Sketch design drawing, Hill House, Chapel Hill, Brisbane

Sketch floor plan and diagrams.

Sketch design drawing, Hill House, Chapel Hill, Brisbane

Three-dimensional projection sketch showing roof forms and wall finishes.

Drawing insight from pictures: The development of concepts of false drawing and false belief in children with deafness, normal hearing, and autism

Theory-of-mind concepts in children with deafness, autism, and normal development (N = 154) were examined in three experiments using a set of standard inferential false-belief tasks and matched sets of tasks involving false drawings. Results of all three experiments replicated previously published findings by showing that primary school children with deafness or autism, aged 6 to 13 years, scored significantly lower than normal-developing 4-year-old preschoolers on standard misleading-container and unseen-change tests of false-belief understanding. Furthermore, deaf and autistic children generally scored higher on drawing-based tests than on corresponding standard tests and, on the most challenging of the false-drawing tests in Experiment 2, they significantly outperformed the normal-developing preschoolers by clearly understanding their own false intentions and another person's false beliefs about an actively misleading drawing. In Experiment 3, preschoolers; outperformed older deaf and autistic children on standard tasks, but did less well on a task that required the drawing of a false belief. Methodological factors could not fully explain the findings, but early social and conversational experiences in the family were deemed likely contributors.

Contribution towards a reflection about methodological strategies in design education and the function of drawing in design

This work presents a reflection on Design education and specifically on the role of Drawing in this area. As a subject, Design has expanded its field of action expanding into new areas such as Experience Design or Service Design. It became necessary for the designer to have more than an education based on technological knowledge or know-how. Many authors like Meredith Davis, Don Norman or Jamie Hobson point out the urgency to review the curricula of Design courses because nowadays “… design is more than appearance, design is about interaction, about strategy and about services. Designers change social behavior” (Norman 2011). When shifting from a product-centered design to a person-centered design (in a structure, a service or in a relationship) what should the function of drawing in a design course be? What should its curriculum be? Our work methodology will be to confront today’s perspectives on design theory and practice in an attempt to add to the discussion on the methodological strategies in design teaching in the contemporary context.

Contribution towards a reflection about methodological strategies in Design Education and the function of Drawing in Design

This work presents a reflection on Design education and specifically on the role of Drawing in this area. As a subject, Design has expanded its field of action expanding into new areas such as Experience Design or Service Design. It became necessary for the designer to have more than an education based on technological knowledge or know-how. Many authors like Meredith Davis, Don Norman or Jamie Hobson point out the urgency to review the curricula of Design courses because nowadays “ … design is more than appearance, design is about interaction, about strategy and about services. Designers change social behavior” (Norman, 2011) When shifting from a product-centered design to a person-centered design (in a structure, a service or in a relationship) what should the function of drawing in a design course be? What should its curriculum be? Our work methodology will be to confront today’s perspectives on design theory and practice in an attempt to add to the discussion on the methodological strategies in design teaching in the contemporary context.

Teaching drawing: an interdisciplinary pedagogical experience in a graphic design course

Various authors have written about the importance of drawing in design methodology. Their general conclusion points drawing as an essential tool for design research, as it allows investigation of several alternative solutions in design process (Cross, 2007). The recent profound changes in design nature (Norman, 2011), justify a discussion on the purpose of drawing in design courses. As a consequence of this new reality, the educational institutions face the challenge of the definition of their curricular structures and teaching methodologies. Among others, concepts such as collaboration and multidisciplinary design approaches have been discussed as strategies for design education (Heller and Talarico, 2011, pp. 82-85). In this context, and using our teaching activity experience in Drawing and Design areas, the authors discuss:  how can drawing methods be included in the current design teaching?  can drawing be considered as an interdisciplinary approach?  what contributions can these methodologies provide to the educational/learning process? Based on these concerns, we developed an interdisciplinary project in the Graphic Design Course with two curricular units: Drawing 1 and Aesthetic and Design Theory 1. In this article the authors present the aims and process developed, and discuss the outcomes of this pedagogical experience.

Avaliação de uma metodologia de tratamento de desenhos a pastel

Dissertação apresentada na Faculdade de Ciências e Tecnologia da Universidade Nova de Lisboa para a obtenção do grau de Mestre em Conservação e Restauro Área de Documentos Gráficos

Drawing and use of auxiliary projection nets (the program STEGRAPH)

The development of an algorithm for the construction of auxiliary projection nets (conform, equivalent and orthographic), in the equatorial and polar versions, is presented. The algorithm for the drawing of the "IGAREA 220" counting net (ALYES & MENDES, 1972), is also presented. Those algorithms are the base of STEGRAPH program (vers. 2.0), for MS-DOS computers, which has other applications.

Children emotional reactions toward advertising and brands: A drawing experiment

A Work Project, presented as part of the requirements for the Award of a Masters Degree in Management from the NOVA – School of Business and Economics

Temporary employment in advanced economies: drawing lessons from Spain

This study analyses the determinants of the rate of temporary employment in various OECD countries using both macro-level data drawn from the OECD and EUROSTAT databases, as well as micro-level data drawn from the 8th wave of the European Household Panel. Comparative analysis is set out to test different explanations originally formulated for the Spanish case. The evidence suggests that the overall distribution of temporary employment in advanced economies does not seem to be explicable by the characteristics of national productive structures. This evidence seems at odds with previous interpretations based on segmentation theories. As an alternative explanation, two types of supply-side factors are tested: crowding-out effects and educational gaps in the workforce. The former seems non significant, whilst the effects of the latter disappear after controlling for the levels of institutional protection in standard employment during the 1980s. Multivariate analysis shows that only this latter institutional variable, together with the degree of coordinated centralisation of the collective bargaining system, seem to have a significant impact on the distribution of temporary employment in the countries examined. On the basis of this observation, an explanation of the very high levels of temporary employment observed in Spain is proposed. This explanation is consistent with both country-specific and comparative evidence.

The referent : a new referential methodology and procedure in live drawing

My research in live drawing and new technologies uses a combination of a human figure in live in composition, overlaid with a digital projection of a second human figure. The aim is to explore, to amplify and thoroughly analyse the search for distinctive identities and graphic languages of representation for live and projected models.

Getting to know about health and safety related to products used in painting, drawing and printmakin

Practicing art is not a high risk activity. This statement, along with the creative, expressive and intangible aims of this activity, as well as the lack of information, promotion of safety awareness and training of thepeople in charge of art studios, may have pushed the implications of practicing art as regards health, safety and environment into the background. Faced with this prospect, a comprehensive study of the facilities and the activities carried out in art studios becomes necessary. The study concerns experimental activities involving Health and Safety risks for both the artists and the teachers and students, especially those carried out in the studios located in educational institutions.