The purpose of this study is to compare the use of design drawing in design fields such as architecture, engineering, and industrial design with its use in instructional design (ID). This study was conducted in three parts: first, a review of literature to understand the role and value design drawing plays in non-ID fields; second, a search for design drawing in the literature of ID; and third, observations of actual use of design drawing in ID in the field. For the first part, the literature of design studies was reviewed regarding design drawing. For the second part, the literature review includes a search for evidence of design drawing in ID. The literature of design drawing in design studies was rich and varied; the literature of ID showed comparatively little interest in design drawing. For the third part of this study, ID design meetings at Brigham Young University's Center for Instructional Design (CID) were observed using a qualitative, naturalistic approach. These observations were supplemented with interviews of instructional designers. The evidence gathered was analyzed in light of the literature review to better understand design drawing in ID. Three case studies were assembled from these observations and analyses on the use of design drawing at CID. This study concludes that design drawing plays an important and prominent role in ID, fulfilling many of the same roles and providing many of the same advantages it does in other design fields. However, design drawing in ID employed a very limited repertoire of forms, and was used to represent a limited number of design purposes. Design drawing in ID lacked the proficiency, the high level of self-awareness, and the sophistication of the design drawing described in the literature of design studies. Based on these conclusions, it is recommended that instructional designers need to develop a design drawing tradition and standards that might potentially expand the ability of instructional designs to improve over time, as well as their creativity.

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This thesis deals with the development of my own brand, primarily by defining the basic and important information on the topic. Introduces the development of their own brand, its name, logo, color, character and visual forms. A key element of the silkscreen printed prototypes paper products and their presentation on the Web.

Submitted by Natalie Mendes (nataliermendes@gmail.com) on 2015-07-28T22:41:02Z No. of bitstreams: 1 Sexualidade cosmo da vida expresso pelo Desenho.pdf: 30082051 bytes, checksum: ad7be3a0c6f66677807d9e6ee82b5780 (MD5) / Made available in DSpace on 2015-07-28T22:41:02Z (GMT). No. of bitstreams: 1 Sexualidade cosmo da vida expresso pelo Desenho.pdf: 30082051 bytes, checksum: ad7be3a0c6f66677807d9e6ee82b5780 (MD5) Previous issue date: 2014-02-17 / Design is a polysemic word indicating, among other things, description, project, graphical representation, sketching, recording, drawing. Its use by humanity dates from prehistory. In fact, it is an area of human knowledge that has its own language and, although it does not replace words, does not require them to express a message. Hallawell (2004) defines the design as the interpretation of any reality - emotional, visual, mental - expressed graphically. On the other hand, Gomes (1996) proposes a distinction between drawing as graphical representation , called Sketching by him and drawing that indicates planning , mental intention, which the author calls design. At Renaissance, Mathematics, Geometry and other sciences resources associated with design allowed unique masterpieces productions, which pictures - made on flat surfaces - have three-dimensionality and light and shadow play. In this technique, Leonardo da Vinci (1452-1519) figured as greater name because the tones of light and dark present in drawings and paintings by this artist surpassed those found in his time - a time where it was aimed, as never before, represent the real through art. In this conflicted period - Renaissance - Leonardo composed ?Coition of a Hemisected Man and Woman?, the drawing of a sexual relation anatomy. And, as all artists when print information in their Works are not always aware of their creative act, from the question "What elements or componentes of sexuality are represented in Coition of a Hemisected Man and Woman by Leonardo da Vinci? " we conducted an iconographic study aiming to reveal the elements of sexuality present in the mentioned masterpiece, verifying how it connotes or denotes these elements. To Renaissance culture - ruled by the Church thoughts, however, getting rid of it ? it would be a sacrilege to represent the interior of human bodies during full intercourse. However, by investigating this "sacrilege" committed by Da Vinci, we could find valuable information nowadays. We have gone through a two-way road to reach our goals, which, regarding to the specific ones were to analyze the drawing aforementioned, relating it to three multifaces of Drawing (subject area): art, design, and graph (meaning graphic representation); identify elements / components of sexuality present in the masterpiece; relate design, health and sexuality from the image, that is, to bring them afloat through designed graphic content that makes up the work and highlight the importance of drawing and image which has elements of health, as the case of sexuality. On the way, we looked for the drawing of "Intercourse" in books and specialized websites; after finding it, we detailed the whole masterpiece in a moment called pre-iconographic description. We checked Leonardo?s artistic mottos associated with his knowledge of human health. And we allowed the drawing image to be the foreground, providing us to unveil its components. Thus, Drawing through its unique language exposed in "Coition" elements of sexuality sublimated in the lines and traces that compose it, referencing the social equilibrium through sexuality, drawn by the art of drawing, in this case, to help people produce health on respect of life, without neglecting the spirituality of this being so bio-psycho-socio-cultural that is the human being. / Desenho ? uma palavra poliss?mica que indica, dentre outras coisas, descri??o, projeto, representa??o gr?fica, debuxo, registro, des?gnio. Sua utiliza??o pela humanidade data da pr?hist?ria. Na verdade, ele ? uma ?rea do conhecimento humano que possui linguagem pr?pria e, embora n?o substitua as palavras, n?o necessita delas para expressar uma mensagem. O pesquisador Hallawell (2004) define o desenho com a interpreta??o de realidades quaisquer ? emocional, visual, mental ? expressa de forma gr?fica. Por sua vez, Gomes (1996) prop?e a diferencia??o entre o desenho no sentido de representa??o gr?fica, chamado por ele de debuxo, e o desenho que indica planejamento, inten??o mental, que o autor chama de des?gnio. Na Renascen?a, utilizaram-se recursos da Matem?tica, Geometria e outras ci?ncias, os quais, associados ao desenho, permitiram a feitura de obras ?mpares, cujas imagens ? compostas em superf?cies planas ? possuem tridimensionalidade e jogo de luz e sombra. Nesta ?ltima t?cnica, Leonardo da Vinci (1452-1519) figurou como maior nome, porque os tons de claro e escuro presentes nos desenhos e pinturas deste artista sobrepujaram aos encontrados em seu tempo ? uma ?poca onde se buscou, como nunca antes, representar o real por meio da arte. Nesse per?odo conflituoso ? Renascimento ? Leonardo comp?s Coito de Homem e Mulher Hemisseccionados, o desenho da anatomia de uma rela??o sexual. E, como todo artista imprime em suas obras informa??es nem sempre conscientes por ele no ato criativo, a partir da quest?o ?Quais os elementos ou componentes da sexualidade encontram-se representados no desenho Coito de Homem e de Mulher Hemisseccionados (Coition of a Hemisected Man and Woman) de Leonardo da Vinci??, realizamos um estudo iconogr?fico com o objetivo geral de desvelar os elementos da sexualidade presentes no desenho mencionado, verificando como ele os denota e/ou conota. Para a cultura renascentista ? regida pelo pensamento da Igreja, contudo, desgarrando-se dele ? seria um sacril?gio representar o interior de corpos humanos em pleno ato sexual. No entanto, ao investigar esse ?sacril?gio? cometido por Da Vinci, encontramos informa??es preciosas para os dias atuais. Percorremos um caminho cheio de idas e vindas para satisfazer nossos objetivos, os quais, no que tange aos espec?ficos foram: analisar o desenho supracitado, relacionando-o a tr?s multifaces do Desenho (?rea do conhecimento): arte, des?gnio e grafia (no sentido de representa??o gr?fica); identificar os elementos/componentes da sexualidade presentes na obra; relacionar desenho, sexualidade e sa?de a partir da imagem, isto ?, traz?-los ? tona por meio do conte?do gr?fico desenhado que comp?e a obra e evidenciar a import?ncia do Desenho e da imagem para investiga??es que possuam componentes da ?rea da sa?de, como ? o caso da pr?pria sexualidade. No trajeto, buscamos o desenho do ?Coito? em livros e sites especializados; ap?s encontr?-lo, detalhamos toda a obra, no momento chamado descri??o pr?-iconogr?fica. Verificamos os motivos art?sticos de Leonardo associados aos saberes da sa?de humana. E permitimos que a imagem do desenho assumisse o primeiro plano, proporcionando-nos, assim, desvendar seus componentes. Ent?o, o Desenho, atrav?s de sua linguagem ?mpar, revelou no ?Coito? elementos da sexualidade sublimados nas linhas e tra?os que o comp?em, fazendo men??o ao equil?brio social atrav?s da mesma ? neste caso, desenhada pela arte ?, para ajudar as pessoas a produzirem sa?de embasadas no respeito ? vida, sem desprezar a espiritualidade deste ser t?o bio-psico-s?cio-cultural que ? o humano.

Submitted by Patricia Figuti Venturini (pfiguti@anhembi.br) on 2018-10-03T18:06:08Z No. of bitstreams: 1 Engracia Llaberia.pdf: 8316341 bytes, checksum: 8fb64baf42978a36905a5d6cad165fae (MD5) / Approved for entry into archive by Patricia Figuti Venturini (pfiguti@anhembi.br) on 2018-10-03T18:16:09Z (GMT) No. of bitstreams: 1 Engracia Llaberia.pdf: 8316341 bytes, checksum: 8fb64baf42978a36905a5d6cad165fae (MD5) / Approved for entry into archive by Patricia Figuti Venturini (pfiguti@anhembi.br) on 2018-10-03T18:18:11Z (GMT) No. of bitstreams: 1 Engracia Llaberia.pdf: 8316341 bytes, checksum: 8fb64baf42978a36905a5d6cad165fae (MD5) / Made available in DSpace on 2018-10-03T18:18:51Z (GMT). No. of bitstreams: 1 Engracia Llaberia.pdf: 8316341 bytes, checksum: 8fb64baf42978a36905a5d6cad165fae (MD5) Previous issue date: 2016-12-20 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / This thesis presented to the PhD Program of Design at Anhembi Morumbi University, deals with the importance of drawing as a tool for jewelry design, considering its typology applied to different stages of development process, from creation to production, in the jeweler sector, devoting special attention to the industrial segment. This study analyzes the different activities related to the creation of the jewel, such as the High Jewelry and the Contemporary Jewelry, in relation to the use of drawing in different moments. Searching for basis in the drawings of Architecture as reference to studies of forms, volumes and spatial vision development, in the transposition of mental images of three-dimensional objects to the two-dimensional representation. It presents the works of designers and jewelers/artists through interviews and visits to their ateliers as a way of illustrating, also with their drawings, the relevance of this technique representing their ideas. Those professionals were selected for the relevance of theirs works and the attention dedicated to the form research through drawing, since roughs and sketches. Their production and reports are inserted through the chapters, to clarify the approach of each subject. It aims, therefore, to enhance and encourage the teaching of drawing in the training of design professionals and others who dedicate themselves to the production of jewelry in Brazil. / Esta tese apresentada para o Doutorado em Design da Universidade Anhembi Morumbi, no Programa de Pós-Graduação em Design, trata da importância do desenho como ferramenta do projeto de design de joias, considerando sua tipologia aplicada a diferentes etapas do desenvolvimento do processo, da criação à produção, no setor joalheiro, dedicando especial atenção ao segmento industrial na contemporaneidade. Além deste, analisa as distintas atividades relacionadas à criação da joia, como a Alta Joalheria e a Joalheria Contemporânea, em relação ao uso do desenho em diferentes momentos. Buscou embasamento nos desenhos da Arquitetura como referência de estudos da forma e volumetria, além do desenvolvimento de visão espacial, na transposição de imagens mentais para a representação bidimensional de objetos tridimensionais. No percurso, apresenta os trabalhos de designers e artistas/joalheiros por meio de entrevistas e visitas realizadas a seus ateliês como forma de exemplificar, também com seus desenhos, a importância desta técnica como meio de representação de suas ideias. Os profissionais aqui apresentados foram selecionados pela relevância de seu trabalho nos diferentes segmentos, bem como por se dedicarem ao ensino do desenho de joias e da joalheria artesanal, em alguns casos, além da importância que dedicam no percurso de seu próprio processo de elaboração da forma através do desenho, desde os estudos iniciais, através de rascunhos, até os esboços ou croquis nos seus processos criativos. Suas produções e relatos estão inseridos nos diferentes capítulos, oportunamente, de modo a esclarecer as questões ali abordadas. Objetiva, dessa forma, a valorização e o incentivo ao ensino do desenho na formação dos profissionais de design e outros que se dediquem à produção de joias no Brasil.

The subject of the master´s thesis is the design and assessment of the static load-bearing steel structure office building. It is an eight-storey building with a floor plan and dimensions 54x15m. The proposal has three variants. In one of them a steel frame with a hinge attached elements. These are the pillars, beams, trusses, joists and purlins, which are coupled with trapeze plate and thereby secure the stability of the position in the horizontal direction. The steel structure is placed between the reinforced concrete towers.