Sketching

Considérer l’image dans la dimension technique de son élaboration n’est pas une réflexion périphérique à la question de la caricature chez les Goncourt. Si l’image est plus volontiers abordée sur les plans stylistique et politique, la fabrique des estampes caricaturales demeure un paramètre majeur, ce dont témoigne le discours critique et essayiste des Goncourt développé dans le Journal, la correspondance, la critique d’art ou encore la monographie sur Gavarni. La fabrique graphique de la caricature, c’est d’abord une pratique personnelle pour les Goncourt. On sait par ailleurs la passion des deux frères pour la collection et leur attrait pour la bibliophilie, intérêts qui questionnent directement l’esthétique, la facture et la valeur de l’image. Si le commentaire des Goncourt prend la forme d’un discours avisé, c’est aussi parce qu’ils ont été très tôt versés dans la critique d’art. Ces considérations posent la question de la nature et de la portée du propos des Goncourt sur les modalités matérielles de la fabrique des images caricaturales, que ce savoir émane des sociabilités artistiques et culturelles, d’une expérience de critique d’art ou encore d’une participation à la presse. Gravure, lithographie, eau-forte occupent une place centrale dans la vision du monde des Goncourt, à une époque où l’estampe gagne une visibilité à travers les associations d’artistes. Mais c’est avant tout par les sociabilités et le réseau amical que se forme chez les deux frères une conscience des techniques de l’image.

The paper examines the assumptions and the implications of “urban sketching”, a practice increasingly widespread also among the "non-specialists”, framing this phenomenon in a broader scenario of the "rediscovery" of the drawing from life. Starting from the analysis of some key actions related to these practices, it aims to deepen those themes and aspects which, starting from the field of representation, intrude in other areas of knowledge and other disciplines: from the Phenomenology to the Psychology of Perception, from Anthropology to Cognitive Neuroscience. These practices of the drawing can become important instruments for observation and understanding of the place, at varius levels, thanks to their collective and participatory character, developing a shared interpretation, both individual and public, of urban spaces and architecture, finding alternative ways to represent and describe the reality that surrounds us.

O uso de sistemas digitais de editoração gráfica (Computer Aided Design) popularizou-se nos últimos anos, revolucionando o desenho apoiado em instrumentos como réguas, esquadros e compassos. Os recursos associados à maneira convencional do desenho foram incorporados  aos programas de computador, fazendo com que o processo se tornasse  mais rápido e mais eficiente. Entretanto, o esboço continua a ser uma ferramenta essencial para a sensibilidade do desenhista no projeto. De fato, é  usado ainda como uma ferramenta extremamente rápida e prática na comunicação entre engenheiros, arquitetos e outros designers. Este artigo considera o uso do paralelismo, do perpendicularismo, da tangência e de relações entre os elementos e suas propriedades de geometria plana aplicados na criação dos esboços, feita no plano ou em projeção isométrica. Adicionar estes recursos confere ao esboço uma técnica que incorpore propriedades geométricas, elevando o nível e a precisão da construção. Nesta proposta, utiliza-se uma grade em vez de réguas e demais instrumentos tradicionais, para permitir a construção de quadrados com circunferências inscritas que são a referencia básica principal do esboço. Usando arcos da circunferência, é possível construir também ângulos com precisão 15° e aproximações 5°, assim como demais construções geométricas entre arcos de circunferências e segmentos de retas. O uso desta técnica em um curso de desenho para engenharia significa um recurso extraordinário nos esboços à mão livre, melhorando a noção da proporção e visualização dos estudantes, a construção geométrica básica, o aumento da habilidade de desenho e a representação mais clara.

In this article, I redefine ethnographic drawing in the context of contemporary practice and idea. The starting point for the analysis consists of fieldwork, film and photography, which function as ethnographic tools, and the latest drawing theories. A wider context is created by the ethnographer's personal experience, his subjectivism and creative exploration, which bring science and art closer together.

Meaning is the essence. It is the primary reason for us to keep doing things. Meaning is both significance and the endless unfolding of significance. Visual Meaning is fundamental for visual arts and design processes. One draws, paints, sculpts, throws sponges on the wall, dips one's own body into paint and crawls on the ground or codes to create lines, spots or fields (Knight), all of which are then looked into, perceived and iterated. Vision is so important that Alberti's eye becomes a godly creature with wings that flies among thunderstorms, Kepler's eye becomes a perfect machine through which stars and galaxies leaks (Alpers), Vermeer's eye becomes the ultimate light filter and depicter. Finally Stiny's eye establishes a "unique computational theory: Shape Grammars" (Knight and Stiny). And all this happens in a series of places (Casey), as one wanders through streams of creative visual processes along one's humaning (Ingold). Once I portray the moment of visual discovery as an encounter, the artists and the designer as encounterers and the computer as the counter, I ask: can the ultimate counter [the computer] provide true encounters for creative visual processes? Computing visual meaning -- it really possible? I unfold these questions by introducing a visual-making apparatus around which all scientifically separated players, the encounter, the encounterer and the counter become interwoven in one place. Visual-making, similar to living, requires us to twist, bend, embrace and abandon. The human-be-comput-ing tree grows to introduce a novel model for drawing and painting, for humaning. An uncommon place for discovering and computing visual meanings, the Broadened-Drawing Scape, emerges.

Οι συγκεκριμένες σημειώσεις αποτελούν τον κορμό των παραδόσεων του μαθήματος για την Προοπτική & Σκιαγραφία στο Τμήμα Εικαστικών & Εφαρμοσμένων Τεχνών, του Πανεμπιστημίου Δυτικής Μακεδονίας .Πληροφορίες για ιστορικά στοιχεία και το ασκησιολόγιο που διδάσκεται ένας φοιτητής/τρια των εικαστικών τεχνών αλλά και της Αρχιτεκτονικής, έτσι ώστε να έρθει σε επαφή με αυτό το σημαντικό εργαλείο, που χρονολογείται από τον 15ο αιώνα. Γνώση που δίνει σημαντικές απαντήσεις για ζητήματα οπτικής και προοπτικής στο χώρο.

These notes are the backbone of the courses that took place at the Prospective Drawing Lectures at the Faculty of Visual and Applied Arts, University of Western Macedonia. Information on historical data and exercises that are taught to a student of Visual Arts and Architecture, so he/she gets acquainted with this important tool, dating from the 15th century. Knowledge gives important answers for Optic Issues and perspective in three dimentions

Cognitive Credibility Assessment (CCA) is a verbal lie detection tool consisting of several interview techniques. These techniques have been examined separately but never together. Reflecting the dynamic nature of CCA we combined several of the techniques (free recall followed by a model statement, followed by a reverse order instruction, and followed by a sketch instruction). We examined the new information provided after each stage of the interview and also compared the information provided in the initial recall with the information provided after the entire interview. A total of 47 truth tellers and 47 lie tellers went on a mission. Truth tellers were asked to report their mission truthfully, whereas lie tellers were requested to lie about several aspects of the mission. We measured the total units of information (total details) provided in the interview and the number of complications reported. The results indicate that the pre-registered hypothesis (Hypothesis 1) was supported for complications. Truth tellers reported more complications than lie tellers in each stage of the interview and the difference was more pronounced after the entire interview than after the free recall. As a conclusion, CCA was an effective lie detection method when complications were taken into account.

La evaluación cognitiva de la credibilidad (ECC) es una herramienta verbal de detección de mentiras que incluye varias técnicas de entrevista. Dichas técnicas se han examinado por separado pero nunca juntas. Para reflejar el carácter dinámico de la ECC combinamos varias de las técnicas (recuerdo libre seguido de una declaración tipo, seguido de una instrucción de recuerdo en orden inverso, y de una instrucción para que hagan un sketch -esquema- durante la narración del evento). Analizamos la información nueva proporcionada tras cada etapa de la entrevista y también comparamos la información procedente del recuerdo inicial con la aportada por toda la entrevista. Un total de 47 sujetos que decían la verdad y 47 que mentían fueron enviados a una misión. A los participantes de la condición de testimonio verdadero se les pidió que informaran de su misión de modo veraz, mientras que los de la condición de mentira se les solicitó que mintieran sobre distintos aspectos de la misión. Se midió el total de unidades de información (detalles totales) de la entrevista y el número de complicaciones de las que se informaba. Los resultados mostraron que los participantes de la condición de verdad informaban de más detalles y complicaciones (hipótesis 1) en cada fase de la entrevista siendo las mayores diferencias tras la entrevista global que tras el recuerdo libre. En conclusión, la categoría complicaciones de la ECC es eficaz en la detección de la mentira.

In architectural design process, designers do sketches to tell what they think about and to improve these ideas. Sketches are important for design process, not for only being a communication tool that tells designers thoughts but also they engage in an interaction by introducing new ideas and developing them. In this context, sketch is not possible to separate from the design process. Designing process continue as long as the act of making sketches which is the visualization tool of continuing ideas. With the advancement of technology it has become part of computer design process and sketches in digital environment work has begun. Today's situation is, programs have been developed that provide the opportunity to sketch using computer and has now become a reality that cannot be ignored from the two different environments for the design process. This study will focus on to sketch in architectural design studio and drawing approaches in digital environment. In this context, this study will examine the design process, the role of the sketches in this process, sketch approaches on computer, and developments in these matters.

Pablo Palazuelo soñó desde la ventana de su residencia parisina con las vidrieras de la iglesia de Saint Severin. Posteriormente, cuatro proyectos le brindaron la posibilidad de dibujar con la luz y materializar el color. Gracias a los documentos inéditos atesorados por la Fundación del pintor, este estudio propone analizar el proceso desarrollado durante la elaboración de sus propuestas para vitrales. Reunidos por primera vez, los diseños para la residencia Arango, Valdemorillo (1984-1986), la parroquia de San Salvador, Guetaria (1995-1996), la casa comercial Palazuelo, Madrid (1996) y el Auditorio, Barcelona (1998), ilustran esta incursión en el terreno del umbral lumínico. /

Palazuelo Pablo dreamed from the window of his Paris residence with the stained glasses of Saint Severin church. Subsequently, four projects provide him the ability to draw with light and materialize colour. Thanks to the unpublished documents treasured by the Foundation of the painter, this study aims to analyze the process developed during the preparation of his proposals for stained glass. Gathered for the first time, the designs for residence Arango, Valdemorillo (1984-1986), the San Salvador parish, Guetaria (1995-1996), the trading house Palazuelo, Madrid (1996) and the Auditorium, Barcelona (1998), illustrate this raid into the field of the light threshold.

"Atelier de Dessin" with High School Students in Luxembourg. The theme was : "Permanence & Change" in the context of cultural and urban identity/ How can we remain what we are if everything changes all the time?  « Se vogliamo che tutto rimanga come è, bisogna che tutto cambi ! »
« Si nous voulons que tout reste tel que c'est, il faut que tout change.»
Citation de Tancredi dans "Il Gattopardo" de Tomaso di Lampedusa

Learn to: • Harness the power of the latest SketchUp and SketchUp Pro features • Produce professional-quality 3D models and designs • Develop compelling presentations to showcase your work • Export models to Google Earth ™ and print and share your designs G o o g le S k e t c h U p ® 8 Ma kin g Ev ery th ing Ea sie r! ™ Visit the companion Web site at www.dummies.com/go/ sketchup8fd for a bonus chapter and videos demonstrating more of what you can do with Google SketchUp! Open the book and find: • What you should and shouldn't expect SketchUp to do • All about establishing the modeling mindset • Steps for using components to build smarter models • How to model with photographs • Methods for working with styles and shadows • Techniques for geo-modeling for Google Earth • Tips on exporting images and animations • How to stay organized with layers and pages Aidan Chopra is the product evangelist for SketchUp at Google. He writes and edits SketchUpdate, a popular e-newsletter and blog that reaches hundreds of thousands of SketchUp users worldwide. $29.99 US / $35.99 CN / £21.99 UK ISBN 978-0-470-91682-7 Computers/CAD-CAM Go to Dummies.com ® for videos, step-by-step examples, how-to articles, or to shop! You can quickly and easily model in 3D! Get going with SketchUp 8 so you can start creating today Where do you want your imagination to take you? SketchUp will help you get there. This powerful software lets you easily create 3D models, and Chopra shows you how. In no time, you'll build 3D settings, add textures, create animated walkthroughs, export your models into Google Earth, and more. There's no limit to what you'll be able to do! • Get to know your components-create SketchUp components to simplify your life as you design 3D models • Keep your geometry organized-learn how to use the two main tools to organize your model and work cleanly • Build a model from scratch-import a photo and build what you see by tracing with SketchUp's modeling tools • Whip up some style-discover how and where to apply styles, then add shadows for a more realistic look • Show off your models-from walking around a building to setting up scenes with different camera views, find out how to best present your work

A complete manual of Perspective from 0 to 6 vanishing point, including the curvilinear perspective.
Master the curvilinear perspective with four, five and six vanishing point.
Sketch  futuristic cars or the ultimate mp3 player by freehand technique.
Have fun with anamorphic projections and stereo drawings for a 3D effects.
Circles, shadows, people, reflections, and much more.
There is also a 5 languages Dictionary and Terminology page. (Italiano, English, Español, Français, Deutsch).
The book is in Italian.

Sketching is understood as a key factor for creative expression, one the most effective visual thinking tools and so applied for design. Is considered the principal approach by which design engineers externalize their concepts and where the drawings provide visual clues for refinement and revision. Engineering Design researchers as well as professionals agrees the value of sketching to enhance visual thinking and so creativity, but sketching presence in engineering education is so few.

There is a decrease in class hours for graphical subjects in current engineering curricula. Moreover, these even pays more attention to metric geometry and CAD training, and so sketching practice is almost totally displaced by modern computer-aided tools. Our appreciation is that sketching is not valued as a powerful visual thinking tool and seen as an old drawing method, replaced by new computer drafting interfaces. We studied how sketching is valued at engineering schools by students and educators, about their opinions related on the importance of sketching, how they see as a creative tool and how they apply for courses, for teaching and for learning.

It is very important that engineering colleges give students the value of sketching, as well of foster its use, to train the future design engineer “not only in the standard drafting skills, but additionally in the ability to represent concepts that are more abstract and best represented as sketches”. To foster creative problem solving, engineering schools should offer formal courses in sketching and drawing in support of design projects: teaching basic techniques in freehand sketching would help them generate quicker and more effective external visualizations of their ideas, and thus foster their creativity.

This book offers a contribution to the theory, method and techniques involved in the use of animation as a tool for temporal design sketching. Lifted from its traditional role as a genre of entertainment and art and reframed in the design domain, animation offers support during the early phases of exploring and assessing the potential of new and emerging digital technologies. This approach is relatively new and has been touched upon by few academic contributions in the past. Thus, the aim of the text is not to promote a claim that sketching with animation is an inherently new phenomenon. Instead, the aim is to present a range of analytical arguments and experimental results that indicate the need for a systematic approach to realising the potential of animation within design sketching. This will establish the foundation for what we label animation-based sketching.

This is a syllabus of an introduction to the discipline of urban design whose goal is to provide students with the necessary skills to participate effectively in urban design studios and will include site, spatial and public domain analysis, map and plan reading, visual, verbal and written communication techniques, and basic computer-based three-dimensional modelling and numerical analysis. Students will be introduced to the objectives and principles of urban design by analysing a number of public spaces including the spaces between buildings as well as the public domain and urban conditions in Sydney.

Η ελεύθερη, αυθόρμητη, «δια χειρός» σχεδίαση, το σκίτσο, αποτελεί διαχρονικά, έναν τρόπο έκφρασης, διανόησης και επικοινωνίας, έμφυτο και οικείο στον άνθρωπο. Από την προϊστορία έως σήμερα, από την τέχνη έως την επιστήμη, από ένα μικρό παιδί έως έναν καλλιτέχνη, το ελεύθερο συντομογραφικό σχέδιο, υπό μορφή χειροποίητου σκίτσου, αποτελεί τόσο μία οικεία πραγματικότητα, όσο και ένα αναπόσπαστο κομμάτι κάθε δημιουργικής διαδικασίας. Όμως, σε μία εποχή, που ο άνθρωπος έχει την τάση να απομακρύνεται από εγγενείς και έμφυτες ιδιότητές του, συνειδητά ή ασυνείδητα, προς την υιοθέτηση ενός «ψηφιακού τρόπου ζωής», νομίζω πως με τον ίδιο τρόπο ο αρχιτέκτονας τείνει να απομακρύνεται από το σκίτσο και την «δια χειρός» δημιουργία. Μέσα σε αυτό το ευρύτερο πλαίσιο, κρίνω την ανάγκη της ανάδειξης της σημασίας του σκίτσου στην αρχιτεκτονική δημιουργία, ως μέσου που ενώνει σώμα και μυαλό σε μία ενιαία ολότητα. Το «αρχιτεκτονικό» σκίτσο, απαντάται με πολλούς και διαφορετικούς τρόπους στην αρχιτεκτονική σύνθεση, προσαρμοσμένο κάθε φορά στο σκοπό που καλείται να επιτελέσει, ανάλογα με τις ανάγκες του δημιουργού του. Αποτελεί ένα σημαντικό «εργαλείο» στα χέρια του αρχιτέκτονα-δημιουργού και όπως κάθε εργαλείο έχει προτερήματα, αλλά ενέχει και κινδύνους….
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The freehand, spontaneous, “manual” design, known as sketch, constitutes, over time, an innate and natural capacity of expression, intellect and communiction. From prehistory to the present, from art to science, from a toddler to an artist, free shorthand plan, in the form of handmade sketch, is both, a familiar reality, and an integral part of any creative process. However, I believe that, in our current “networked” culture, man has a tendency to move away from intrinsic and inherent properties, as design, -consciously or unconsciously-, for the sake of a “digital lifestyle”. In the same time, I think that, in a similar way, architect tends to move away from freehand desing, the sketch, and the “manual-handmade” creation. As a result, I consider the need to highlight the importance of sketch in architectural creation, that constitutes a process that connect body and mind as a knowing entity. The “architectural” sketch, depending on the needs of its creator, can have different forms of expression in architectural composition, adapted each time to the purpose assigned to it. Sketch, constitutes an important “tool” in the hands of the architect-creator and like any tool has advantages  and risks ...

Design is a creative activity that aims to present a new product or a new concept for an existing products. Designing of products typically proceeds through a number of stages to be manufactured. Conceptual design is considered the most important stage within design as idea generation process takes place. When it comes to idea generation process, the first thing comes to the mind is sketching which is used by designers to investigate ideas and visualize them. This is because most of designers use it, design schools work hard to improve their students' sketching skills, and companies and design studios produce sketches to persuade their clients. It seems sketching is the only technique to generate ideas, but it is not. There are various techniques were developed by designers or within other domains such as economic and psychology. These techniques can be used individually and in a group such as brainstorming, mind map, written scenario and stepladder technique. This paper aims to explore different idea generation techniques, investigate how they work, and find a framework for these technique to work together to add more dynamic, speed, and creativity to idea generation process. It first review these techniques from different domains. Then, these techniques are analyzed and classified. In the last step, a framework for idea generation techniques is created to enable designers to benefit the best from different techniques.

In design, sketching is a thinking tool next to writing, and sketches are often referred to as the language of designers. The ability to sketch out ideas rapidly in various formats is a central skill for a designer, and should be fostered in educational programmes. For most students, however, sketching skills seems far less developed than writing, and as a result, they often avoid communicating visually all together. This paper concerns the use of sketchnotes as a means to train basic visual communication and drawing skills. It presents a practical experiment with 55 students from IT product development at a computer science faculty who were involved in lectures, critique and open sketchnote assignments as part of their course in shape changing interfaces. The paper discusses insights related to how the different activities contributed to improving the students' skills in making knowledge visual and engaging others with their drawings. The paper discusses outcomes related to the visual qualities such as the use of various types of contrasts and to the informational quality such as the level of abstraction in the drawings comprising a sketchnote. Finally, the paper relates these outcomes to the students' journey towards becoming more confident sketchers.

Este artículo presenta los resultados y conclusiones de un estudio de campo realizado
con alumnos de dibujo. El objetivo de este trabajo era el de establecer un
modelo de evaluación para las materias de dibujo en el nivel superior. Para tal
finalidad, antes que nada fue necesario reconocer las habilidades personales que
desempeñaban un papel activo en el acto de dibujar. A partir de dos ejercicios,
previamente seleccionados para evaluar la memoria visual de los alumnos y su capacidad
de observación, se llegó a la conclusión de que el aprendizaje de esquemas
básicos y la observación son las habilidades más importantes para dibujar. Ambos
procesos tienen un papel fundamental en la construcción del pensamiento visual
y el desarrollo de la creatividad. Los esquemas interiorizados sirven de recurso al
dibujar una imagen (real o imaginada), mientras que la observación minuciosa
amplía el acervo de esquemas formales.
Palabras clave: dibujo; observación; percepción visual; pensamiento visual; esquemas.
This article presents the results and conclusions of a field study performed with
students of drawing. The aim of the work was to establish a model of evaluation for
the materials of drawing at a higher level. For this purpose it was necessary above
all to recognize the personal skills that played an active role in the act of drawing.
On the basis of two exercises, previously selected to evaluate the visual memory
of the students and their capacity for observation, the conclusion was arrived at
that the learning of basic outlines and observation are the most important skills
for drawing. Both processes have a fundamental role in the construction of visual
thinking and the development of creativity. Interiorized sketches serve as a recourse
when drawing an image (real or imagined) while detailed observation extends the
store of formal schemas.
Keywords: drawing; observation; visual perception; visual thinking; schemas.

Resumen: Actualmente la concepción y representación de la arquitectura mediante computadoras se ha vuelto más común de lo que solía ser. Sin embargo, al hablar del boceto como herramienta gráfica para la generación de ideas, se le concibe como un dibujo a mano cuya simple intención es darle forma a lo que aún no es tangible. Por esta razón, la utilización del computador se califica muchas veces de inapropiada para la ejecución de un tipo de dibujo tan personal y reflexivo. Este artículo plantea algunas consideraciones sobre el boceto y las características de la representación digital, para comparar sus propiedades, y generar conclusiones sobre las posibilidades de uso del computador en la representación de las fases iniciales del proceso de diseño arquitectónico.

Abstract: Nowadays, the conception and representation of architecture by computer is more common than it used to be. However, when we consider sketching as a graphic tool to generate ideas, it is envisaged as freehand drawing with no other intention than giving form to something yet intangible. The use of computers is therefore many times considered inappropriate to carry out such a personal and thoughtful kind of drawing. This article presents some considerations about sketching and the characteristics of digital representation to order to compare their properties and draw conclusions on the use of computer in representing the initial stages of the design process in architecture.

Drawing is a process by which the mind commits itself to ideas that can only be expressed visually, but is also an embodied form of knowing, crossing distinct areas of inquiry and pedagogy — from arts to humanities and sciences. As this field becomes increasingly heterogeneous, claiming for a multimodal research landscape, stable areas of knowledge production are rare and crossover problems emerge.
The renewed interest on drawing beyond those areas to which it is commonly associated – fine arts, architecture and design – is a symptom of its underlying presence in the various pedagogical, laboratorial and expository contexts: as notations, diagrams, illustrations, gestures, models, methodologies and traces standing for a researched idea or phenomenon.
Nevertheless, its status and roles within the University today are still relatively overlooked, confined to the specific needs of departments, laboratories and classrooms, where its presence tends to go unnoticed. This invisibility is partially explained by drawing’s level of indeterminacy in dealing with ill-structured problems, the common ground of its communication processes and the apparent simplicity of its outcomes.
In organizing this book, we identify the need to counter an analytical urge that only focuses on complex things in order to reduce them to simple equations. In drawing research, we must recognize that sometimes we need to reveal the hidden complexities that are the secret of drawing’s simplicity.
The discrete but systematic use of drawing in such heterogeneous fields as computational sciences, simulating the sets for game programming; in biology and microbiology as illustrations and perceptive tool of direct and microscopic observations; in geography, as visualization of an experiential space; or in journalism as an alternative instrument of reportage – just to pinpoint the tip of the iceberg – is opening new lines of inquiry on its creative, cognitive and communicative aspects. But above all it shows drawing’s conceptual sophistication in problem solving, innovation, learning and expertise.
We believe that the cognitive and expressive processes of drawing in the University can be defined more clearly within a framework that recognizes what all these territories have in common: by confronting its differences, we can also find its common ground.
This publication bears testimony to the emergence of a trend of research regarding the use of drawing in the University as a visual or performative strategy, and its capacity to inform and be informed by its disciplines: from visual arts and design to medicine, from sports to cognitive sciences, from geography to criminology, from engineering to communication sciences, from archeology to biology, from architecture to ethnography. To discuss drawing within the University is to question the distinction between invention and research, arguing for a double movement between both. As Paul Carter (Carter, Paul (2007), “Interest: The Ethics of Invention”. In Barret; Estelle; Bolt Barbara (2007), Practice as Research – Approaches to Creative Arts Enquiry. London: I.B.Tauris, pp. 15-26.)  put it:

"The condition of invention – the state of being that allows a state of becoming to emerge – is a perception, or recognition, of the ambiguity of appearances. Invention begins when what signifies exceeds its signification – when what means one thing, or conventionally functions in one role, discloses other possibilities (…). In general, a double movement occurs, of decontextualization in which the found elements are rendered strange, and of recontextualization, in which new families of association and structures of meaning are established. This double movement characterizes any conceptual advance." (Carter, 2007: 16)
 
As a conceptual tool, drawing shares the creative impulse and the main driving forces of research — curiosity, speculation and confrontation between patterns of thought — through explorative, move-testing or hypothesis-testing experiments. Therefore, the contributions to this study emerge from a reflection on both written accounts and studio practices in response to these questions:
- What cross-disciplinary perspectives are open to drawing in a contemporary University?
- How can drawing contribute to an image based research in the University?
- Is there specific visual imagery in scientific practice?
- How can drawing be involved in problem solving?
- What engagements can be imagined between drawing and verbal language?
- How is drawing involved in performance based practices in the University?
- What roles are assigned to drawing in laboratorial and studio contexts?
- How does drawing relate active perception with cognition and creativity?
- How can drawing enhance teaching and learning strategies in the University?

As a result, we noted the recurrence of frameworks and the emergence of core themes within the heterogeneity of contributions, and accordingly divided this book into six parts:
Enhancing Education Through Drawing concerns the impact of drawing as a learning methodology in artistic, design and scientific practice, through innovative strategies and alternative outcomes;
Visual Imagery and Scientific Practice analyses the production and use of sketches, diagrams and illustrations in the context of scientific work, as records of the process of knowledge production;
Creativity, Cognition and Active Perception focuses on the shared circuits between creative and perceptual processes and their instrumental role in discovery, mind shifting and experiential knowledge.
Thinking Drawing in Research establishes a critical and philosophical ground for discussing the role of drawing within the University, focusing on the relationship between research, practice and alternative modes of knowledge, based on subjective, emergent and interdisciplinary approaches.
Modes of Conception: Reports on Practice describes case studies in studio-based research, focusing in the process of invention through drawing and its relationship with concepts such as skill/deskill, know-how and experience. 
Acting Through Drawing explores the complex relationships that exist between drawing, performance and performativity, reflecting on the role of drawing as an instruction, an instrument and a record of a performative action.
Intertwined with the papers there are experimental contributions from independent artists and researchers, presented at the Drawing in the University Today Exhibition, curated by Pedro Maia, Cláudia Amandi and Natacha Antão, in the Faculty of Fine Arts and the Faculty of Architecture of the University of Porto. These works cover practice-led research on a wide range of topics, such as drawing machines, dialogical and collaborative practices, anthropology and cultural memory, medicine and pedagogy, the relationships between image and language, drawing as reportage or performance recording.

Acknowledgement
We are very grateful to all of the authors, whose patience with the process of assembling such a comprehensive review of the field has resulted in a valuable resource in this book.


Paulo Luís Almeida, Faculty of Fine Arts, University of Porto
Miguel Bandeira Duarte, School of Architecture, University of Minho
José Teixeira Barbosa, Faculty of Architecture, University of Porto

In an attempt to align emerging methods of design thinking and emerging methods of representation, the author investigated an opportunity for students to explore tablet-based sketching with operative methods. At the 2012 gathering of the Design Communication Association, Architect Friedrich St. Florian argued that in the importance of design skills, " none is more elementary than drawing, " (1) that " the transfer of ideas, the critical ideas (of) the design process, from idea, to the gestalt, to the drawing " represents the most " fundamental skill of design communication. " Observed behavior of young college-age students and their relationships to mobile devices also inspired the study. A study of a chosen urban context through both mapping and observational photography was enhanced with recent mobile apps, including those developed by the Morpholio project (2) that digitally mimic the sketching methods designers have practiced for decades. The union of sketching as a thinking process, and the immediate communication and collaboration potential that a digital artifact allows, supported the streamlining of this ideation.

Drawing from Life explores revolutionary drawing and sketching in the early People’s Republic of China (1949–1965) in order to discover how artists created a national form of socialist realism. Tracing the development of seminal works by the major painters Xu Beihong, Wang Shikuo, Li Keran, Li Xiongcai, Dong Xiwen, and Fu Baoshi, author Christine I. Ho reconstructs how artists grappled with the representational politics of a nascent socialist art. The divergent approaches, styles, and genres presented in this study reveal an art world that is both heterogeneous and cosmopolitan. Through a history of artistic practices in pursuit of Maoist cultural ambitions—to forge new registers of experience, new structures of feeling, and new aesthetic communities—this original book argues that socialist Chinese art presents a critical, alternative vision for global modernism.

Reading the sketching in design literature gives the impression that designers are cruelly crippled by cognitive disabilities and limitations that can only be surmounted with the aid of external memory devices, such as sketches and drawings. Designers are not disabled so, not in general. Sketching is not an essential aid to memory, as is widely presumed. Sketching is a kind of thinking that is needed in designing. An argument is presented to support this answer that draws on work by some of the authors who presume sketches to be cognitive aids.

Borrador de capítulo para el libro "La Interacción Humano-Computadora en México", editado por J. Muñoz, J. M. González y J. A. Sánchez. Editorial Pearson, México.

Detalles sobre el capítulo:
* Presenta 10 fundamentos relacionados con el diseño visual de interfaces de usuario.

* Presenta un marco de trabajo orientado al diseño para estudiantes de Diseño de Interacción Humano-Computadora.

* Incluye ejercicios para estudiantes enfocados en diseño visual que estudiantes de Computación e Ingeniería de Software pueden usar, pero también pueden ser usados en programas en departamentos académicos de diseño.

This paper examines how the role of sketching in design process has been disseminated previously through a review of prior perspectives into the field. We identify that the studies of design sketching has been dominated by two perspectives: studies into what is known as ‘visual
thinking’ (Goldschmidt 1991, Schön & Wiggins 1992, Tversky et al. 1999), which examines the designers reflective conversation with the sketch, and a second perspective on sketching as way of ‘visual communication’ with others in the design process (Lugt 2005, Schütze 2003, Buxton 2010). We raise the question of whether it is reasonable to combine the two different roles of sketching to form a more intertwined relationship - seeing the two as sides of the same coin. Based on the terminology of Olofsson & Sjöflen (2005) four functions are identified as being representative for the different roles sketching can take in the design process: investigative, explorative, communicative, and persuasive. We appropriate these categories into a tension field, reflecting how the role of the same sketch may change over the course of time in the design project, based upon the type of knowledge required to gain from the sketch at a given time.

Este trabalho de conclusão de curso teve como tema principal a transformação de um personagem originalmente desenvolvido para o ambiente virtual dos videogames, em um objeto físico destinado ao mercado de colecionáveis na forma de um diorama.

O trabalho foi composto por duas grades partes contendo suas respectivas seções e sub-seções:

A primeira envolveu um estudo sobre o tema que abrange o trabalho, os videogames de um modo geral, o histórico de sua criação e seus possíveis subprodutos, por exemplo, as action figures. Para tanto, foi realizado um levantamento do mercado de videogames; um discurso sobre os produtos colecionáveis; e, por fim, uma apresentação/estudo da história do jogo e seus personagens.

This page contains information on the people mentioned below. According to the information I've acquired, those individuals are battling for their objectives based on their interests. Various types of conflict have evolved as a result of Imperialism. Throughout such fights, some people fought truly for the people and freedom, valiantly loved the nation, and were hailed as heroes. Others, on the other hand, act in their own self-interest, and their main purpose is to gain the authority they desire, which generates more strife in their country.

“Be-Witched shadows: approaching Greek Shadow Theatre’s Witches, inspired by Fairy tales”

It is widely accepted that Fairy Tales is a basic theme source of Modern Greek (glove & string) Puppet Theatre. However, the relation between Fairy Tales and Greek Shadow (Puppet) Theatre (Karaghiozis) has not yet been thoroughly examined, mostly due to lack of authentic Shadow Theatre’s texts.
As researching, it becomes clear that Greek Shadow Theatre has not only drawn inspiration from History, Theatre, Traditional Puppet Theatre (Fasoulis), Popular Literature, Everyday events, but from Children’s Literature, as well. Such influences can be recognized in thematic field (e.g. “Genovefa”), but in choosing heroes, as well. A closer look reveals that witches tend to be the most popular heroines, transferred from Children Books’ pages to Shadow Theatre screens. 
Based on bibliography, oral testimonies and (un)published plays lying in state and private collections, we shall present a registration of shadow theatre plays with casts, enriched by witches. Key questions like “when”, “how”, “why”, “how often”, shall be submitted for reply, broadening the horizons of future research.

On May the third 1933, Taut arrives in Japan, from Berlin, accused of Bolshevism. During the trip, he takes note
of impressions and sketches which will be published as Toward Japan and Travel Notebook. In summer 1933, he writes the
first essay Japan seen with European eyes, a critical overview of the artistic development of Japan at the beginning of the XX
century, while Basic features of Japanese architecture emphasizes the values of simplicity and purity of 17th century architecture,
as in the imperial villa Katsura and in the Ise sanctuary, reference points for the modern Japanese architecture. Lastly, the
substantial book Houses and people of Japan is a travel report within traditional architecture and historical urban planning,
ending with the visit report to Katsura: in the simplicity and purity of its proportions, Taut recognizes the matrices of Modernism.

The fieldwork sketches of Arthur Bernard Deacon, made in Vanuatu in 1926–27, give us insight into the early methodologies of social anthropology and into the role of images in anthropological ways of thinking. Here I develop a perspective on field sketches that explores them not only as visual mediations of the fieldworker’s subjectivity, but also as genre pieces that indicate very particular forms of training in “how to see.” I draw out the visual conventions, ways of thinking and seeing, that underscore the different strategies that Deacon used in his drawing.

How to draw curvilinear perspectives. Graphics and mathematical method. Old version 2018 ..............................................................................................................
Please read Second edition 2024
https://www.academia.edu/113654730/How_to_draw_curvilinear_perspective_preview_2024

This illustrated paper describes how Thoreau's intimate communion with nature resulted in drawings similar to those created by Chinese Buddhist contemplatives. Qi Journal Vol. 25 No. 2, Summer 2015, is available at some Barnes & Noble stores and other booksellers and may be ordered online at www.qi-journal.com .