Free-hand drawing for primary grades. : Grades I-IV.

Mode of access: Internet.

Innovative approaches to teaching engineering drawing at tertiary institutions

This paper arises from our concern for the level of teaching of engineering drawing at tertiary institutions in Australia. Little attention is paid to teaching hand drawing and tolerancing. Teaching of engineering drawing is usually limited to computer-aided design (CAD) using AutoCAD or one of the solid-modelling packages. As a result, many engineering graduates have diffi culties in understanding how views are produced in different projection angles, are unable to produce engineering drawings of professional quality, or read engineering drawings, and unable to select fits and limits or surface roughness. In the Faculty of Built Environment and Engineering at the Queensland University of Technology new approaches to teaching engineering drawing have been introduced. In this paper the results of these innovative approaches are examined through surveys and other research methods.

Representações sociais sobre a prática do cuidado para enfermeiros da saúde indígena: um estudo transcultural

The desire to research on this subject arisen from the experience as nursing in the indigenous health, where I observed that many professionals from all regions of Brazil chose to work within this zone. It was notorious the nurse s difficult to settle in only one place for a long length of time. Probably due to health care in indigenous zones happens from a cultural confront. This confront materialize because both sides are imbued with their own culture: in one hand the nurse professional with its scientific knownledgment on the other the indigenous with their rituals and peculiars habits. In this context nurses should delineate and negotiate the reality through symbolic representations of life, and then make questions on the new reality. In this way, this study set out with the aim of apprehends the nurse s social representations of transcultural care in indigenous health. This knownledgment is important to avoid possible conflicts, shocks, difficulties and health care incongruence within this context. The data collect was carried out on a range of non structured interview guided by a pre-elaborated questionnaire with four questions and a hand drawing related to nurse s health care in the indigenous health. This research had a sample of 17 nurses from the Indigenous Sanitary District of Manaus in the Amazon State. To interpret data we used the Discourse of the Collective Subject, which findings were presented in three chapters: characterization of participants, discussion on themes prevalent in discourse; social representation of nursing care through infographics. The analysis revealed that the care in the indigenous health is challenging because the native people imbued in its world are perceived and processed according to the nurse s cultural lens, leading to materialize of some strangeness and adaptation difficulties, especially in the first contacts. The Social Representation on nursing practice, in many cases, is projected and contrived on the basis of scattered believes and on perception derived from common sense. The findings shows that representions are essential to mitigating the initial strangeness and help nurses to better situate themselves in the new universe. The nurse s practice in the indigenous health care should merge into each other. From the Social Representations is possible to perceive that assimilation, also comprehension on indigenous health system and its traditional knowledge are important to developing strategies to improve access and quality of care for indigenous peoples. After analysis the nurse s discourses and drawings, it is possible to represent the nurse s practice in the indigenous health as anthropophagism, since nurses should literally consuming its patients culture, digesting it and seize it as means to provide culturally congruent care. We highlight the urgent need for preparation and training of professionals to work more effectively with indigenous peoples

Uma história íntima do desenho: sobre experiências de formação do desenho & dos desenhistas

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)

Mental rotation of anthropoid hands: a chronometric study

It has been shown that mental rotation of objects and human body parts is processed differently in the human brain. But what about body parts belonging to other primates? Does our brain process this information like any other object or does it instead maximize the structural similarities with our homologous body parts? We tried to answer this question by measuring the manual reaction time (MRT) of human participants discriminating the handedness of drawings representing the hands of four anthropoid primates (orangutan, chimpanzee, gorilla, and human). Twenty-four right-handed volunteers (13 males and 11 females) were instructed to judge the handedness of a hand drawing in palm view by pressing a left/right key. The orientation of hand drawings varied from 0º (fingers upwards) to 90º lateral (fingers pointing away from the midline), 180º (fingers downwards) and 90º medial (finger towards the midline). The results showed an effect of rotation angle (F(3, 69) = 19.57, P < 0.001), but not of hand identity, on MRTs. Moreover, for all hand drawings, a medial rotation elicited shorter MRTs than a lateral rotation (960 and 1169 ms, respectively, P < 0.05). This result has been previously observed for drawings of the human hand and related to biomechanical constraints of movement performance. Our findings indicate that anthropoid hands are essentially equivalent stimuli for handedness recognition. Since the task involves mentally simulating the posture and rotation of the hands, we wondered if "mirror neurons" could be involved in establishing the motor equivalence between the stimuli and the participants' own hands.

Exploração e análise das novas interfaces digitais relacionadas à representação gráfica na arquitetura

Este trabalho integra as pesquisas desenvolvidas pelo Grupo N.elac – IAU.USP, que tem como tema estudos sobre a representação da arquitetura e da cidade. Este artigo faz análise dos novos recursos tecnológicos direcionados para o desenho e projeto arquitetônico que emulam ou fazem uso do movimento gestual humano no ato de desenho e projeto. A pesquisa testa e avalia qualitativamente o uso das novas ferramentas digitais, tais como as tablets gráficas (ex:Apple Ipad), tablets opacas (ex: Wacom Bamboo) e canetas eletrônicas (ex: Wacom Inkling) na execução de desenhos livre e de observação, orientados por uma proposta de desenvolvimento gráfico relacionados ao ato de projeto arquitetônico, de maneira que se possa construir uma análise comparativa e interpretativa por meio dos produtos gerados nesse processo.

Estudo comparativo entre as novas ferramentas digitais utilizadas no desenho à mão livre

This paper makes an analysis on the new technological resources related to architectural drawing that make use of the hand drawing. It tests and evaluates the use of new tools such as tablets (e.g. Wacom Bamboo), graphic tablets (e.g. iPad), tablet/screen hybrids (e.g. Wacom Cintiq) and electronic pens (e.g. Wacom Inkling) in the making of free drawings oriented for the developing of graphic products related to the projective act in architecture and design. The paper makes a comparative e interpretative analysis through the reading of those products.

Juan Navarro Baldeweg : el dibujo de la mano como herramienta en el proceso creativo

Esta investigación es una incursión en el tránsito de Juan Navarro desde sus “habitaciones y horizontes”, las manifestaciones espontáneas de la mano y el proyectar, a la obra que nos devuelve a la experiencia física y corporal del mundo. Juan Navarro debe a sus manos gran parte de sus inquietudes y capacidades. Sus manos están presentes en su obra como materia –piezas de manos-, como herramienta -el dibujo por la mano- y como desencadenante en los procesos creativos de su obra de arquitectura. Las distintas obras remiten a una preocupación común: la de visualizar el espacio a través de un imaginario personal. Sin embargo, el proceso creativo en cada disciplina se desarrolla teniendo en cuenta la especificidad del medio y la experiencia que provoca en el espectador. La obra, como concreción del proceso creativo, se explica por las continuidades y discontinuidades entre las herramientas, mecanismos y estrategias utilizadas en los distintos medios. La tesis se estructura en dos partes, en la primera se estudia cómo se producen los procesos creativos, sus mecanismos en los distintos medios plásticos y el dibujo como herramienta transversal. Se identifican los conceptos y temas que dan lugar a la obra profundizando en el papel de la mano como presencia orgánica, biológica y responsable de una forma de representación personal. La segunda parte se articula en dos capítulos que, a través del dibujo, muestran la arquitectura como modelo e identifican los mecanismos utilizados en su forma de proyectar y su relación con la obra en distintos proyectos. El texto se estructura como una secuencia de ideas articuladas alrededor de un universo gráfico que nos conduce por múltiples itinerarios desde los que atisbar los procesos creativos de Juan Navarro. Estos caminos son hilos con los que se teje una visión personal de la relación entre las herramientas y mecanismos utilizados por Juan Navarro y su obra. La manera cómo se produce el proceso creativo, los mecanismos y las herramientas que los ponen en marcha constituyen una forma de abordar la obra, que hasta la fecha, se ha tratado aisladamente sin una intención de construir un cuerpo estructurado de conocimiento. En la arquitectura Juan Navarro existe un vacío de conocimiento teórico y gráfico sobre el propio proceso y su forma de proyectar. Se ha persistido en la explicación de la obra, sus referencias, temas abordados, relaciones y trasvases sin ahondar en la especificidad del medio. Estos vacíos establecen la necesidad y justificación de esta tesis doctoral. La investigación comienza descifrando una obra que desde sus inicios trabaja con la dualidad de lo gestual y lo conceptual. Plantea una forma de ordenación del mundo, de la sensación sometida a la medida en la que finalmente la obra se recibe como signo que desencadena sentimientos y te devuelve al mundo. Propone la recuperación de los sentidos a través de una arquitectura como vivencia no reductible al espacio geométrico. Identifica los mecanismos y herramientas que se establecen en este proceso y termina concluyendo que el dibujo es la herramienta doblemente transversal porque atiende de forma desigual a las distintas disciplinas y a los dos extremos en que se presenta la actividad creatividad en el trabajo de Juan Navarro. Estos extremos se corresponden con un conocimiento corporal inconsciente y un trabajo constante guiado por la motivación, la predeterminación y la conceptualización. El dibujo por la mano es el espacio de encuentro entre lo que representa la mano y la posibilidad de expresión proyectual codificada. Se produce en un territorio que se extiende desde lo analógico subyacente –que se nutre de imágenes complejas- y el dominio simbólico construido. Abstract. This research is a foray into Juan Navarro’s transition from his "Rooms and Horizons", -spontaneous demonstrations of the hand-, to the project, -the work that brings us back to experiencing the physical world-. Juan Navarro owes his hands much of his capacities and inquisitiveness. His hands are present in his work as the subject –“Hand Pieces”-, as a tool -through hand-drawing - and as a trigger in the creative processes of his work of architecture. The various works refer to a common theme: the viewing space through a personal imagery. However, the creative process in each discipline develops taking into account the specificity of the medium and the experience that arouses in the observer. The work, as completion of the creative process, is explained by the continuities and discontinuities between the tools, mechanisms and strategies used in the different media. The thesis is structured in two parts, the first studies how the creative processes are iniciated, their mechanisms in the different plastic art media, as well as drawing as a transversal tool. In this section the investigation identifies the concepts and themes that give rise to the art work, exploring the role of the hand as the organic, biological presence responsible for a way of personal representation. The second part is divided into two chapters, which, via the drawing, show the architecture as a model and identify the mechanisms used in the his way of projecting form of the project and its the relationship of hand-drawing to with his work ilustrated with different projects. The text is structured as a sequence of ideas, articulated around a graphic universe that leads us by multiple paths, letting us glimpse into the creative processes of Juan Navarro. These paths are threads that weave a personal vision of the relationship between the tools and mechanisms used by Juan Navarro in his work. The way the creative process takes place, the mechanisms and tools that set it in action, constitutes a way of dealing with the work, that, hithergo, has been treated in isolation without an intention to build a structured body of knowledge. In Navarro Baldeweg’s architecture there is a vacuum of theoretical and graphic knowledge of the process itself and his way of projecting. So far, emphasis has been placed mainly on his work’s explanation, its references, the subjects covered, connections and transfers, without delving into the specificity of each medium. These academic gaps justify the need for this doctoral thesis. The investigation begins deciphering a work that, since its very beginning, deals with the duality of the gesture and the concept. It poses a way of managing the world and the sensations which are submitted until it finally detects the work as a sign that triggers feelings and returns the observer to the real world. It proposes the recovery of the senses through an architecture that is sensed as an experience and not merely reduced to geometric space. It identifies the mechanisms and tools that are set out in this process and concludes that drawing is a core tool working in two directions, because it caters unevenly to the various disciplines and to both ends of the creative activity presented in the work of Juan Navarro. These ends correspond with an unconscious physical knowledge and a continuous work guided by motivation, predetermination and conceptualization. Hand-drawing is the meeting space between what the hand represents, and the possibility of an encoded, projectual expression. Thus, hand-drawing takes place in a territory that covers the underlying analogue - which feeds on complex images - to the symbolic built domain.

Compétences en littératie visuelle chez les étudiantEs en biologie au niveau collégial: bilan des apprentissages selon des activités digitales ou des activités de dessins à la main

This study examines the role of visual literacy in learning biology. Biology teachers promote the use of digital images as a learning tool for two reasons: because biology is the most visual of the sciences, and the use of imagery is becoming increasingly important with the advent of bioinformatics; and because studies indicate that this current generation of teenagers have a cognitive structure that is formed through exposure to digital media. On the other hand, there is concern that students are not being exposed enough to the traditional methods of processing biological information - thought to encourage left-brain sequential thinking patterns. Theories of Embodied Cognition point to the importance of hand-drawing for proper assimilation of knowledge, and theories of Multiple Intelligences suggest that some students may learn more easily using traditional pedagogical tools. To test the claim that digital learning tools enhance the acquisition of visual literacy in this generation of biology students, a learning intervention was carried out with 33 students enrolled in an introductory college biology course. The study compared learning outcomes following two types of learning tools. One learning tool was a traditional drawing activity, and the other was an interactive digital activity carried out on a computer. The sample was divided into two random groups, and a crossover design was implemented with two separate interventions. In the first intervention students learned how to draw and label a cell. Group 1 learned the material by computer and Group 2 learned the material by hand-drawing. In the second intervention, students learned how to draw the phases of mitosis, and the two groups were inverted. After each learning activity, students were given a quiz on the material they had learned. Students were also asked to self-evaluate their performance on each quiz, in an attempt to measure their level of metacognition. At the end of the study, they were asked to fill out a questionnaire that was used to measure the level of task engagement the students felt towards the two types of learning activities. In this study, following the first testing phase, the students who learned the material by drawing had a significantly higher average grade on the associated quiz compared to that of those who learned the material by computer. The difference was lost with the second “cross-over” trial. There was no correlation for either group between the grade the students thought they had earned through self-evaluation, and the grade that they received. In terms of different measures of task engagement, there were no significant differences between the two groups. One finding from the study showed a positive correlation between grade and self-reported time spent playing video games, and a negative correlation between grade and self-reported interest in drawing. This study provides little evidence to support claims that the use of digital tools enhances learning, but does provide evidence to support claims that drawing by hand is beneficial for learning biological images. However, the small sample size, limited number and type of learning tasks, and the indirect means of measuring levels of metacognition and task engagement restrict generalisation of these conclusions. Nevertheless, this study indicates that teachers should not use digital learning tools to the exclusion of traditional drawing activities: further studies on the effectiveness of these tools are warranted. Students in this study commented that the computer tool seemed more accurate and detailed - even though the two learning tools carried identical information. Thus there was a mismatch between the perception of the usefulness of computers as a learning tool and the reality, which again points to the need for an objective assessment of their usefulness. Students should be given the opportunity to try out a variety of traditional and digital learning tools in order to address their different learning preferences.

Carpentry : being a comprehensive guide book for carpentry and joinery : with elementary rules for the drawing of architecture in perspective and by geometrical rule : also, treating of roofs, trussed girders, floors, domes, stair-cases and hand-rails, shop fronts, verandahs, window-frames,shutters, &c. &c., and public and domestic buildings, with plans, elevations, sections, &c. &c./

Mode of access: Internet.

The amateur's hand-book and guide to home or drawing room theatricals. How to get them up and how to act in them,

Mode of access: Internet.

An elementary course in free-hand geometrical drawing, for schools, and for the training of the eye and hand destined to mechanical pursuits and arts of geometrical design.

Mode of access: Internet.

Which way up? Reading and drawing maps of the blogosphere

Mapping the physical world, the arrangement of continents and oceans, cities and villages, mountains and deserts, while not without its own contentious aspects, can at least draw upon centuries of previous work in cartography and discovery. To map virtual spaces is another challenge altogether. Are cartographic conventions applicable to depictions of the blogosphere, or the internet in general? Is a more mathematical approach required to even start to make sense of the shape of the blogosphere, to understand the network created by and between blogs? With my research comparing information flows in the Australian and French political blogs, visualising the data obtained is important as it can demonstrate the spread of ideas and topics across blogs. However, how best to depict the flows, links, and the spaces between is still unclear. Is network theory and systems of hubs and nodes more relevant than mass communication theories to the research at hand, influencing the nature of any map produced? Is it even a good idea to try and apply boundaries like ‘Australian’ and ‘French’ to parts of a map that does not reflect international borders or the Mercator projection? While drawing upon some of my work-in-progress, this paper will also evaluate previous maps of the blogosphere and approaches to depicting networks of blogs. As such, the paper will provide a greater awareness of the tools available and the strengths and limitations of mapping methodologies, helping to shape the direction of my research in a field still very much under development.

Small acts of resistance : the role of intergenerational collaborative drawing in early childhood teaching and learning

This chapter focuses on ‘intergenerational collaborative drawing’, a particular process of drawing whereby adults and children draw at the same time on a blank paper space. Such drawings can be produced for a range of purposes, and based on different curriculum or stimulus subjects. Children of all ages, and with a range of physical and intellectual abilities are able to draw with parents, carers and teachers. Intergenerational collaborative drawing is a highly potent method for drawing in early childhood contexts because it brings adults and children together in the process of thinking and theorizing in order to create visual imagery and this exposes in deep ways to adults and children, the ideas and concepts being learned about. For adults, this exposure to a child’s thinking is a far more effective assessment tool than when they are presented with a finished drawing they know little about. This chapter focuses on drawings to examine wider issues of learning independence and how in drawing, preferred schema in the form of hand-out worksheets, the suggestive drawings provided by adults, and visual material seen in everyday life all serve to co-opt a young child into making particular schematic choices. I suggest that intergenerational collaborative drawing therefore serves to work as a small act of resistance to that co-opting, in that it helps adults and children to collectively challenge popular creativity and learning discourses.