Drawing

Over the past ten years, geographers have contributed to the growing body of interdisciplinary research developing new ways of undertaking research with children. Traditional research methods which do not directly involve working with children, such as the large scale observation of children, have been criticised for carrying out research on rather than with children. Instead, drawing upon the increasingly important children’s rights movement, researchers have been developing inclusive and participatory children centred methodologies, which place the voices of children, as social actors, at the centre of the research process. In this paper, we draw upon two ongoing postgraduate geographical research projects with children to reflect upon our own experiences of adopting children centred research methodologies. We also critically evaluate our own use of different innovative children centred research techniques, such as photographs, diaries, in-depth interviews and surveys.We also highlight the importance of considering the impact of the spaces in which we conduct our research.

Spider dragline silk is formed as the result of a remarkable transformation in which an aqueous dope solution is rapidly converted into an insoluble protein filament with outstanding mechanical properties. Microscopy on the spinning duct in Nephila edulis spiders suggests that this transformation involves a stress-induced formation of anti-parallel beta-sheets induced by extensional flow. Measurements of draw stress at different

Changes in conductivity with repeated fabric extension were investigated to improve the properties of conductive electrode pad material used for electrotherapy when it is subjected to various movement of human body. Highly stretchable and conductive fabrics were prepared by in situ chemical polymerization of polypyrrole on nylon–spandex stretch fabric in aqueous solutions with 0.5 M pyrrole, 1.165 M FeCl3, and 0.165 M benzenesulfonic acid at 5°C for 1 h. Performance of prepared stretchable conductive fabric was evaluated in terms of conductivity changes as a function of tensile strain, repeated extension, and current application time. As the degree of extension increased, the conductivity increased and leveled off when the fabric was subjected to 60% extension. The number of fiber contacts in nylon–spandex fabric with electrode increased as the applied extension increased. However, the conductivity of the composite decreased under excessive extension over 60% since the intrinsic elasticity of fabric became gradually reduced. Generally, the fabric conductivity decreased as the number of extension cycles increased. However, the fabric conductivity was well maintained after repeated extension over 30 cycles at 40% extension. In addition, it was found that the effect of charging during the electrotherapy treatment on a current flow through prepared electrode pad was negligible. © 2003 Wiley Periodicals, Inc. J Appl Polym Sci 88: 1225–1229, 2003

In this article, Walt Haney,Michael Russell, and Damian Bebell summarize a decade of work using student drawings as a way to both document and change education and schooling. After a brief summary of more than one hundred years of literature on children's drawings, the authors point out that drawings have been little recognized as a medium of educational research in recent decades. Next they explain how the work reported here has evolved, recounting how they have used student drawings as a way to document educational phenomena. They then present reliability and validity evidence to support such use on a macro level. The authors go on to relate examples at the micro level of how drawings have been used to inform and change education and learning. Finally, they argue that student drawings, though only one form of inquiry, help illustrate the fundamental point that, if educational reforms are to succeed, we must treat teachers and students not just as the objects, but also as the a...

Women's and men's bodies and sexuality can be understood as socially situated and socially produced. This means they are affected by, and developed in relation to, patterned sociocultural meanings and representations. We aim here to understand a recently emergent, and potentially gendered, body practice-pubic hair removal-by examining the meanings people ascribe to pubic hair and its removal. Extending the widespread hairless bodily norm for Anglo/Western women, pubic hair removal is an apparently rapidly growing phenomenon. Men, too, are seemingly practicing pubic hair removal in significant numbers, raising the question of to what extent pubic hair removal should be understood as a gendered phenomenon. What we do not yet know is what people's understandings and perceptions of pubic hair are, and how they make sense of its removal. Using a qualitative survey, the current study asked a series of questions about pubic hair and its removal, both in general and related to men's and women's bodies. In total, 67 participants (100% response rate; 50 female; mean age 29, diverse ethnically, predominantly heterosexual) completed the survey. Thematic analysis identified five key themes in the way people made sense of pubic hair and pubic hair removal that related to choice, privacy, physical attractiveness, sexual impacts, and cleanliness. Meanings around pubic hair and its removal were not consistently gendered, but it was still situated as more of an issue for women. With potential impacts on sexual and psychological well-being, sexuality education provides an important venue for discussing, and questioning, normative ideas about pubic hair.

In the summer of 2008, the oldest-known drawing to date of the complete ground-plan of the Gothic Cathedral of Seville (Spain) was identified in the archive of the convent of La Santísima Trinidad de Bidaurreta, Oñate (province of Guipúzcoa, Spain). This article examines the following four aspects:  the building represented in the drawing, which according to the Guinness Book of Records is the largest Gothic cathedral ever built; the known history of Juan López de Lazarraga, who founded the convent in 1511 and was chief accountant to the Catholic Monarchs; the drawing itself, which except for a few subsequent details can be dated to the third quarter of the 15th century; and, finally, the supposed original project plans from which the Bidaurreta drawing was copied. These plans must have been drawn up in 1433, or earlier, because the building works commenced that year.

Students' engagement with two‐dimensional (2D) representations as opposed to three‐dimen-sional (3D) representations of anatomy such as in dissection, is significant in terms of the depth of their comprehension. This qualitative study aimed to understand how students learned anatomy using observational and drawing activities that included touch, called hap-tics. Five volunteer second year medical students at the University of Cape Town participated in a six‐day educational intervention in which a novel " haptico‐visual observation and drawing " (HVOD) method was employed. Data were collected through individual interviews as well as a focus group discussion. The HVOD method was successfully applied by all the participants , who reported an improvement of their cognitive understanding and memorization of the 3D form of the anatomical part. All the five participants described the development of a " mental picture " of the object as being central to " deep learning. " The use of the haptic senses coupled with the simultaneous act of drawing enrolled sources of information that were reported by the participants to have enabled better memorization. We postulate that the more sources of information about an object, the greater degree of complexity could be appreciated, and therefore the more clearly it could be captured and memorized. The inclusion of haptics has implications for cadaveric dissection versus non‐cadaveric forms of learning. This study was limited by its sample size as well as the bias and position of the researchers, but the sample of five produced a sufficient amount of data to generate a conceptual model and hypothesis.

We investigate the functions of drawing in design and how, based on these functions, a computational sketching environment might support design reasoning. Design, like all problem solving activities, involves reasoning— making decisions, expressing ideas, verifying and evaluating proposals, and ultimately, taking action. For designers, drawing is a vehicle for design reasoning, and therefore the spontaneous marks made on paper during sketching form a partial record of the designer’s thinking. Most designers sketch early design ideas with a pencil on paper: sketching is still the quickest and most direct means to produce visual representations of ideas. The ambiguity of free hand sketching allows multiple interpretations and thus stimulates the production of more design alternatives. The linked acts of drawing and looking invite designers to recognize new interpretations of the alternatives they propose. By drawing and looking, designers find visual analogies, remember relevant examples, and discover new shapes based on previously unrecognized geometric configurations in their sketches.

Autores: Ellen Yi-Luen Do & Mark D. Gross
Drawing as a means to design reasoning
Do, E. and M. D. Gross
Artificial Intelligence in Design ‘96 Workshop on Visual Representation, Reasoning
and Interaction in Design, Palo Alto, CA.

Purpose--Community arts practice gives voice to a younger generation, who must be studied as part of the development process from commencement, to accomplish building sustainable destination development in the direction of future prosperity for the rural community.

Design/methodology/approach-This paper challenges a relatively weak critical practice of the community-based tourism (CBT) by introducing community arts methodologies as a research approach in the context of tourism, the opportunity is created to give voice to a younger generation that must also be included in the development aims of the CBT to achieve sustainable community tourism development.

Findings-The CBT aims to support access to quality participation in the development process. However, investment in education and building tourism entrepreneurs is not inclusive of the future generations beyond the original generation. Consideration of the desires and imaginations of the future generations must be part of the CBT project for tourism development sustainability. Building awareness of the fragility and value of tourist attractions and resources, in a younger generation that never experienced the original attractions of the traditional village, is critical to achieving the objectives of the CBT.

Research limitations/implications-The paper is not yet attempting to examine the empirical data of this research. Rather, it challenges current CBT research processes as having a narrow reach into a community.

Practical implications-Tourism developers and local communities should include an understanding of what directions and what opportunities the next and future generations will have to continue sustainable development. Including children's imaginations into a community's tourism development plans will benefit awareness of the present context and assist locals in forecasting the next stage of village development. The present tourism planners would then have a holistic vision for a design strategy sustaining rural livelihoods that acknowledge the limits of nature-based resources and cultural resources.

Social implications-Community arts research offers the possibility of inclusive participation of community members. Arts methodology attempts to articulate ideas in visual form, for the aim of discussion, reflection and realization of the desires and concerns of the community in terms of lifestyle, environment and cultural heritage, in preparation for the future generation taking control of tourism development. The process aims to impact future decisions effecting the course of tourism development in rural Thailand.

Originality/value-The paper discusses the potential contribution of community arts practice as a complementary tool by taking into account different aspects of sustainable tourism into CBT concept. The paper evaluates what has been missing in advancing our understanding of sustainable rural tourism development in Thailand. It fills the gaps with a methodological approach that gives voice to the local community. The purpose of this paper is to rethinking the ideology and approach of CBT to be inclusive of all

The process of designing artifacts is a creative activity. It is proposed that, at the cognitive level, one key to understanding design creativity is to understand the array of symbol systems designers utilize. These symbol systems range from being vague, imprecise, abstract, ambiguous, and indeterminate (like conceptual sketches), to being very precise, concrete, unambiguous, and determinate (like contract documents). The former types of symbol systems support associative processes that facilitate lateral (or divergent) transformations that broaden the problem space, while the latter types of symbol systems support inference processes facilitating vertical (or convergent) transformations that deepen of the problem space. The process of artifact design requires the judicious application of both lateral and vertical transformations. This leads to a dual mechanism model of design problem-solving comprising of an associative engine and an inference engine. It is further claimed that th...

In 1787 an anonymous student of the Perth Academy spent countless hours transforming his rough classroom notes into a beautifully inscribed notebook. Though this was an everyday practice for many Enlightenment students, extant notebooks of this nature are extremely rare and we know very little about how middle class children learned to inscribe and visualize knowledge on paper. This essay addresses this lacuna by using recently located student notebooks, drawings and marginalia alongside textbooks and instructional literature to identify the graphic tools and skills that were taught to Scottish children in early modern classrooms. I show that, in addition to learning the facts of the curriculum, students participated in educational routines that enabled them to learn how to visually package knowledge into accessible figures and patterns of information, thereby making acts of inscription and visualization meaningful tools that benefitted both the self and society.

The tables and figures for this essay can be downloaded at: http://www.dur.ac.uk/m.d.eddy/SHAPE.pdf""

Richard Waller, Fellow and Secretary of the Royal Society, is probably best remembered for editing Robert Hooke’s posthumously published works. Yet, Waller also created numerous drawings, paintings, and engravings for his own work and the Society’s publications. From precisely observed grasses to allegorical frontispieces, Waller’s images not only contained a diverse range of content, they are some of the most beautiful, colorful, and striking from the Society’s early years. This article argues that Waller played a distinctly important role in shaping the visual program of the Royal Society by virtue of his multiple functions as reliable administrator and translator, competent natural philosopher, and skilled image-maker. It analyzes Waller’s visual works in the context of his graphic training—in part influenced by his mother Mary More—and situates them within the context of English image-making traditions and Waller’s own natural philosophical interests. Examined as a functional whole, Waller’s career as a Fellow of the Royal Society emerges as an important case study in the fusion of visual and scientific practices in early-modern England.

The relevant literature has shown that student teachers hold alternative conceptions of soil erosion. Even though Turkish science student teachers are expected to teach the concept of 'soil erosion' in lower secondary schools (grades 5-8), none of the earlier studies have explored their conceptual growth and/or mental models throughout a 4-year undergraduate program. Indeed, science (student) teachers, who play a pivotal role in teaching the sustainability of soil as an environmental heritage, are able to transfer their environmental knowledge and mental models to younger generations. Therefore, the aim of this research was to elicit science student teachers' (SSTs) understanding of soil erosion. In a cross-age comparison, the sample of the research was comprised of the first-year (n=54), second-year (n=62), third-year (n=60), and fourth-year of a four-year science education program (n=65), a total of 241 SSTs, enrolled at the Department of Science Education in Karadeniz Technical University in Turkey. A questionnaire with 4 open-ended questions and semi-structured interviews were used to collect data. The results indicated that the majority of the SSTs confused the concept of 'soil erosion' with the one 'landslide'. For this reason, the current research suggests the development of analogies and computer simulations to overcome this confusion.

The use of participant-led visual data production is often seen as advantageous because data can be directed, constructed and created away from the influence of the researcher. The case for employing the visual to engender participatory research, and specifically to limit the intrusive presence of the researcher, is well versed and in vogue within the field of social science; however, although participatory techniques offer an opportunity to disrupt power relations, they are unable to transcend familial practices. Drawing from a study in which mother/daughter dyads produced photographs, collages, maps and stories to communicate their everyday lives and ideas of the future, this paper examines the wider role of ‘intrusive presence’. The paper documents incidents of external physical interference where visual data was amended, the influence of outside suggestion in the creative process, and the restrictions placed by the imagined reactions of the viewer. The paper argues that when the ‘intrusive presence’ of the researcher steps out of the site of visual data production this leaves a space that is often filled by the ‘intrusive presence’ of significant others.

The present study investigated the impact of young adolescents' learning environment on their culturally mediated view of themselves as expressed in their self-drawings. The sample consisted of 83 young adolescents, 35 male and 48 female, aged 10-14 years with an overall average of 12 years living in three diverse ecosocial contexts within the Southern region of Madagascar: 28 participants were recruited in rural villages, 14 adolescents lived in a small town, and 41 adolescents were raised in a large city. The participants did not differ in age or gender distribution. The analyses revealed significant differences in the adolescents' emotional expressions, drawing styles, visual appearances, and figure sizes in their self-depictions, which were in line with ecosocial variations in their learning environments. The findings are interpreted in light of the participants' varying socialization experiences, access to formal education, and exposure to modern media and a Western lifestyle.

Why is it that many people feel that they “can’t draw”? In a recent article (Cohn, 2012), I put forth a new theory that compared the cognitive structure of drawing to the cognitive structure of language. Like language, drawing uses schemas that combine in innumerable novel ways, and thus children learning to draw must acquire these schemas from the drawings in their environment. However, while most people in the United States and Europe “can’t draw,” Japanese children have far greater proficiency in drawing. This paper explores reasons for this cultural disparity in graphic fluency originating in the structure of the drawing systems in those respective cultures and the beliefs that frame ideas about drawing and art education. In particular, I explore the intriguing possibility that cultural assumptions admonishing imitation of other people’s drawings prohibits the acquisition of graphic schemas, thereby leading to people feeling that they “can’t draw.”

This article considers the social circumstances of making a marriage diagram, on the island of Ambrym in Vanuatu. It offers a reconsideration of the rather famous case of the ‘six-section marriage system’ as demonstrated by Cambridge anthropologist Bernard Deacon. It relates this idea of a system to the indigenous practice of making figurative drawings in the sand. The argument is that the marriage diagram drawn for Bernard Deacon was merely an instance of Vanuatu people's institutionalized capability of totalizing social flows and making them into aesthetic shapes.

The present study investigated whether sensitivity to object violations in perception as well as in action would vary with age. Five-, 6-, and 11-yr.-old chil­dren  and  adults solved tasks which involved perception  only, motoric indication of parts, actual assembly of parts, and drawing of a violated figure. In perception, object violation was the only factor showing change across age groups,  with violations being increasingly noticed. In composition  tasks involving motor components, object viola­tion was just one factor besides quantity of parts and type of segmentation contribut­ing to task difficulty and showing increase in performance across age groups. Analysis of object violations in visual structure  required abilities similar to those needed when analysing shape  interference. Improved  visual detection  and graphic construction  of object  violation seemed  not  to occur  because segmentation  increased quantitatively but more likely because fast perceptual processes came under scrutiny.

The artist Odilon Redon (1840-1916) was a French symbolist known for both the dark, surreal prints and drawings he created in the first half of his career, as well as the colorful pastel works that characterized the second half of his career. This study examines two drawings by Redon in the J. Paul Getty Museum collection-Apparition (ca. 1880-1890) and Head within an Aureole (ca. 1894-1895)-executed during the period in his career in which he was transitioning between these two modes. In order to better understand the materials the artist chose and the methods by which he applied them, two noninvasive, macroscopic characterization techniques-macro X-ray fluorescence (MA-XRF) scanning and reflectance imaging spectroscopy (RIS)-were employed. These techniques allowed the materials present to be distinguished and the relationship between their applications visualized. Coupled with fiber optic reflectance spectroscopy (FORS) and Raman microspectroscopy with principal component analysis (PCA), these results give new insight into the materials and methods used by Redon. Six distinct black drawing materials and a yellow pastel were identified in Apparition, underscoring the complexity of Redon's noir drawings. As he began using color pastel more frequently he seemed to use a simplified black palette; in Head within an Aureole the artist used only two black drawing materials and three color pastels (two pink and one blue). This research provides a framework for future noninvasive technical analysis of works by Redon in other collections as well as mixed media drawings more generally.