Tese (doutorado)—Universidade de Brasília, Faculdade de Comunicação, Programa de Pós-Graduação em Comunicação, 2015. / Submitted by Fernanda Percia França (fernandafranca@bce.unb.br) on 2016-01-26T10:42:51Z No. of bitstreams: 1 2015_LucianoMendesdeSouza.pdf: 32694696 bytes, checksum: afa163765d70555f88bd4111a9058302 (MD5) / Approved for entry into archive by Raquel Viana(raquelviana@bce.unb.br) on 2016-01-26T17:01:54Z (GMT) No. of bitstreams: 1 2015_LucianoMendesdeSouza.pdf: 32694696 bytes, checksum: afa163765d70555f88bd4111a9058302 (MD5) / Made available in DSpace on 2016-01-26T17:01:54Z (GMT). No. of bitstreams: 1 2015_LucianoMendesdeSouza.pdf: 32694696 bytes, checksum: afa163765d70555f88bd4111a9058302 (MD5) / Esta pesquisa tem como objeto o caderno de esboço, mais conhecido na atualidade como sketchbook. Partindo de uma análise primeiramente material e constitutiva do sketchbook enquanto artefato, buscou-se um entendimento do objeto como uma porta de entrada para construção de novas possibilidades de leitura dos meios de comunicação, de seus produtos e subprodutos. Na sequência, tencionou-se os aspectos estéticos do sketchbook no esforço de entendê-lo como agente de persistência do pensamento gráfico tradicional na atual cultura digital. Com a aproximação entre os atributos materiais e estéticos, chegou-se à proposição de que os sketchbooks insistem no pensar gráfico como camada de percepção para se confrontar a atualidade e suas dinâmicas virtuais. Nessa aproximação, as noções que ajudaram na estruturação do objeto e sua posterior análise foram a memória, o imaginário, a narrativa e o devir. Com isso, ficou evidente que o sketchbook é uma ponte entre o pensar e o fazer, que se estabelece como um importante vínculo intersubjetivo, ligando pessoas a experiências estéticas e também a experiências comunicacionais. Por fim, a tese propõe que o cenário que se estabelece nessa relação seja uma cultura do esboço onde não se pretende a finalização nem tampouco a forma definitiva. / The object of this research is the sketchbook. Starting from the material and constitution analysis of the sketchbook as an artifact, it was intended to understand the object as a door to the construction of new reading possibilities of the media, its products and subproducts. Afterwards, it was studied the esthetic aspects of the sketchbook in order to understand it as a persistence agent of traditional graphic thinking in nowadays digital culture. By approaching the material and esthetic characteristics, it was possible to conclude that sketchbooks continue the graphic thinking as a perception layer to confront present time and its virtual dynamic. In this approach, the notions of memory, imagery, narrative, and becoming contributed to the structure of the object and its further analysis. It was evident, then, that the sketchbook is a bridge between thinking and doing, that establishes itself as an important intersubjective link, connecting people to esthetic and communication experiences. Finally, the thesis proposes that the stage that appears in this relationship is the sketch culture in which the conclusion is not aimed, and not even a definitive form.

Teacher planning is a necessary process by which educators establish, facilitate, monitor, and evaluate lessons and learning within their classroom. For art educators, sketchbooks have been a foundational pillar in art curricula. The sketchbook has a lengthy legacy of yielding common, structured assignments. However, recent considerations have reframed sketchbook practices. Contemporary analysis has produced a pedagogical shift in approaches to sketchbooks and planning for sketchbook inclusion in the classroom. The sketch-plan book offers art teachers a streamlined resource to collect and maintain lesson ideas and inclusions, track on-going lessons, and plan for future teaching and learning. The purpose of this work is to explore an art teacher’s sketch-plan book usage as a resource and tool in the secondary art room.

This is an arts-based research study on the effects of applying extensive and diverse sketching techniques to the development of a cohesive body of work, which reflects the significant and meaningful events of the artist-researcher’s life. The research techniques employed and studied consist of looking at historical exemplars, sketching, reflecting, critiquing, and revising. The results of the research were then reflected upon and applied to the field of art education in an attempt to discover the benefits for both teaching and learning in kindergarten through 12th grade curriculums.

This arts-based study will discuss using a sketchbook journal to enhance creativity and promote the cultivation of the artist’s visual voice. The paper attempts to define creativity, as well as the usefulness of the sketchbook as a creative tool. The results of this study will demonstrate how the effectiveness of the sketchbook journal in the development of the artist can also transcend to usefulness when considering the sketchbook as a curriculum tool in elementary art education.

This thesis is concerned with the art and act of sketching existing architecture. "Drawing an Education" refers to both educating the line by the practice and habit of drawing and to allowing the line to be the educator by drawing from buildings and places, disclosing relationships, structure and meaning. "Influence and evidence" refers to the influences that affect the process and the evidence as exhibited in a finely tuned intuition. This thesis is arranged as a three-part inquiry: • Drawing: how sketching facilitates an intimate connection between the architect and the place, the effect on the collective reality and cultural transmission, and sketching in relation to the photograph, both as a device and as a source; • Influences: how six major influences impact the drawing process, each investigated individually and in relationship to one another, both in an historical as well as a poetic context - eye and perception; interpretation; representation; hand and discipline; media and format; and the line itself; • Implications: how an architect's drawing an education through sketching the built environment is evidenced as a developed intuition and imagination. It is intended that the reader will have a greater awareness of the process of architectural sketching and be encouraged to draw more, perceive more, and understand more as he sketches along the way, as well as when he embarks on his own Grand Tour. / Master of Architecture

This is an arts-based research study on the effects of applying extensive and diverse sketching techniques to the development of a cohesive body of work, which reflects the significant and meaningful events of the artist-researcher’s life. The research techniques employed and studied consist of looking at historical exemplars, sketching, reflecting, critiquing, and revising. The results of the research were then reflected upon and applied to the field of art education in an attempt to discover the benefits for both teaching and learning in kindergarten through 12th grade curriculums.

This arts-based study will discuss using a sketchbook journal to enhance creativity and promote the cultivation of the artist’s visual voice. The paper attempts to define creativity, as well as the usefulness of the sketchbook as a creative tool. The results of this study will demonstrate how the effectiveness of the sketchbook journal in the development of the artist can also transcend to usefulness when considering the sketchbook as a curriculum tool in elementary art education.

This thesis describes a pretest - posttest study to increase the effectiveness of art journals at the high school level. The targeted population consisted of students in the ninth through twelfth grades in a middle class community, located in central Virginia. The visual art students were involved in the journaling (art workbook, sketchbook) process as a part of their curriculum. Following a pretest students were surveyed and adjustments were made from their input to make the art journals more effective. Often students were not picking up instructional cues introduced through demonstrations and art history integrated into the class structure. The researcher was concerned about the impact of standardized testing and the effect it was having on critical thinking. He hypothesized improved journaling techniques would facilitate the connection between class participation and student art projects.A review of the solution strategy revealed a need to adjust the number of pages required, provide more visual cues for research, and offer alternative two-dimensional design strategies. While these changes were made, the assessment tool was maintained as a consistent standard of measurement. Post intervention data indicated that adjustments to the journaling process significantly improved student's effective involvement and their scores.

As representatives of "an earlier stage of civilization," Native Americans in early nineteenth-century literature were integral in conversations of race relations, cultural development, and anthropological strata. They were a baseline of humanity against which more "civilized" nations of the world marked their progress, determined the value of their own cultural advancements, and proclaimed their superiority (Flint 1). They were an object of continuing fascination for Americans and Britons seeking to reinvent themselves in the aftermath of war and revolution, but their image in these nations was used as a derogatory slur (Fulford and Hutchings 1; Flint 6--7). Suggesting that a nation had a kinship with Native Americans was becoming an unfortunately familiar shortcut to suggest disgraceful backsliding into primitive ways. Rather than view Native Americans as markers of social degeneracy, barbarism, or ignorance, Washington Irving argues in his works that these figures could be revived as a positive connecting force for Americans and Britons. He recalls a more dignified Romantic image of the "noble savage" "intelligent, loyal, and proud" to overcome vengeful memories of war and violence. The Indian characters in A History of New York and The Sketchbook of Geoffrey Crayon are more than idle entertainments or broad caricatures; they are carefully crafted Romantic figures that embody the restorative, unifying ideals for which both Americans and Britons yearned in the aftermath of war. Irving uses Knickerbocker's History to reflect the capriciousness of public memory and the sometimes dangerous power of the biased storyteller. He exposes how the Native American legend became tainted by historians who tried to justify the ill-treatment these people received at the hands of the Europeans. In Crayon's Sketchbook, Irving continues to explore the mutability of history by showing how nations like Britain had been successful in inventing a heritage that drew their people together. Finally, in "Traits of Indian Character" and "Philip of Pokanoket," Irving fulfills the promise of the History by restoring the Romantic Indian to a position of respect and power in the American and British memory. Though Irving's writing doesn't attempt to correct the image of Native Americans enough to get at the real people behind the image society invented, he embraces the malleability of these important cultural figures to make observations on how we create and perceive history and align ourselves to the invented past. By re-examining these works through their romantic and historic intent in a transatlantic relationship, we can come to better understand Irving's position as he supported his American nationhood and sentimental British roots with a figure that resonated on both sides.

Made available in DSpace on 2014-07-29T16:27:53Z (GMT). No. of bitstreams: 1 ANA_PAULA_VILELA_SOARES parte 1.pdf: 5649276 bytes, checksum: 92ea6161456159e6d8b5c4eee4550bf5 (MD5) Previous issue date: 2011-05-10 / Esta dissertação investiga narrativas visuais no gênero do design de moda, que contemplam a roupa enquanto matéria ou substância capaz de sustentar a história. A pesquisa é contornada por narrativas de moda concebidas na contemporaneidade, seus componentes visuais proeminentes e os ritmos que se configuram no arranjo da plasticidade da roupa bem como suas manifestações de sentidos. Ronaldo Fraga, designer de moda contemporâneo, é destacado como exemplo nesta dissertação por se tratar de um designer narrativo comprometido com o ato de contar pequenas histórias às avessas, as quais se distinguem pela falta de linearidade. As narrativas concebidas por Ronaldo Fraga e que tangenciam a nossa investigação perpassam pela literatura, imagens de caderno de esboços, roupas e desfiles, além das mãos anônimas de costureiras, rendeiras e bordadeiras que desvelam o processo de criação do designer. As obras literárias, "O turista aprendiz", de Mario de Andrade, e "Grande Sertão Veredas", de Guimarães Rosa, assim como dois personagens retirados do último romance citado, Riobaldo e Diadorim, inspiraram as narrativas de moda das estações verão 2011 e verão 2007, eleitas como o foco de investigação deste trabalho.