Karl Joseph Aigen (1685–1762) als Zeichner und Inventor grafischer Blätter

Learning fine motor skills is a pre-requisite for succeeding in dental practice and it is sometimes challenging for dental students. Most of the methods used in the selection process depend on evaluation of intellectual ability or structured interview while manual competence is not. However, no test on aptitude or manual dexterity is used as criteria. The purpose of the present study intended to evaluate the fine motor skills of beginning dental students which could in turn be used as a method of selection of students for the dental degree admission process. A study was conducted among 71 second year dental students at College of Dentistry, King Saud University in Riyadh. A test composed of three parts, writing an answer for a question in four lines, drawing a picture of a smile and doing a class 1 amalgam preparation on a plastic molar tooth. The students were evaluated based on their handwriting, basic drawing skills and their skills in performing the tooth preparation by experts in each fields following certain criteria. The results showed a significant correlation between writing and drawing skills and dental skills of the student with p < 0.001. The results of the current study support the use of the writing or drawing test as one of the test used for the applicants for dental school admission. However, the value given to such test in the selection of students needs further investigations and consensus.

The study examined the effects of two and three dimensional visual objects on learners’ drawing skills in juniorsecondary schools in OsunState.Nigeria.It also determined students’ ability to identify visual objects. Furthermore, itinvestigated the comparative effectiveness of two and three dimensional visual objects on drawing skills of juniorsecondary school students.The study employed the pretest, post- test experimental design. The study populationconsisted of all junior secondary school one students in Osun State. Three junior secondary schools were purposivelyselected from Atakumosa Local Government Area of Osun State. A sample of 120 JSS1 students was selected from thethree schools using stratified sampling techniques with sex as stratum. These were later randomly assigned into twoexperimental and one control groups. The first experimental group was taught drawing using three-dimensional visualobjects; the second experimental group was taught using two-dimensional visual objects, while group three the controlgroup was taught using conventional method. The research instrument was a Visual Object Achievement Test (VOAT).This was administered as pre test and post test. Data gathered were analyzed using ANOVA and t-test statistics.Theresults showed that there was a significant difference in the basic drawing skills of learners taught with visual objectsand those taught without visual objects (F = 14.163, p&lt; 0.05). The results also showed that there was a significantdifference in the identification ability of learners taught with two and three dimensional visual objects and those taughtwith conventional method. (F = 4.599, p&lt; 0.05).The study concluded that the use of two and three dimensional objectswill anhance drawing skills.Furthermore, the results showed that there was no significant difference in the acquisition of drawing skills betweenmale and female students who were taught using two and three dimensional visual objects (t = 2.02, p&lt; 0.05 ).The study concluded that the use of two and three-dimensional visual objects significantly enhanced students’ drawingability.

Microteaching is one of the media that develops skills suitable for teachers in improving Arabic teaching skills. For prospective teachers, the advantages of implementing microteaching practice can provide an authentic experience and practice some skills so that future teachers can create an effective, efficient, and attractive Arabic learning process. This study aims to determine the level of teaching skills of prospective teachers with peers as supervisors, knowing the difficulties before and during the microteaching process. The approach in this research is robust, with quantitative descriptive as the method. After the data collected, quantitative data processing is carried out in the following ways: a) Editing, all documents are checked completeness after respondents fill in: b) Coding and Data entry, done manually: c) Data cleaning: d) Data is then analyzed, data analysis is done with simple univariate analysis. The results showed that students' skills in drawing up a Learning Implementation Plan (Rencana Pelaksanaan Pembelajaran) were 74.1%, student skills in providing learning media that supported learning were 76.4%, student skills in using learning methods were 77%, and student skills in conducting variations, discussions, explaining materials by 75%. The average score of prospective teachers in the microteaching of the Arabic Language Education Study Program of Muhammadiyah University of Yogyakarta is 76.4%. The difficulties faced by future teachers in microteaching practice with peers as tutors are summarized in several points, (1) Rpp Building Skills, (2) Incompatibility between reality in the classroom and RPP, (3) Lack of teacher confidence, (4) Difficulty using learning media, (5) Difficulty in teaching basic skills. The difficulties of basic teaching skills are opening and closing lessons, classroom management skills, group forming skills, explaining skills, and variation making skills.

This research is to find out how someone who wants to become a designer but not through the process of selecting drawing skills in design study programs. Someone who is able to draw well, with the logic of form using sketch techniques to realist forms with the logic of perspective for objects whether reflecting intelligence and creativity in dealing with design problems by design students. What is the basic ability of someone who decides to study in the design field? The logic of the form outlined in the picture is important. Whether the inability to draw will be an obstacle in the learning process in the design study program. Product design is one branch of design science that requires students to be able to express their ideas in the form of images and convey them to others. In addition to expressing ideas, students are required to record objects with pictures and sketches directly to understand what they see, both the form and logic of their perspectives and functions. In the design education curriculum, in the first year it is compulsory to take the Basic Drawing and Technical Drawing courses and Nirmana 1 (two-dimensional basic design) and Nirmana 2 (three-dimensional basic design) courses. In the profession of designers, students or young people who want to become designers, in my opinion; knowledge and drawing skills are very important, even must be owned by a designer or prospective designer. Some state universities and art and design institutions in Indonesia, prospective students always go through drawing tests, while most of them go to private universities, not through drawing tests. In this study, I made observations on several high school students who were predicted as prospective design students and for first-year product design students and students in the second year. The subjects observed in students in the product design study program are students who have never been through a drawing test received in a product design study program. Drawing is not a hobby or talent, but drawing is an ability and a way of observing objects and visual language to convey ideas.

Life drawing presents some of the most difficult problems in the school art program: the difficulty of securing models, the necessity of using only the clothed model, and the resistance of many students to this particular discipline. The students’ confidence in their own drawing abilities is at its nadir during early adolescence, and they become easily discouraged when faced with a live model as a subject. This thesis represents an effort to deal with these problems in a manner suited to the age and maturity level of the students. In order to build their self confidence, basic drawing skills and techniques are emphasized and the work is designed to afford them maximum success. Based on the premise that the quality of student art work will show greater improvement if they enjoy what they are doing, much effort is made to present interesting and challenging projects. Emphasis is shifted away from the figure itself at first, and placed upon the clothing instead. The more difficult aspects of figure drawing are approached gradually as the need arises. The work was designed for secondary and junior high school elective art classes. It was tested on a group of eight grade students on the assumption that most of the problems involved are somewhat magnified at that level. The entire unit involved nine weeks of class work. In some areas the results were successful. The more visually minded students exhibited much improvement in perception and drawing skills. Those less visually minded displayed enthusiasm for several of the projects which had been planned specifically for them, but they generally showed less improvement. Nine weeks proved to be rather a long period of time for such a unit, and enthusiasm lessened somewhat during the last two weeks. It was concluded that although the project generally accomplished its goals, perhaps the goals themselves should be re-evaluated. Few students seemed to sense much relevance in learning to draw the human figure as an end in itself. This experience seemed to suggest that the use of life drawing as a vehicle for the expression of ideas and feelings might provide a wider base of motivation.

The use of e-portfolios is very rare among academic teaching on engineering design and product design especially in Germany. Written exams and reports are not always suitable to evaluate competencies and skills of students gained through such projects. A wide range of competencies is required and a variety of results (sketches, 3D-CAD-models, real prototypes, user feedback, etc.) are generated, that cannot be adequately represented in a written exam or report. We see the use of e-portfolios as a solution to this problem. Our goal is to enable the documentation and planning of the entire product design process using e-portfolios for student projects in a course on product design - and thus also include the production and assembly of the individual parts until the real final product. This short-paper will detail the necessary preparations and changes in content and organization to a course on product design and how the students are introduced to the use of e-portfolios. We develop a three-step process, that supports i) the preparation of e-portfolios (in advance to the course), ii) the design of individual e-portfolios (during the course) and iii) the evaluation at the end of the course. The main findings of this work are seen in a provided recommendation on structure and design of an e-portfolio based course on product design (integrating required and useful software-tools and manufacturing machine interfaces) as well as the identified specific requirements of students and lecturers that need to be fulfilled to successfully implement e-portfolios.

This paper presents a project-based product design course, which is the only course on product design in our curriculum. We noticed that the building of a prototype is often omitted in academic teaching. However, students benefit from building a prototype of their design. Hence, we reduced the theoretical content to give students time to design and build a prototype. To illustrate the course two student projects are shown. We want to motivate lecturers to introduce prototyping to courses, since our experience is that the benefits of building a prototype outweigh the decrease in theoretical knowledge.

The article is devoted to the practical using of social technologies in education. Now, we must be flexible in our approach to human capital development: constantly adding knowledge, acquiring new skills, and introducing new technologies. This approach will help you improve your main business and gain additional skills. The article presents a variant of the implementation of a social project on the development of drawing skills on topics. Aspiring people can go through rapid training using modern technology and master basic drawing skills. Study is carried out online, using Internet resources. The study was designed to allow practitioners to explore emerging issues of technology in a social context. A holistic approach was taken to enable a suitable contextual working model to be developed.

Sketching Interiors: From Traditional to Digital, highlights four basic drawing skills for interior sketching across three different media-pencil, ink, and marker. The in-depth approach to various elements of sketching, including details of perception, texture, negative space, elevation, contour, and the treatment of interior and exterior spaces, will help students perfect freehand and drawing skills. Throughout various exercises inspired by field studies, students will learn best practices for creating and presenting work for clients. Additionally, the book introduces the techniques of transforming hand drawings into sophisticated digital drawings using Photoshop, an invaluable resource for both new and seasoned designers.

Development of competence has been one of the major issues and goals of modern academic design and engineering education. Nevertheless, our literature study revealed that we are still far from a common interpretation of design competence. There are different views on it which we called reductionist and holistic. In the reductionist view, design competence is considered to be not else than a set of low level competencies such as drawing skills, spatial vision, specialized knowledge, intuitiveness and creativity, verbal communication, and technical writing, which have been typically addressed disjointedly. In the holistic view, design competence is a synergetic construct of some generic capacities. We followed this latter view in our work. We studied the implementation opportunities and manifestation of holistic design competence at the development and conduct of our recent European Global Product Realization course. Based on our past experiences and the information from the literature, we assumed that holistic design competence is a construct of five generic capacities: capabilities, attitude, knowledge, skills, and experiences, and can be efficiently developed by concurrently focusing on each of these, respectively. The professional content and didactic approach of the course were designed accordingly. An academic virtual enterprise was formed with the involvement of an industrial company and universities of five countries. The course included two instructional streams, which have been called professional navigation and industrial project. This paper presents our interpretation of holistic design competence, the didactic aspects of developing the underpinning generic capacities, and their manifestation in the European Global Product Realization course. A qualitative research has been completed with the involvement of 46 students to make out how our approach contributed to the development of the elementary design competencies. The conclusion has been that our approach equally well supports the development of both the holistic design competence and the elementary design competencies that are needed by product designers to be able to successfully operate in geographically dispersed virtual enterprises. The students’ opinion has been that the course was challenging but rewarding from the point of view of their future carrier as product designers.

The goal of this article is propose solutions for ergonomists in order to synthesize user experience, use analysis and product/system specifications more efficiently. This synthesis would enable the design team to take better account of ergonomic considerations by designers (product designers and engineers) in the design process. After a short presentation of the roles of the contributors in different project stages, we present three case studies that illustrate this necessity and propose storyboarding as a powerful and efficient collaboration tool for the ergonomist. The storyboard could be a solution if ergonomists had drawing skills. But logically, formalization of object being the very essence of designers' job, a drawing assisting tool could be interesting to ergonomics practice. Finally we present the results of tests that we have achieved with two support tools for storyboarding.

How does a company with 180 employees develop 90 new and radically different products a year? For IDEO, the answer lies in consciously establishing a corporate culture oriented toward creativity. Established as David Kelley Design in 1978, and renamed in 1991, this Palo Alto, California company does product development for hire--from computers (IDEO has done some 50 designs for Apple Computer Inc.), to medical equipment (including a laser-based blood analysis station), to automotive electronics (a recharging system for electric cars), to toys (a yo-yo is currently under development), to movie special effects (three-ton robot whales for Free Willy). IDEO sells itself to companies as offering a fresh look, top product designers, and speed, speed, speed--small projects can wrap up in a month or two, big ones rarely take longer than a year. In the past 15 years, IDEO has won some 27 Industrial Design Excellence Awards presented by Business Week, more than any other company. Tom Peters highlighted IDEO's creative culture in his book, Liberation Management. And Fortune magazine recently called the company one of Silicon Valley's secret weapons. IDEO's creative culture starts with hiring. The company does not recruit; in fact, it has never had any plans or desire to grow. We only hire people who [approach us] who we can't stand not to have in the company, founder Kelley said. Such people exhibit extremely high levels of intellectual curiosity. IDEO doesn't look for people who want to become experts on a certain subject; rather, it wants people who are always interested in doing something new, moving on to the next thing. Kelley calls people who prefer to design generation after generation of the same product, each time making it slightly better, concert pianists, and doesn't see a place for them in his lab. IDEO identifies its curious intellects by requiring that any potential hire be lunched by 10 current staffers. They rate the applicant in 10 or so categories, including love of product design, communication skills, technical knowledge, and drawing skills. A person needs all 9s or 10s to get hired, but once in, receives the company's full commitment. IDEO has never fired anybody, although a few employees have left because they got tired of the pressure to constantly innovate. Banning Bureaucracy IDEO keeps its staff creative by operating without a hierarchy. This company has taken the idea of the flat organization to an extreme. There are no organization charts, no titles. Titles, said Craig Sampson in IDEO's Chicago office, would focus attention away from what is important, which is the quality of the work. Most business cards contain only a field of specialty, like electrical engineering or interaction design. Only some 10 people around the company handle bureaucratic functions such as purchasing or tracking bills and payments; the other 170 dedicate themselves to innovation. With no opportunities for promotion or advancement to spur employees, motivation comes from peer pressure. It is about who can do the best job, who can come up with the most clever things, Kelley said, and employees think nothing of working 50 or 60 hour weeks to try to be the best. The no-promotion policy is an added plus for some employees, who elsewhere might be pushed up into management ranks and forced away from their first love, development. Other motivation comes in the form of internally produced trophies, presented at project completion ceremonies, and frequent parties and other gatherings. The company's Palo Alto offices hold a weekly bike ride, for example, and the company is currently holding a robot contest, where employees design mechanical devices to fight in a high-tech demolition derby. The key to avoiding hierarchy, in Kelley's view, is smallness. A typical IDEO site only houses about 25 employees. Too many more, Kelley said, and people wouldn't recognize everybody in the building, the company would have to institute security procedures, perhaps regulate vacations, and the bureaucracy would begin forming. …

A survey of retail business enterprises operating in the footwear and textile sector of Braamfontein, a suburb of Johannesburg, was carried out toestimate the level of entrepreneurial skills of owners and operators of retail business enterprises. The suburb of Braamfontein is home to vibrant local and international footwear and textile business enterprises. The purpose of research was tomeasure the degree of competence in basic entrepreneurial skills among retail enterprises in the footwear and textile sectors of the Braamfontein suburb of Johannesburg. A composite index which is tailormade to the operational needs of emerging enterprises in Gauteng Province (Worku, 2021A, 2021B) was used for quantifying the levels of competence and skills in entrepreneurship. The survey found that the level of competence in the field of entrepreneurship varied depending on the ability of businesses to generate profit, skills in drawing up business plans, and the availability of fixed assets, savings and other forms of collateral for securing business loans.

Engineering Drawing is one of the compulsory courses in the Department of Mechanical Engineering in Indonesia. This course aims to equip students with basic understanding and skills in drawing. In this case, this study aimed to develop learning media in the form of interactive multimedia determining the level of eligibility of the developed multimedia, and testing the effectiveness of the developed multimedia in enhancing students’ understanding of the basic concepts of engineering drawings. For this reason, this study used an R and D design with the 4D model to produce and test the effectiveness of the developed multimedia. The product validity test was carried out by two experts, namely one material expert and one media expert. The effectiveness test, onegroup pretest-posttest design was carried out by involving 28 students of the Mechanical Engineering Education study program at Universitas Pendidikan Ganesha, Bali, Indonesia. The results showed that both material and media experts agreed that the developed multimedia was suitable for teaching equipment in the lecture process. The effectiveness test also showed that multimedia developed effectively increased students’ understanding of the basic concepts of engineering drawings. The use of interactive multimedia could improve students' motivation and independence in learning, thus increasing their understanding of the Engineering Drawing course concepts.

Fashion Flats and Technical Drawing is a step-by-step workbook for learning technical drawing and flat sketching skills. With more than 500 hand-drawn and CAD-rendered flats and 100 photos of finished samples showing how a sketch translates to a 3D garment, the book covers a range of garments and construction details used to communicate fashion designs for portfolios and production. Abling and DaCosta progress from basic design construction details such as darts, gathers, and trims to essential garment styles including skirts, tops, dresses, pants, jackets and coats. The book includes unique coverage of presentation of flats in a portfolio and critical step of preparing flats for a technical package and productions. Downloadable figure templates and flats library are available online. This book is an essential resource for fashion designers to learn technical drawing skills that effectively communicate fashion design concepts.