or die corners, stress differentials are generated across metal thickness. The draw wall will curl up upon release of stamping tools, resulting in so-called wall curl. It is a serious problem in the deep drawings of U-channel type of structures such as rails. Numerical modeling is conducted to investigate a post-stretch forming process for wall curl reduction. In this process a set of lockbeads in the binder activates just before the end of punch stroke, locking the remaining blank in the binder. The continuation of the punch stroke then creates a final increment of pure stretch. It is most effective for deep drawings of U-channel type of structures such as rails. This technique is also known as “post-stretch” or “shape set” in the automotive industry and in the literature. Finite element simulations for a straight channel are conducted in order to understand the wall curl reduction mechanism of the process and to determine its effectiveness. After an examination of deformation profile after drawing and wall curl as a result of springback, various magnitude of post-stretch amount is modeled and their deformation history is analyzed. It is found that a post-stretch strain around 2% almost completely eliminates wall curl. CAE investigations demonstrate that the technique is equally applicable to more complex 3D channel, where a step channel is examined. The effectiveness of this concept is demonstrated by laboratory experiment on the forming of a U-channel. Various implementation techniques for the process in an industrial environment are also suggested, together with a discussion on the associated benefits and costs for production use.

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Harlow, D. Gary. "Low Cycle Fatigue: Probability and Statistical Modeling of Fatigue Life." In ASME 2014 Pressure Vessels and Piping Conference. American Society of Mechanical Engineers, 2014. http://dx.doi.org/10.1115/pvp2014-28114.

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Low cycle fatigue (LCF) induces damage accumulation in structural components used in various applications. LCF typically describes conditions for which plastic strains are larger than elastic strains. In order to certify and qualify a structural component, manufactured from a given material, that requires high reliability for operation and safety, fundamental material properties should be experimentally investigated and validated. The traditional strain–life approach serves as the underlying experimental method for most LCF investigations. Building upon that background, the purpose of this paper is to investigate the statistical variability and appropriately model that variability for life in LCF. Specifically, the variability associated with the median behavior in a strain–life graph for data is examined. The ensuing analyses are based on data for a cold-rolled, low carbon, extra deep drawing steel; ASTM A969 which is appropriate for applications where extremely severe drawing or forming is envisioned. It is frequently used in the automotive industry for components such as inner door components and side body components. For substantiation of the proposed modeling techniques, data for 9Cr-1Mo steel is also investigated. Such steel is frequently used in the construction of power plants and other structures that experience operating temperatures in excess of 500°C. The commonly used universal slopes approach for fatigue life modeling for which the strain–life computation employs the standard Coffin–Manson relationship is compared to a statistical methodology using a distribution function frequently used in structural reliability. The proposed distribution function for characterizing the fatigue life is a generalized Weibull distribution function that empirically incorporates load history and damage accumulation.

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Varga, Audrey L., Matthew R. Chandler, Worth B. Cotton, et al. "Innovation and Integration: Exploration History, ExxonMobil, and the Guyana-Suriname Basin." In Offshore Technology Conference. OTC, 2021. http://dx.doi.org/10.4043/30946-ms.

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Abstract Exploration in the Guyana-Suriname Basin has been a decades-long endeavor, including technical challenges and a lengthy history of drilling with no offshore success prior to the Liza discovery. The 1929 New Nickerie well was the first onshore well in Suriname, and was followed by 30 years of dry holes before the heavy-oil Tambaredjo field was discovered in the 1960s. In the 1990s, nearly 40 years after the Tambaredjo discovery, ExxonMobil utilized the 1970s-vintage, poor-to moderate-quality, 2D seismic and gravity data available to create a series of hand-drawn, level-of-maturity (LOM) source and environments-of-deposition (EOD) maps over the basin to move their exploration efforts forward. This work established the genetic fundamentals necessary for understanding the hydrocarbon system and led to negotiation for and capture of the Stabroek Block in 1999. The Liza-1 success in 2015 spurred extensive activity in the Basin by ExxonMobil and the Stabroek Block co-venturers, Hess Guyana Exploration Limited and CNOOC Petroleum Guyana Limited (Austin et al. 2021). The collection of extensive state-of-the art seismic data has been leveraged to enable successful exploration of multiple play types across the Guyana-Suriname Basin. Further data collection, including over 2 km of conventional core and additional seismic data acquisition and processing, has enabled ExxonMobil to adopt interpretation techniques that are applied across the entire basin to characterize and understand the subsurface better. From initial hand-drawn maps to the use of advanced technology today, ExxonMobil's work in the Guyana-Suriname Basin has relied on integration of geologic and geophysical understanding as well as the ability to leverage new technology to continue a successful exploration program with 8 billion barrels discovered to date.

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Sampaio, Alcinia Zita. "The museum as an educational support in a Civil Engineering context." In Fourth International Conference on Higher Education Advances. Universitat Politècnica València, 2018. http://dx.doi.org/10.4995/head18.2018.7442.

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A Museum, when inserted in a Technical University, is a privileged place for the preservation of the historical memory concerning the construction techniques evolution along ages. The construction industry have been evolved in teaching methods, in the use of specific equipment and applied technologies, and in the way of presenting and making drawing. The Museum presents a reminder of how the technology advanced to the current methodologies of work. The Museum of Civil Engineering of the Instituto Superior Técnico (IST) contains a significant collection of elements offered by teachers and entities which is in exhibition, in a proper room, inserted within the University space. Elements such as: a model of the Pombaline cage, illustrating the constructive technique anti-seismic applied after the earthquake of 1755 or the wooden models of roof framesare examples that are preserved and kept in adequate conditions, contributing to the dissemination of the technical heritage and to the memory and history of the Construction. In the context of the congress some elements used to support teaching and related with traditional building technologies are described in detail.

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Reports on the topic "The history of drawing"

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Jaramillo, George Steve. Drawing Waters. University of Limerick, 2020. http://dx.doi.org/10.31880/10344/8360.

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Leon, Ryan Francis. Personal Drawing Portfolio Sample. Office of Scientific and Technical Information (OSTI), 2016. http://dx.doi.org/10.2172/1253516.

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3

Smith, W. L. Automated glass fiber drawing. Office of Scientific and Technical Information (OSTI), 1989. http://dx.doi.org/10.2172/5524774.

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Olds, Daniel P. CAD drawing of tensile rig. Office of Scientific and Technical Information (OSTI), 2014. http://dx.doi.org/10.2172/1134794.

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Domnoske-Rauch, L. A. Tank farms essential drawing plan. Office of Scientific and Technical Information (OSTI), 1998. http://dx.doi.org/10.2172/362550.

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WILSON, G. W. Characterization equipment essential drawing plan. Office of Scientific and Technical Information (OSTI), 1999. http://dx.doi.org/10.2172/782268.

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WILSON, G. W. Characterization equipment essential drawing plan. Office of Scientific and Technical Information (OSTI), 1999. http://dx.doi.org/10.2172/782269.

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Henderson, Thomas C., and Lavanya Swaminathan. Agent-Based Engineering Drawing Analysis. Defense Technical Information Center, 2002. http://dx.doi.org/10.21236/ada453890.

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Laura Leddy, Laura Leddy. Drawing Archaeology in Byzantine Athens. Experiment, 2014. http://dx.doi.org/10.18258/2591.

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Jackson, R., and M. Lundberg. Deep drawing of uranium metal. Office of Scientific and Technical Information (OSTI), 1987. http://dx.doi.org/10.2172/6609663.

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