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The work presented in this thesis explores the possibility to integrate two dimensional drawings with three dimensional animated characters in 3D computer graphics. The goal was to preserve the effects of the cartoonish artistic style and produce a strong emotional and moving story without realistic animation feel. Inspiration of the storyboard was based on a true story from the Arab Spring events that occurred in several Arab countries, I focused my work on the context of Egypt. / Master of Fine Arts

A system for the extraction and storage of line and region data from digitized engineering line drawings, first proposed by Watson et.al.[3] and further developed by Bixler et.al.[4], is completed. As a means for the automatic analysis of picture content, a model based recognizer for line patterns is developed. The pattern matcher uses a simple scheme to decompose a line drawing into basic parts: strokes and junctions, and then finds graph isomorphisms between known line pattern models stored in a database and portions of the image line data. Hu's moment invariants [16] are used to match simple shapes and prune the search space. Information about the connectivity of patterns matched in the image is retained, allowing higher level analysis of image content. A second method for calculating a moment signature from line data is presented. This method makes use of a spline approximation of the line data and Legendre polynomials. Some methods for recognizing incomplete line patterns and partially occluded curves are also discussed, and some experiments are performed. / M.S.

Drawing is valued as a non-verbal assessment tool to measure children's conceptual development and emotional state. Drawing has also been described as a problem-solving activity and unique symbol system. Although drama has been known to facilitate learning in other symbol systems, such as reading and writing, and to bring about advances in perspective taking and understanding of emotion, its impact on drawing has not been previously examined. In this study, Kindergarten and first grade children were instructed to draw a happy tree, sad tree, and angry tree before and after a 10-hour drama intervention. Half of the children participated in the intervention while the remaining children were members of a control group who participated in the regular school program. Consistent with expectations, children who participated in the drama program showed significantly greater improvement from pretest to posttest in drawing emotion compared to control children. Their drawings of emotion improved in clarity, that is, they depicted more clearly the emotion they were instructed to convey. Participants in the drama program also used significantly more highter level drawing strategies. The results suggest that the experience in emotional perspective taking provided by dramatic play may generalize to the domain of drawing and enhance expression.

The present thesis explores the link between children's drawings and cognitive development. The aim of this study is to investigate the intellectual abilities of the child draughtsman with good depiction skills and to evaluate the merit of the drawing technique in the assessment of conceptual maturity. The standardised Goodenough-Harris Drawing Test (GHDT) of intellectual maturity was administered to 115 children between 4 to 8 years of age against criterion ability measures (Wechsler scales). Its psychometric properties are examined in respect to its norms and scales, its reliability and validity at different age levels and ranges of intelligence. Early theories in the area of pictorial representation were directed towards identifying features characteristic of different developmental periods (Kerschensteiner, 1905; Luquet, 1927/1977). At the same time Piaget and Inhelder (1948/1967) incorporated these stage theories into their model of spatial intelligence. Yet, the recent experimental study of children's drawings has disclosed a number of variables which interfere during the course of production, challenging the view that drawings can be seen as the royal route to access children's concepts. Stage theories are re-evaluated by means of fourteen experimental drawing tasks with various degree of difficulty. The tasks - administered to the same children tested with the standardised instruments -are spatial in nature and have been sampled from two widely researched areas related to the pictorial representation of partial occlusion and of spatial axes (horizontal/vertical). The acquisition of the pertinent spatial concepts by means of drawings is examined, considering competence-deficiency and competence-utilisation accounts of children's performance at different ages. Finally, overall perfomance on spatial tasks is compared with performance on conventional (Wechsler scales) and non-verbal (GHDT) measures of intellectual functioning, considering the optimum method to assess children's abilities by means of drawings. In general, drawing performance is reasonably sensitive to children's level of intelligence, yet the significance of drawing varies at different ages and ranges of IQ. Finally, the establishment of steadfast developmental trajectories falls short in the field of pictorial representation. The variable performance, particularly from the children at intermediate ages, suggests that the stages of intellectual or visual realism should be seen as relative and not as absolute.

Mokslinio darbo tema ,,Žmogaus vaizdavimo ypatumai paauglių vizualinėje raiškoje‘‘. Darbo tikslas – nustatyti žmogaus vaizdavimo ypatumus paauglių vizualinėje raiškoje. Uždaviniai: 1) apžvelgti – piešinių vizualinės raiškos tyrinėjimus. 2) aptarti paauglių vizualinės raiškos aspektus. 3) ištirti žmogaus vaizdavimo ypatumus paauglių vizualinėje raiškoje. Tyrimo objektas: žmogaus vaizdavimo ypatumai paauglių vizualinėje raiškoje. Tyrimo hipotezė: tikėtina, kad didžioji dalis mokinių atitinka teoriškai nustatytus tam tikram amžiaus tarpsniui būdingus vizualinės raiškos bruožus. Tyrimo metodai: 1) teorinis – psichologinės, pedagoginės ir kitokios literatūros nagrinėjama tema sisteminė analizė. 2) matematinis – duomenys pateikti absoliučiais skaičiais ir procentais. Raktiniai žodžiai: paauglių piešimo ypatumai, vizualinė raiška, žmogaus vaizdavimas piešiniuose. Mokslinės literatūros analizė atskleidė, kad vaikams yra įgimtas noras piešti. Vaiko piešiniai - tai ne tik estetinis fenomenas, bet ir jo psichologinės, fiziologinės ir socialinės raidos atspindys. Visiems be išimties normalios raidos vaikams būdinga tam tikra dėsninga piešinių kaita. 5 – 8 kl. mokinių piešiniai vystosi nuosekliai, pereinant iš vienos stadijos į kitą: realizmo (9 – 12 m.) ir pseudonatūralistinę (12 – 14 m.). Paauglių piešiniams būdingi ryškūs pasikeitimai, tam įtakos turi besikeičiančios fizinės bei psichologinės amžiaus ypatybės. Piešiniai apgalvojami iš anksto, prieinama prie tikroviško... [toliau žr. visą tekstą] / Topic of this scientific work is „Peculiarities of representation of man in teenager‘s visual expression“. Purpose of this work is to determine peculiarities of representation of man in teenager’s visual expression. Tasks: 1) Review research of visual expression in drawings. 2) Discuss aspects of teenager’s visual expressions. 3) Investigate peculiarities of representation of man in teenager‘s visual expression. A subject of research: peculiarities of representation of man in teenager‘s visual expression. A hypothesis of research: it is possible that most schoolchild match theoretically estimated visual expression characteristics for a certain age group. Research methods: 1) theoretical – systematical analysis of psychological, pedagogical and other literature on research subject. 2) mathematical – data is presented by absolute numbers and percents. Keywords: peculiarities of teenager‘s drawing, visual expression, representation of man in drawings. Analysis of scientific literature indicates that children have inborn wish to draw. Child‘s drawings – not only aesthetical phenomenon but also the reflection of his psychological, physiological and social development. All without exception children having normal development have certain regular alternation of their drawings. Drawings of schoolchild in 5 – 8 grades develop sequentially passing from one stage to another: realistic (9 – 12 years old) and pseudo naturalistic (12 – 14 years old). Teenager‘s drawings... [to full text]

Generally speaking depictive theories attempt to explain the experience of looking at paintings and drawings, in particular they describe the process by which a viewer makes sense of a surface that has been intentionally marked in such a way as to describe some thing in the world. Depictive theories have generally been developed with reference to figurative work where the viewer is able to recognize the depicted object(s). The aim of this thesis is to determine the extent to which they apply to non-figurative work, what is commonly referred to as abstract art, and to identify what factors can influence the understanding and interpretation of such work. The method used is a combination of theory and practice. An analysis of theories of depiction and of contemporary scholarship on the subject is undertaken. Using the results of this work and by reference to the key concepts of these theories an analysis of specific artworks is carried out in a series of case studies. The purpose of the case studies is to identify, in the first instance, how certain theories of depiction can be seen to apply. In other words how they explain the experience of looking at a figurative artwork. The case study approach is an essential element of the methodology of the project. It is used, initially, to interrogate a work by Titian that is, arguably, readily explained by ‘traditional’ depictive theories. The procedure evolved for this analysis is then applied to the less figurative works of Auerbach and Twombly and from this process a non-iconographic approach to depiction is developed which is tested by application to my own work and to that of two contemporary artists. The thesis concludes that a comprehensive theory of depiction must allow for such factors as material and facture and that, as a result of this research, the meaning of the term ‘depiction’ can, under certain conditions, be extended to include for non-figurative work. It suggests that some theories may usefully be modified to accommodate the findings of this research. Dominic Lopes argues that ‘a complete account of pictures should explain abstract pictures as well as figurative ones.’ This thesis is seen as making a contribution to the development of any such account.

Não é possível fazer uma avaliação do patrimônio histórico somente por meio de valores estéticos; o desenho e os símbolos da cidade também se tornam memória na medida em que adquirem uma dimensão coletiva: é necessário considerar a importância da edificação como característica de um processo de reconhecimento do lugar e não da capacidade do seu autor. A cidade resulta das relações que cada elemento estabelece com todos os outros, da existência de traçados históricos e de edificações capazes de manter e traduzir a memória histórica do lugar, também e principalmente com aqueles espaços imateriais, como os vazios urbanos, ou com edifícios industriais, pois eles marcam o território. Técnicas de expansão urbana foram substituídas na Europa por práticas de recuperação e remodelação fundamentadas na história, por meio de significados coletivos, intrínsecos e estratificados, ou seja, baseados nas tradições regionais e pertencentes à cultura popular. Esta se manifesta de modo muito diferente em cada região, em função de suas raízes, costumes e identidade. Para exemplificar esse fenômeno, foram selecionadas duas situações de recuperação arquitetônica em Milão que se desenvolvem em duas escalas de interferência urbana diferentes, considerando em ambos os casos os efeitos de re-equilíbrio e impacto no entorno; um edifício de arquitetura vernacular com fortes relações com o entorno, cuja localização é central, e uma área extensa de obsolescência industrial de forte impacto urbano localizada em área periférica. / It is not possible to make an assessment of the historical patrimony only by means of esthetical values; the design and the symbols of a city also become part of its memory as they acquire a collective dimension; it is necessary to consider the importance of the buildings as a characteristic of a process of knowing the place and not the skill of its author. The city is the result of the relationships that each element establishes with all the others, of the existence of a historical heritage and of buildings able to maintain and translate the historical memory of the place, also and mainly with those immaterial spaces, as the urban emptiness, or with industrial buildings, because they mark the territory. Urban expansion techniques were substituted in Europe by recuperation and remodeling practices based on History, by means of collective, intrinsic and stratified meanings; that is, based on the regional and collective traditions belonging to popular culture. This culture manifests itself in very different ways in each region, as a function of its roots, habits and identity. To exemplify this phenomena, two situations of architectural recuperation in Milan were selected that develop in two different scales of urban interference. In both cases the effects of re-equilibrium and impact on their surroundings were considered; a building of vernacular architecture with strong relationships with its surroundings in a central location, and a large area of industrial obsolescence with a strong urban impact situated in a peripheral area.

O objetivo desta pesquisa foi investigar os efeitos da utilização de um recurso técnico, o desenho em alto relevo, no processo de aquisição e reconhecimento de conceitos por crianças com deficiência visual em dois aspectos: (a) verificar a efetividade do recurso técnico em transformar estímulos não acessíveis aos sentidos das pessoas cegas em acessíveis; e (b) identificar mudanças significativas na percepção dos atributos definidores destes conceitos após treinamento com desenhos em relevo. Participaram da pesquisa cinco crianças e adolescentes com deficiência visual, portadores de cegueira congênita e adquirida, com idades entre 9 e 17 anos, matriculados em uma sala de recursos de uma escola estadual da cidade de São Paulo. Foram escolhidos para a investigação oito conceitos espontâneos que, apesar de serem conhecidos pelos sujeitos, não são de fácil apreensão para a pessoa cega. O procedimento foi realizado em três etapas: pré-teste, treinamento e pós-teste. No pré-teste o pesquisador realizou uma entrevista de aproximadamente 30 minutos com cada sujeito, na qual solicitou aos sujeitos que, primeiramente, definissem verbalmente os conceitos apresentados e, após as definições verbais, que desenhassem os exemplos dos conceitos. Na etapa de treinamento foram realizadas três sessões individuais com cada sujeito, nas quais o pesquisador apresentou modelos de desenhos em relevo referentes aos conceitos investigados anteriormente e os orientou na produção de desenhos que pudessem representar suas ideias a respeito destes conceitos. A etapa do pós-teste seguiu o mesmo procedimento do pré-teste. Solicitou-se ao sujeito definições verbais e desenhos de exemplos dos oito conceitos pesquisados. Todas as sessões foram realizadas na sala de recursos de uma escola estadual, durante o horário letivo. O material utilizado para a produção dos desenhos em relevo foi uma prancha de madeira revestida com uma tela de fios entrelaçados e uma caneta, sem tinta, com ponta de metal. As entrevistas foram registradas por um gravador eletrônico de áudio e filmadas com câmera digital, mediante autorização dos responsáveis legais dos sujeitos. As respostas verbais foram transcritas e os desenhos copiados digitalmente. O material foi organizado de acordo com a lista de conceitos e avaliado por três juízes convidados, que atribuíram notas de 1 a 5 às definições verbais e aos desenhos das etapas de pré e pós-teste. Os resultados foram analisados comparando-se as médias aritméticas atribuídas pelos juízes ao material produzido pelos sujeitos nas etapas de testagem. Observaram-se as mudanças na qualidade das definições verbais e dos desenhos após o período de treinamento. Em função do reduzido número de sujeitos de pesquisa, os dados foram discutidos com considerando as mudanças que cada sujeito apresentou em relação a si mesmo. Os resultados demonstraram que os sujeitos apresentaram melhorias mais significativas nas definições verbais dos conceitos do que nas representações gráficas. Assim sendo, é sugerido que a utilização dos desenhos em relevo pareceu favorecer mais o desenvolvimento da linguagem oral do que à expressão gráfica em si / The objective of this research was to investigate the effects of using a technical resource, namely embossed drawing or engraving, in the process of acquisition and recognition of concepts by visually impaired children. In this process, there are two main points: (a) verifying the effectiveness of a technical resource in transforming stimuli that are inaccessible to the senses of blind people into accessible ones; and (b) identifying significant changes in the perception of the defining attributes of such concepts after training with embossed drawings or engraving. This work had five research subjects. There were five visually impaired children and adolescents, with congenital or acquired blindness, aged 9 to 17, and enrolled in a school with a resource classroom in São Paulo city. Eight spontaneous concepts were chosen for investigation, taking into consideration that even though such concepts are known by the subjects, they are not readily comprehensible to the blind. The experimental design consisted of three phases: pre-test, training, and post-test. In the pre-test, the researcher interviewed each subject for approximately 30 minutes, asking them to first define the concepts presented verbally, and after such verbal definitions, to draw examples of the concepts. In the training stage, there were three individual sessions with each subject, in which the researcher presented models of engravings and embossed drawings referring to the concepts previously investigated, and guided them in the production of drawings that could represent their ideas on the concepts. In the post-test stage, it was carried out the same procedure as the pre-test. Subjects were asked to provide verbal definitions and drawings of examples of the eight concepts that were studied previously. All sessions were held in the resource room of the state school during school hours. The materials used for producing embossed drawings were a wooden pad covered with a fabric screen made of interwoven threads, and an inkless pen with a metal tip. With the consent of the childrens custodian, the interviews were recorded by an electronic audio device and filmed with a digital camera. Verbal responses were transcribed and drawings were scanned digitally. Materials were organized according to the list of concepts, and they were evaluated by three invited judges, who graded the verbal definitions and drawings gathered in pre- and post-test phases from 1 to 5. The results were analyzed by the arithmetic averages of the grades assigned to the materials produced in the first testing stage compared to the second testing stage. It were observed changes in the quality of verbal definitions and drawings after the training period. The low number of subjects does not allow generalizations, so that data was discussed considering the changes that each subject presented in relation to himself. The results demonstrate that subjects showed greater improvement in verbal definitions of concepts than in graphical representations. Therefore, we consider that the use of embossed drawings and engravings are of greater use to development of spoken language than to graphic expression itself