33 research outputs found
Hoffmann’s Signature Doodles
No full textAs scholars familiar with his manuscripts and drawings will know, E.T.A. Hoffmann had the idiosyncratic and rather charming habit of signing off some of his informal letters not with a signature in the conventional sense, but with a spontaneous self-portrait: a doodle. The aim of this article is to examine such forms by framing them within the context of a broader question about Hoffmann’s doodles and drawings. Specifically, it places his ‘signature doodles’ at the centre of a graphic conversation between the contingencies of the medium and an impulse towards meaningful form. It is in that sense that they open up a space for new reflections on the author’s relationship to writing and drawing, registering a vision of the author not as an authorizing or authoritative entity, held above and separate from the work, but rather as a peculiar entanglement of self and work, whose identity is defined and confirmed from within the act of composition
Doodles to Drawings: The Creative Process of Drawing & Thinking for Cartooning
No full textDoodles to Drawings: The Creative Process of Drawing & Thinking for Cartooning invites the reader into the cartoonist’s mind at work. The author guides the audience through his cartooning process by presenting work from his sketchbook which includes illustrations, sketches, various notes, and final drawings. Diagrams graphically organize the key thinking strategies of the drawings as they progresses. From these illustrations the author extrapolates seven recurring patterns which characterize his own process include: Mental Work, Take-in Information, Free Flowing, Sudden, & Rapid Appearance of Ideas, Sketching as Many Ideas as Possible, Creating Multiple Versions, A Messy Process, and the Need to Think Critically. These seven characteristics are paralleled by writer Graham Wallas’s (1926) four stage model of creativity. The four stages, preparation, incubation, illumination, and verification, become the lens through which the authors creative process is described in terms of fluency, flexibility, elaboration, originality, and risk taking. The author also reflects on critical thinking dispositions such as Costa’s sixteen Habits of Mind. These habits of mind include Persisting, Managing Impulsivity, Understanding & Empathy, Thinking Flexibility, Metacognition, Striving for Accuracy & Precision, Questioning & Posing Problems, Applying Past Knowledge to New Situations, Thinking and Communicating with Clarity, Gathering Data through All Senses, Creating Imagining & Innovating, Respond with Wonderment & Awe, Taking Responsible Risks, Finding Humor, Thinking Interdependently, and Learning Continuously. Coupled with Betty Edwards’s view of drawing as a combination of seeing as an artist and visualizing the author constructs a model of cartooning as a combined process of critical and creative thinking and drawing
Automatic Grouping and Categorization of Objects in Drawing or Inking Apps
No full textDrawing, note-taking, or inking apps that operate on electronic canvases do not differentiate between the various types of objects, e.g., paragraphs, lists, sketches, tables, doodles, etc., that an author can create on a screen. Consequently, it is difficult in electronic canvases for an author to perform operations commonly available in word processors, e.g., insert a sketch, move a block of text up or down, merge or separate sketches, etc. This disclosure describes techniques that automatically organize and group strokes drawn by a user on an electronic canvas into blocks of content, e.g., objects such as text-blocks, lists, sketches, tables, doodles, etc. The techniques thereby handle implicit structuring in an interactive inking or drawing app and provide the user the ease equivalent to writing on physical paper and the flexibility of electronically editing and restructuring diverse content
The Rat's Ass, March 04, 2024, Volume 08, Issue 05
No full textThis image was digitized and uploaded to DLynx in the Visual Resources Center in December 2024, by Wyatt Bigner '27. This issue of the Rat's Ass is from the Wyatt Bigner collection.This issue of the Rat's Ass dates from March 04, 2024. The cover displays doodles of rats and a call to submit work. Inside, the poems "Land Pirate + Horse" by Horace and "In Blount t'was a fountain of lies" by an anonymous author. The back cover contains the poem "Precious Cargo" by Dread Captain Flushborough
TeKa
No full textOvaj završni rad temelji se na nekontrolirano izvedenim linijama, nasumičnim skicama nastalima na standardno grafički oblikovanim listovima bilježnica te samom uvećavanju tih crteža na preparirane papire velikih dimenzija. Prijenosom i povećavanjem na velike formate autorica želi poručiti svoj stav o važnosti skica nastalih u vidu šara bez jasnih intencija, čineći ih istaknuto vidljivima i dajući im zasluženo uočljivo mjesto u radu. Radovi su nastali imitiranjem; ručnim nanosom boje na papir te ucrtavanjem pravilnih ravnih linija ili kockica kako bi se dobio prikaz što sličniji prizorima s papirnatih listova bilježnica. Autorica dodaje razne linije, crteže i tekstove koristeći se raznim crtaćim tehnikama. U tom procesu crtanja, prijenosu prizora u velike formate autorica sebi dozvoljava odsustvo koncentracije kako bi imitacija šara preuzetih iz bilježnica bila što vjernija kopija postupka kojima su nastale. Autoricu su pri realizaciji radova inspirirala djela njemačke umjetnice konceptualne orijentacije Hanna Darboven (1941-2009) i južnokorejskog umjetnika Kim Jung Gia (r. 1975).This final work is based on spontaneously executed lines, random sketches created on standard graphically shaped notebook sheets translating these drawings onto large prepared papers. By transferring and enlarging these drawings, the author wants to convey her position on the importance of sketches created in the form of doodles without clear intentions, making them prominently visible and giving them a well-deserved noticeable place in the work. The works were created by imitation; through manual application of paint on the paper and drawing of regular straight lines or cubes in order to get representation as close to the scenes from paper sheets of notebooks as possible. The author adds various lines, drawings and texts using various drawing techniques. In this process of drawing and, enlarging the motifs, the author allows herself a lack of concentration so that the imitation of the doodles from the notebook would be as faithful as a copy of the original process can be. The author was inspired by the works of German conceptual artist Hanne Darboven (1941-2009) and South Korean artist Kim Jung Gi (b. 1975)
TeKa
No full textOvaj završni rad temelji se na nekontrolirano izvedenim linijama, nasumičnim skicama nastalima na standardno grafički oblikovanim listovima bilježnica te samom uvećavanju tih crteža na preparirane papire velikih dimenzija. Prijenosom i povećavanjem na velike formate autorica želi poručiti svoj stav o važnosti skica nastalih u vidu šara bez jasnih intencija, čineći ih istaknuto vidljivima i dajući im zasluženo uočljivo mjesto u radu. Radovi su nastali imitiranjem; ručnim nanosom boje na papir te ucrtavanjem pravilnih ravnih linija ili kockica kako bi se dobio prikaz što sličniji prizorima s papirnatih listova bilježnica. Autorica dodaje razne linije, crteže i tekstove koristeći se raznim crtaćim tehnikama. U tom procesu crtanja, prijenosu prizora u velike formate autorica sebi dozvoljava odsustvo koncentracije kako bi imitacija šara preuzetih iz bilježnica bila što vjernija kopija postupka kojima su nastale. Autoricu su pri realizaciji radova inspirirala djela njemačke umjetnice konceptualne orijentacije Hanna Darboven (1941-2009) i južnokorejskog umjetnika Kim Jung Gia (r. 1975).This final work is based on spontaneously executed lines, random sketches created on standard graphically shaped notebook sheets translating these drawings onto large prepared papers. By transferring and enlarging these drawings, the author wants to convey her position on the importance of sketches created in the form of doodles without clear intentions, making them prominently visible and giving them a well-deserved noticeable place in the work. The works were created by imitation; through manual application of paint on the paper and drawing of regular straight lines or cubes in order to get representation as close to the scenes from paper sheets of notebooks as possible. The author adds various lines, drawings and texts using various drawing techniques. In this process of drawing and, enlarging the motifs, the author allows herself a lack of concentration so that the imitation of the doodles from the notebook would be as faithful as a copy of the original process can be. The author was inspired by the works of German conceptual artist Hanne Darboven (1941-2009) and South Korean artist Kim Jung Gi (b. 1975)
TeKa
No full textOvaj završni rad temelji se na nekontrolirano izvedenim linijama, nasumičnim skicama nastalima na standardno grafički oblikovanim listovima bilježnica te samom uvećavanju tih crteža na preparirane papire velikih dimenzija. Prijenosom i povećavanjem na velike formate autorica želi poručiti svoj stav o važnosti skica nastalih u vidu šara bez jasnih intencija, čineći ih istaknuto vidljivima i dajući im zasluženo uočljivo mjesto u radu. Radovi su nastali imitiranjem; ručnim nanosom boje na papir te ucrtavanjem pravilnih ravnih linija ili kockica kako bi se dobio prikaz što sličniji prizorima s papirnatih listova bilježnica. Autorica dodaje razne linije, crteže i tekstove koristeći se raznim crtaćim tehnikama. U tom procesu crtanja, prijenosu prizora u velike formate autorica sebi dozvoljava odsustvo koncentracije kako bi imitacija šara preuzetih iz bilježnica bila što vjernija kopija postupka kojima su nastale. Autoricu su pri realizaciji radova inspirirala djela njemačke umjetnice konceptualne orijentacije Hanna Darboven (1941-2009) i južnokorejskog umjetnika Kim Jung Gia (r. 1975).This final work is based on spontaneously executed lines, random sketches created on standard graphically shaped notebook sheets translating these drawings onto large prepared papers. By transferring and enlarging these drawings, the author wants to convey her position on the importance of sketches created in the form of doodles without clear intentions, making them prominently visible and giving them a well-deserved noticeable place in the work. The works were created by imitation; through manual application of paint on the paper and drawing of regular straight lines or cubes in order to get representation as close to the scenes from paper sheets of notebooks as possible. The author adds various lines, drawings and texts using various drawing techniques. In this process of drawing and, enlarging the motifs, the author allows herself a lack of concentration so that the imitation of the doodles from the notebook would be as faithful as a copy of the original process can be. The author was inspired by the works of German conceptual artist Hanne Darboven (1941-2009) and South Korean artist Kim Jung Gi (b. 1975)
‘Not Waving but Drowning.’ An Agnostic Commitment to Autonomy. The Freedom of Uncertainty in Stevie Smith’s Poetry
No full textStevie Smith is a demythologiser of timeless fairy-tale-fragments, an experimenter with inner time, poetic tempo and snapshots of death contrasted with universal, historical temporality, and a (de) composer of nonsense poems accompanied by doodles often contradicting their verbal content, to revel in an absurd illogic. Her elusive, self-destabilising literary text seems independent of her socio-historical-political context. She does not stick by one single place or cause, performs role-playings and self-maskings, and concentrates on depersonalization, disappearance and the unspeakable. After examining recent critical attempts at Smith’s recanonization as a serious author (a war-writer and a feminist poet), I explore the existential, language-philosophical and ethical issues problematised by her poetry’s leitmotivs: death, (mis) communication and self-representation. I argue that Smith provides a metatext on the complex dynamics of subversion and containment, de-territorialization and re-territorialization to locate herself in the in-between, opting for a commitment to autonomy and (de) liberated hesitation
It’s Still You
No full textThesis (Master's)--University of Washington, 2022This thesis is a metafictional collection of art and words created by the author between the ages of twelve to eighteen, and edited as a novel documenting roughly seven year’s worth of self-reflection and growth. Diary pages, writing journals, and miscellaneous doodles are woven together to tell the coming-of-age story of a young girl trying to record and understand her passions, relationships, and dreams. In this reworking of true events, Madison writes about major changes in her life, starting with entering a new school, and ending shortly after her graduation from the same institution six years later. Her story shares direct insights into her mental health and true ambitions for writing and art as she faces intense social and familial pressures to change almost every aspect of herself for the sake of fitting in or finding success
Doodles on the Walls of the Cave : An Interpretation of Four Popular Novels
No full textThere are many possible influences which shape the culture or the way of life of a society. One of the strongest of these influences has been the movies. Movies and moviegoing have been a part of American culture for more than eighty-five years, but the movies as a way of life in America perhaps reached its peak in the period from 1945-1955. This was the post World War II era when there were as many as 90,000,000 paid admissions per week from a population of 150,000,000. By the end of this decade, attendance had dropped to 42,000,000 due mainly to the increasing availability and popularity of television. Over the year’s sociologists, psychologists, philosophers, anthropologists, moral theologians, historians and people from a variety of other disciplines have researched different aspects of the movies. Popular literature also reflects the influence of movies and moviegoing on society. This thesis will discuss four novels written about the period from 1945-1955 in which the main character is a moviegoer: Bijou by David Madden, The Last Picture Show by Larry McMurtry, A Confederacy of Dunces by John Kennedy Toole, and The Moviegoer by Walker Percy. Fictional characters are obviously not real people; they are usually types or composite personalities which the author fabricates from his/her observations of real people. As Annie Dillard says in her book, Living by Fiction, literature presents a model interpreted out of the real world. The author selects what he/she needs from reality to fabricate his/her models. The fact that the novel is a fabrication makes the result different from a scientific study but does not necessarily lessen the value of the literary approach. The novelist observes the same world as the researcher. The difference in the result of these observations is similar to learning about the Civil War from Gone With the Wind instead of a history book. The characters in the four novels to be discussed in this thesis provide the reader with models from which he/she can learn something about the function of movies and moviegoing in the decade 1945 to 1955
