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Artigos de revistas sobre o tema "Drawing"

Autor: Grafiati

Publicado: 4 de junho de 2021

Última modificação: 25 de julho de 2025

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1

Bauer, Angelika, and Gudrun Kaiser. "Drawing on drawings." Aphasiology 9, no. 1 (1995): 68–78. http://dx.doi.org/10.1080/02687039508248692.

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2

Braine, Lila Ghent. "Drawing Conclusions About Children's Drawings." Contemporary Psychology: A Journal of Reviews 33, no. 10 (1988): 899–900. http://dx.doi.org/10.1037/026126.

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3

Spiller, Neil. "The Magical Architecture in Drawing Drawings." Journal of Architectural Education 67, no. 2 (2013): 264–69. http://dx.doi.org/10.1080/10464883.2013.817173.

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4

Joiner Jr., Thomas E., and Kristen L. Schmidt. "Drawing Conclusions--Or Not-From Drawings." Journal of Personality Assessment 69, no. 3 (1997): 476–81. http://dx.doi.org/10.1207/s15327752jpa6903_2.

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5

Clear, Nic. "Drawing Drawings: Toward a Narrative Architecture." Architecture Image Studies 1, no. 2 (2020): 6–8. https://doi.org/10.62754/ais.v1i2.23.

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This introductory article opens the subject matter of the second issue of AIS, Narrative Architecture. Drawings have always contained the possibility of being more radical than the architecture they represent. Given the status of architecture within the current building industry, architecture needs to be oppositional to the values of laissez-faire capitalism and its environmentally catastrophic consequences. In many ways, the development of digital forms of representation has freed the architectural drawing from its historic association with its role as a vector for traditional forms of buildi

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6

Farthing, Stephen. "Drawing Drawn (A Taxonomy)." Visual Communication 12, no. 4 (2013): 423–36. http://dx.doi.org/10.1177/1470357212460798.

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7

Carpenter, Patricia A. "Drawn in by Drawing." Contemporary Psychology: A Journal of Reviews 37, no. 4 (1992): 289–90. http://dx.doi.org/10.1037/031967.

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8

Koutsoumpos, Leonidas. "Drawings of sections and drawing with sections1." Drawing: Research, Theory, Practice 9, no. 1 (2024): 19–34. http://dx.doi.org/10.1386/drtp_00126_1.

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Our era has been described as an age of divided representation, where the instrumental, rationalistic and commodifiable aspects of life have overthrown the ethical, creative and communicative ones that used to give meaning to human existence. This schism has led to the fact that representations have lost their power to re-present things meaningfully and have become mere ghosts of reality – often by rejecting it overall. This paper discusses the role that the drawings of sections can play in the way that we come to know, understand and interpret space. Although the paper uses architecture as it

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9

Antoniu, Manuela. "Drawing Without Drawing." Architectural Theory Review 14, no. 3 (2009): 213–33. http://dx.doi.org/10.1080/13264820903341613.

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10

Maclagan, David. "Drawing/writing/drawing." Drawing: Research, Theory, Practice 3, no. 2 (2018): 241–48. http://dx.doi.org/10.1386/drtp.3.2.241_1.

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11

Borde, Andréa de Lacerda Pessôa, and Alexandre Pessoa. "‘Pandemic drawings’: Are we still teaching conceptual drawing?" Drawing: Research, Theory, Practice 6, no. 2 (2021): 377–90. http://dx.doi.org/10.1386/drtp_00072_1.

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In this paper we analyse the impact of the COVID-19 measures on teaching the conceptual drawing course at the Architecture and Urbanism Faculty of the Federal University of Rio de Janeiro (FAU/UFRJ). The remote model of teaching followed from July 2020 determined many changes in our methodology, these being essentially practical rather than theoretical. This adaptive process resulted in what we called ‘pandemic drawings’, proved to be a useful tool for expanding drawing skills and confined senses. The outcomes were surprisingly positive and pointed out that these ‘pandemic drawings’ could beco

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12

Holm, E. "Guide to biological drawing - Part 1: Line drawings." Suid-Afrikaanse Tydskrif vir Natuurwetenskap en Tegnologie 5, no. 3 (1986): 143–50. http://dx.doi.org/10.4102/satnt.v5i3.989.

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The advantages of drawings above photographic illustrations are listed, and the difference between skills needed for technical rendering and artwork is explained. Materials and techniques for good line drawing are treated in progressive steps, followed by appropriate recommended exercises. The text is elucidated by 18 illustrations.

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13

Wittmann, Barbara. "Drawing Cure: Children's Drawings as a Psychoanalytic Instrument." Configurations 18, no. 3 (2010): 251–72. http://dx.doi.org/10.1353/con.2010.0016.

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14

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 ana

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15

Selzer King, Abigail. "Drawing Talk, Drawing Ideas." Visual Communication Quarterly 24, no. 3 (2017): 192–93. http://dx.doi.org/10.1080/15551393.2017.1367185.

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16

McNay, A., and J. Stewart. "GI's Anatomy: Drawing Sex, Drawing Gender, Drawing Bodies." TSQ: Transgender Studies Quarterly 2, no. 2 (2015): 330–35. http://dx.doi.org/10.1215/23289252-2867704.

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17

Mulla, Sarosh, Aaron Paterson, and Marian Macken. "Encountering drawing." Drawing: Research, Theory, Practice 8, no. 1 (2023): 117–28. http://dx.doi.org/10.1386/drtp_00110_1.

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This project report outlines the research-led exhibition, Drawing Room – part of an ongoing collaborative design research project focusing on drawing – exhibited at Toi Moroki Centre of Contemporary Art Christchurch (CoCA), New Zealand. The research interrogates drawings that move – made by light, shadow and animation – and our encounters with drawings through the manipulations of scale and virtual reality (VR). The research investigates the relationship between scale, moveable drawings and bodily engagement in architectural drawing and the speculative nature of VR in architectural drawing. Th

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18

Paterson, Aaron, Sarosh Mulla, and Marian Macken. "Drawing the room | Drawing within the room." Drawing: Research, Theory, Practice 5, no. 2 (2020): 261–75. http://dx.doi.org/10.1386/drtp_00036_1.

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This project report outlines ongoing collaborative design research that addresses aspects of architectural drawing, in particular scale and time. This project is discussed through the lens of the inhabitation of drawing: in both the making of, and encountering, drawing. ‘Drawing the Room | Drawing within the Room’ (2019) couples projective drawings with post factum documentation – or creative post-occupancy data – of built houses. Using motion capture technology, the movements of inhabitation are captured and translated to line work animations. The resulting drawings of inhabitation are projec

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19

Lee, Seoung Soo, Toshiro Ono, and Shozo Tsujio. "A computer-aided drawing check system for mechanical drawings drawn with CAD system. (1st report). Local dimension check of a single plane projection drawing." Journal of the Japan Society for Precision Engineering 57, no. 4 (1991): 705–10. http://dx.doi.org/10.2493/jjspe.57.705.

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20

Kamens, Sarah R., Despina Constandinides, and Fathy Flefel. "Drawing the future: Psychosocial correlates of Palestinian children’s drawings." International Perspectives in Psychology: Research, Practice, Consultation 5, no. 3 (2016): 167–83. http://dx.doi.org/10.1037/ipp0000054.

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21

Lamarre, Thomas. "From animation to anime : drawing movements and moving drawings." Japan Forum 14, no. 2 (2002): 329–67. http://dx.doi.org/10.1080/09555800220136400.

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22

Tsujio, Showzow, and Yoshinobu Nakamura. "A Computer-Aided Drawing Check System for Mechanical Drawings Drawn with CAD System (3rd Report)." Journal of the Japan Society for Precision Engineering 62, no. 2 (1996): 265–69. http://dx.doi.org/10.2493/jjspe.62.265.

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23

Ibarra, Susie. "Drawing One, and: Drawing Two." Callaloo 28, no. 3 (2005): 611–19. http://dx.doi.org/10.1353/cal.2005.0094.

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24

Asar, Hande, and Carolin Stapenhorst. "Zvi Hecker: Drawing on Drawing." Archives of Design Research 33, no. 3 (2020): 45–53. http://dx.doi.org/10.15187/adr.2020.08.33.3.45.

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25

Carpenter, B. Stephen. "Drawing Questions and Drawing Conclusions." Studies in Art Education 60, no. 2 (2019): 89–91. http://dx.doi.org/10.1080/00393541.2019.1609869.

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26

Ionascu, Adriana. "Drawing space (drawing in perspective)." Drawing: Research, Theory, Practice 2, no. 1 (2017): 3–22. http://dx.doi.org/10.1386/drtp.2.1.3_2.

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27

Adams, Alastair, Andrew Selby, Andrew Davies, and Jemma Robinson. "e-Learning: Drawing on Drawing." International Journal of the Humanities: Annual Review 5, no. 11 (2008): 187–202. http://dx.doi.org/10.18848/1447-9508/cgp/v05i11/42284.

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28

Rossi, Adriana. "From Drawing to Technical Drawing." Nexus Network Journal 14, no. 1 (2012): 135–49. http://dx.doi.org/10.1007/s00004-011-0102-4.

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29

Burke, Timothy. "Exhibitionist Drawing Machines." Drawing On: Journal of Architectural Research by Design 2 (March 12, 2018): 1–16. https://doi.org/10.2218/wpqsew96.

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Drawing, as both an object and an action, involves an entanglement of an author, the surface of their work and the space that the work occupies (both the space of production and the space of presentation). However, this entanglement between the drawer and the drawing is problematised by the mechanisation of the drawing process. If drawings are produced by machines, how does this relationship change? What new drawings emerge? What part does an author play in the drawing and how much are they implicated in the drawing that is produced? This article explores this question through the design-led r

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30

Khanum, Rina, Dong Woo Go, Wataru Takarada, Arun Aneja, and Takeshi Kikutani. "Effect of Drawing Speed on Infusion and Drawing Behaviors of Poly(ethylene terephthalate)Filaments upon Cold Drawing in Ethanol." Sen'i Gakkaishi 71, no. 9 (2015): 273–83. http://dx.doi.org/10.2115/fiber.71.273.

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31

Ardianta, Defry Agatha, Yandi Andri Yatmo, and Paramita Atmodiwirjo. "Fragments Within Fragments: The Collective Negotiation of Exquisite Corpse Drawings." Interiority 8, no. 1 (2025): 103–24. https://doi.org/10.7454/in.v8i1.1128.

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This paper argues for the critical role of collective drawings as a form of representation that highlights the open process. The open process of collective drawing involves actions performed by multiple actors and actions that are not limited to producing drawings together but also require the expression of ideas. Collective drawing encourages negotiations among fragments of the drawing, which opens up various possibilities of representations within the interiority discourse. Exquisite corpse drawings made by Surrealist artists occupy an influential position as drawings produced via an open pr

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32

Murray, Shaun. "Drawing architecture." Design Ecologies 11, no. 1 (2022): 11–33. http://dx.doi.org/10.1386/des_00014_1.

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Can we surpass the representational nature of architecture drawing to consider and discuss the agency of architectural drawing in process and result? Over the course of three years from 2019, a cohort of architect–drafters, architect–theoreticians and a curator are meeting every six months in a reflective exchange to discuss the production and exhibition of a collection of drawings and drawing-related artefacts. The varying cast of the bi-annual symposia are participants from the United States, Canada and Europe including Michael Webb, Perry Kulper, Laura Allen, Bryan Cantley, Nat Chard, Mark

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33

Harriet W. Sheridan. "Drawing." Literature and Medicine 13, no. 2 (1994): 187. http://dx.doi.org/10.1353/lm.2010.0006.

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34

Lyon, Jon G., and Nancy Helm-Estabrooks. "Drawing." Topics in Language Disorders 8, no. 1 (1987): 61–71. http://dx.doi.org/10.1097/00011363-198712000-00008.

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35

Ellis, Trish. "Drawing." Harrington Lesbian Literary Quarterly 7, no. 3 (2006): 57–59. http://dx.doi.org/10.1300/j509v07n03_07.

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36

Phil, Lee. "Photography and Drawing : From Photography for Drawing to Drawing for Photography." Journal of Aesthetics & Science of Art 41 (June 30, 2014): 239–66. http://dx.doi.org/10.17527/jasa.41.0.08.

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37

Spronck, Veerle. "Drawing Instruments drawing instruments: Over tekenen als methode voor reflectie / Drawing Instruments drawing instruments: About Drawing as a Method of Reflection." Forum+ 26, no. 1 (2019): 4–13. http://dx.doi.org/10.5117/forum2019.1.spro.

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Abstract Op welke manier kan tekenen een methode voor reflectie zijn? Van november 2016 tot maart 2017 vond het artistiek onderzoeksatelier ‘Drawing Instruments’ plaats binnen het Lectoraat voor Autonomie en Openbaarheid in de Kunsten aan Hogeschool Zuyd, Maastricht. In dit interdisciplinaire vak tekenden we de artistieke praktijk van Dear Hunter als onderzoeksinstrument. Veerle Spronck brengt verslag uit. In what way can drawing be a method of reflection? 'Drawing Instruments', an artistic research workshop, was organized in the Research Centre For Arts, Autonomy and the Public Sphere of Hoge

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38

Penn, Leslie Rech. "Room for monsters and writers: Performativity in children’s classroom drawing." Contemporary Issues in Early Childhood 21, no. 3 (2019): 208–23. http://dx.doi.org/10.1177/1463949118819456.

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Much research on children’s classroom drawing emerged from an interest in the relationships between drawing and early writing and focused on drawing as a pedagogical tool to engage young children in planning, generating, and illustrating story ideas. In an eight-month case study of children’s drawing in a kindergarten language arts curriculum, the author focused on children’s classroom drawing not as a pedagogical intervention, but as an emergent event in which the intra-actions of children, drawing, and discourses coalesce. Of the many findings from this project, prevalent is the notion that

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39

Sitton, Ruth, and Paul Light. "Drawing to differentiate: Flexibility in young children's human figure drawings." British Journal of Developmental Psychology 10, no. 1 (1992): 25–33. http://dx.doi.org/10.1111/j.2044-835x.1992.tb00560.x.

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40

Kennedy, John M. "Tactile drawing aesthetics and a blind woman’s drawings of sounds." British Journal of Visual Impairment 32, no. 1 (2014): 33–43. http://dx.doi.org/10.1177/0264619613512838.

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41

Merten, Thomas, and Christina Diederich. "Bicycle Drawing Test: High Rate of Right-to-Left Drawings." Zeitschrift für Neuropsychologie 20, no. 1 (2009): 85–86. http://dx.doi.org/10.1024/1016-264x.20.1.85.

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42

Tanaka, Masaji, Kenzo Iwama, Atsushi Hosoda, and Tohru Watanabe. "Decomposition of a 2D assembly drawing into 3D part drawings." Computer-Aided Design 30, no. 1 (1998): 37–46. http://dx.doi.org/10.1016/s0010-4485(97)00051-1.

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43

CHEN, Albert Zhengneng, and Taro Zheming CAI. "DRAW-ING DRAWING — REVISITING THE DRAWINGS BY LAURIE OLIN." Landscape Architecture Frontiers 7, no. 5 (2019): 58. http://dx.doi.org/10.15302/j-laf-1-020009.

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44

Drake, Jennifer E., and Ellen Winner. "Children gifted in drawing." Gifted Education International 29, no. 2 (2012): 125–39. http://dx.doi.org/10.1177/0261429412447708.

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Although one study has reported that 6% of children with autism spectrum disorder (ASD) have drawing talent, no study has examined the incidence of drawing talent in typical children. We asked 153 children aged 6–12 years to draw a picture of their hand. We scored the drawings for the use of detail, correct proportion, and overall contour; assessed the drawings as above average at each age based on a global assessment; and compared the drawings with those of three identified drawing prodigies. Most children were able to capture the overall contour of their hand; the ability to draw relevant de

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45

Emrali, Refa. "Surrealist inheritance in drawing." New Trends and Issues Proceedings on Humanities and Social Sciences 2, no. 1 (2016): 143–48. http://dx.doi.org/10.18844/gjhss.v2i1.291.

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46

Wango, Kamau. "Development of Human Figure Drawings from Gesture Drawings to Shaded Drawings - Analysis of Selected Drawings by Second Year Students at Kenyatta University." East African Journal of Arts and Social Sciences 5, no. 1 (2022): 256–83. http://dx.doi.org/10.37284/eajass.5.1.743.

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Human figure drawing or life drawing is a fundamental requirement for all art students. It is applied in all disciplines of art from basic line drawings, to all aspects of design work as well as sketching in painting, sculpture, and ceramics. This paper examines selected work of second year students to determine whether they are able to progress from gesture drawings to developed shaded drawings and achieve this objective within the prescribed unit duration of a semester. The paper also seeks to determine the extent to which observation in life drawing is significant as a formative strategy in

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47

Kováčová, Barbora, and Zuzana Trefná. "Analýza kresby v kontexte vývinu dieťaťa s Aspergerovým syndrómom." Studia Scientifica Facultatis Paedagogicae Universitas Catholica Ružomberok 22, no. 2 (2023): 70–82. http://dx.doi.org/10.54937/ssf.2023.22.2.70-82.

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The paper describes the theoretical-research background oriented to the drawing of a child with autism spectrum disorder with a comparison of characteristics in the drawing of a child with intact development. Through analyses of drawings of a child with Asperger's syndrome, the authors present unique characteristics of drawing expression. They analyze 13 of the authors' drawings of a boy with Asperger's syndrome that were collected over a two-year period. Specifically, this was the developmental period of the boy with Asperger's syndrome when he began to be drawing active (4 years and 6 months

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48

Schaeverbeke, Robin, Hélène Aarts, and Ann Heylighen. "Drawing and Conceiving Space: How to Express Spatial Experience Through Drawing?" Open House International 40, no. 2 (2015): 74–79. http://dx.doi.org/10.1108/ohi-02-2015-b0010.

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Teaching drawing in architectural education raises questions regarding the representation of spatial experiences: to what extent can sensory experiences of space be intensified through observing and drawing and, perhaps equally important, what those drawings would look like? In the context of their drawing classes, the authors started to inquire the discrepancy between conceiving and perceiving space, and the aptitude of representing spatial concepts upon a two dimensional surface. Through observation and translating observation into drawings, students discover that conventionalised ways of dr

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49

Geerts, Bart. "UNDRAWING: A GLOSSARY OF DAILY DRAWING." Culture Crossroads 22 (September 13, 2023): 161–71. http://dx.doi.org/10.55877/cc.vol22.445.

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Since June 2021 I have been working on the Daily Drawing project. I draw on a daily basis and make one drawing public every day. Although I have always been drawing in (private) sketchbooks, the public format of the Daily Drawings has revitalised my practice. It forces me to reach out and to let go of control. It is the drawings that are in control and that guide me through their visual tracings. The glossary presented here is an ongoing project that aims to build an understanding of a drawing practice and of drawing in general by interacting with the Daily Drawings in a word-based language. T

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50

Gørrill, Helen. "Drawing difference: connections between gender and drawing." Journal of Visual Art Practice 17, no. 2-3 (2017): 236–38. http://dx.doi.org/10.1080/14702029.2017.1366696.

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