Use Of Drawings Research Articles

Usefulness of spontaneous drawing in the diagnostic guidance of pediatric patients with headache

The diagnosis of headache in children can be challenging due to its clinical variability and inability to verbalize certain symptoms. The use of drawing has been proposed to overcome these difficulties. The objective was to evaluate drawing as a diagnostic tool in primary headaches. Cross-sectional and descriptive study to assess the agreement between the 'artistic' diagnosis of headache and the clinical diagnosis. We consider an artistic diagnosis to be the one issued after reviewing the drawing of the patient that was made by a neuropediatrician and two neurologists who are experts in headache. The clinical diagnosis would be the classic diagnosis made in consultation after a complete history and examination in consultation and was issued by another neuropediatrician. We included 132 patients/drawing (61.1% girls; mean age 12 years) with clinical diagnoses of: migraine (59.1%), tension headache (38.2%), and other headaches (trigeminal autonomic and nummular) (2.7%). The agreement between the artistic and clinical diagnoses in migraine and tension headache was 78.5% and 78.6%, respectively when the drawings were evaluated by a neuropediatrician. This agreement was similar for the migraine drawings assessed by both neurologists (76.3% and 83.6%), but not in the case of tension headache (35.1% and 48.4%). The agreement between neurologists was moderate and similar in both types of headaches (migraine: k 0.51; tension headache: k 0.50). Headache drawing is a useful instrument in the differential diagnosis of migraine. We suggest its inclusion in the initial diagnostic evaluation of headache in children.

Streaming platform imaginaries: audiences and Southeast Asian streaming

ABSTRACT This article argues for a deeper understanding of the forms of streaming platform infrastructures as imagined and experienced by audiences. The empirical research is based on a qualitative audience study in Southeast Asia. Through the use of drawings of streaming platform maps, combining visual and interview methods, the article analyses visual forms depicting the infrastructures for global streaming platforms, e.g. Netflix, alongside transnational platforms and national cable channels, e.g. Astro. Out of this original research, a core finding is that audiences from the global south have multi-layered experiences of streaming platform infrastructures, technologies and lifestyles. A new concept of streaming platform imaginaries is developed in relation to the layering of platform infrastructures, thus contributing to a nuanced understanding of both real and imagined forms of streaming platforms.

Unveiling the Impact of Drawing on Digestive System Learning

Science education plays a vital role in primary schools, and it is important to improve its quality through innovative teaching and learning methods. This study examines the use of drawing as a strategy to enhance learning about the Digestive System in Year 4 students. The research follows an action research approach, involving one cycle of identifying the problem, implementing the action plan, collecting and analyzing data, and evaluating the outcomes. The participants in this study were 19 students from Mawar Primary School in Brunei Darussalam. Both quantitative (pre- and post-tests) and qualitative (interviews and observations) data were collected and analyzed to assess the effectiveness of the drawing intervention. The findings indicate a positive impact of using drawing as a teaching and learning strategy. However, it should be noted that these results cannot be generalized to all schools.

Practical use of drawing in research on the historical space of the city

Various research methods and techniques are popularised in the literature on the theory of research on the historical space of cities. However, less attention is paid to their tools. The aim of the article is to use drawing as a tool showing the historical space of the city, which is the subject of further research. There are many drawing motives and they depend on research needs. These may be objects, streets, squares and city panoramas. By analysing historical iconographic and cartographic sources, it is possible to create an image of an unpreserved object or place using a drawing, by reconstructing their form, and present them in a wider frame by adding the surroundings. In the case of streets, these may be drawings of frontages or their perspectives seen from two directions, while for squares, they may be in the form of internal and external views. Depending on how you look at it, you can draw from a human level or from above. The article presents a documentary drawing drawn with a pen as a drawing tool to be used in the graphic method of researching the historical space of cities. Especially places that have not survived to the present day. Drawing can be an alternative to digital visualisation, which requires computer equipment and specialised software

Better than Goodenough? Evaluating new computational techniques for finding diagnostic structure in children's drawings.

In her 1926 book Measurement of Intelligence by Drawings, Florence Goodenough pioneered the quantitative analysis of children's human-figure drawings as a tool for evaluating their cognitive development. This influential work launched a broad enterprise in cognitive evaluation that continues to the present day, with most clinicians and researchers deploying variants of the checklist-based scoring methods that Goodenough invented. Yet recent work leveraging computational innovations in cognitive science suggests that human-figure drawings possess much richer structure than checklist-based approaches can capture. The current study uses these contemporary tools to characterize structure in the images from Goodenough's original work, then assesses whether this structure carries information about demographic and cognitive characteristics of the participants in that early study. The results show that contemporary methods can reliably extract information about participant age, gender, and mental faculties from images produced over 100 years ago, with no expert training and with minimal human effort. Moreover, the new analyses suggest a different relationship between drawing and mental ability than that captured by Goodenough's highly influential approach, with important implications for the use of drawings in cognitive evaluation in the present day.

Watching videos of a drawing hand improves students' understanding of the normal probability distribution.

Understanding normal probability distributions is a crucial objective in mathematics and statistics education. Drawing upon cognitive psychology research, this study explores the use of drawings and visualizations as effective scaffolds to enhance students' comprehension. Although much research has documented the helpfulness of drawing as a research tool to reveal students' knowledge states, its direct utility in advancing higher-order cognitive processes remains understudied. In Study 1, qualitative methods were utilized to identify common misunderstandings among students regarding canonical depictions of the normal probability distribution. Building on these insights, Study 2 experimentally compared three instructional videos (static slides, dynamic drawing, and dynamic drawings done by a visible hand). The hand drawing video led to better learning than the other versions. Study 3 examined whether the benefits from observing a hand drawing could be reproduced by a dynamic cursor moving around otherwise static slides (without the presence of a hand). Results showed no significant learning difference between observing a hand drawing and a moving cursor, both outperforming a control. This research links the cognitive process of drawing with its educational role and provides insights into its potential to enhance memory, cognition, and inform instructional methods.

Building a Bridge Among Unspoken Words: The Use of Drawing According to the IARA Model to Trigger Communication in Children and Adolescents Who Stutter

Stuttering is a speech disorder characterized by frequent and significant problems with normal fluency and flow of speech. People who stutter perceive themselves as poor communicators and develop negative speech attitudes. This development of a negative communicative attitude could be related to the expectations and high demands made by their parents about fluency. When these expectations exceed the stuttering individual’s abilities to produce fluent verbal communication, a stuttering episode occurs. This is perceived by the individual as a communicative performance not adequately meeting the requests. Consequently, these individuals often resort to various avoidance and escape behaviors and generally avoid discussing their experiences and feelings related to stuttering. Therefore, stimulating communication is essential during speech therapy sessions to expose experiences otherwise kept hidden both from children/adolescents and their parents. However, encouraging communication is far from simple. In an attempt to facilitate communication and foster a more effective relationship between persons who stutter and their parents, we implemented the so-called awareness drawing according to the IARA model at the opening of the stuttering assessment session. Fourteen children (M=10; F=4; mean age=10.42; SD=1.65) and eight adolescents (M=6; F=2; mean age = 15.25; SD=1.03) diagnosed with stuttering were involved in this study, along with their relatives (28 parents; M=10; F=18; mean age=31.14; SD=4.66 years). The results of the study revealed that the drawings and comments of children and adolescents with stuttering, along with their parents, can offer valuable insights into their experiences and perceptions of stuttering. Children and adolescents expressed a desire for acceptance and a wish to be recognized beyond their stuttering. They depicted solutions that encompass the involvement of both parents and speech therapists. The utilization of awareness drawing can have a substantial impact on speech therapists. During the stuttering assessment session, it can provide valuable insights into the emotions, thoughts of person who stutter, as well as the experiences of their parents. This, in turn, can enhance the design of therapeutic intervention.

Uncovering What’s Really Important: Using Drawings to Enhance the Dialogue With Students About Physical Education Experiences

Purpose: To present a case for using drawings as a valuable way of incorporating student voice in research on physical education. Presented in the form of a “primer,” the paper examines theoretical and practical aspects of drawing research. Sections: The paper is presented in three parts. The first introduces drawings as a valuable participatory visual method, explaining what they are and why study them. Second, a brief history is provided of the use of drawings in classroom and physical education research. The third section provides key points to consider when administering a drawing project and analyzing drawings. Key Messages: Drawings have the potential to make the invisible visible. That is, what is missing in a drawing may be as impactful as other objects that are present. In addition, to maximize the value of drawings, students should be asked to describe their drawings (either through an accompanying interview, or draw, and write), as possible elements might emerge that were not visible, or to assist with clarification of all elements of the drawing.

Patriotic and Religious Education of Children and Young People in the Works of Ewaryst Estkowski

Ewaryst Estkowski (1820–1856) believed that the most important task in the education and upbringing of children is teaching religion, reading, writing, calculation, history, drawing, physical education and geography. He based his specific programme for the patriotic and religious education of young people in elementary school on this principle. He saw learning to read and write as a way to broaden the horizons of the Polish people, learning calculation as a means to fight for their financial well-being, and history and geography as a means to awaken in young people a love for their homeland. He perceived physical education as a source of strength to work for the good of others and the country. The practical use of drawing was to sensitize people to the beauty of their homeland. After finishing their primary school education, pupils were supposed to be good and pious persons, above all, aware of their duties to their family, community, homeland and the Church. Further education was supposed to help develop their ability to think independently and facilitate making good choices. Estkowski believed that if Poles were deprived of the Catholic religion, they would lose their national identity. Parents and teachers, the Church and priests, as well as the community and the nation were to help implement this model of education.

Transforming Paper into a Therapeutic Drama Stage: A Case Study of a Chinese Primary Student on the Use of Drawing in a Drama Counseling Model

This article presents a case study of how drawing paper can be integrated into a therapeutic drama stage. It will propose drawing in drama counseling as a new model of integral drama-based pedagogy. The article illustrates the connection of drawing, drama, and counseling. The model was developed by the author using the methods of integral drama-based pedagogy to counsel a Chinese primary school student who was angry about rejection and exclusion by his classmates. The study demonstrates how the student could use drawing paper to become his drama stage and how a student acted out a drama by drawing on that paper stage. The case study describes a method that could lead to a new therapeutic model in individual mental health counseling allowing for emotional catharsis, expression, and release. The article especially discusses the drawing in drama counseling model from Wu-wei of the Chinese culture.

Study of time indicators of public transport operation depending on the season of the year

Mobility problems in large cities of Ukraine and Eastern Europe are complicated by the fact that the increase of private transport volume significantly exceeds street and road network`s capacity. This is most noticeable during peak periods in terms of daylight hours and throughout the year. From the point of sustainable mobility view, this negative phenomenon significantly affects urban public transport, which does not have separate dedicated traffic lines. This article analyzes the issue regarding the deterioration of the transport situation in large cities. The reason for this is the increase in traffic on main streets during the day peaks, as well as the presence of seasonal traffic factors. If the issue of the occurrence and traffic jams duration and the increase in the correspondence time of private transport is sufficiently studied, then the problems of changing the schedules of public transport and taking into account the increase in the trip duration depending on the time of year need to be clarified. The routes of public transport, which do not have a separate infrastructure and move in the general flow together with private cars, were chosen for the study. According to the results of remote monitoring of public transport, a change in the trip duration and time lost due to the boarding and disembarking of passengers on similar trolleybus routes in different seasons was established. Based on the obtained data, a matrix of trip duration unevenness coefficients for public transport routes was formed, and a measure of the seasonality effect on these indicators was established. The obtained results make it possible to quantitatively determine the influence of the season and time of the day on the change in the trip duration, which can be applied in further studies using simulation tools and for practical use in drawing up seasonal traffic schedules. The results of the research complement the currently relevant scientific works, which concern the problems of seasonal mobility, as well as the influence of the social infrastructure objects functioning (schools, kindergartens, and other educational institutions) of cities on the peak load of the street and road network, which extends the duration of traffic not only for private but also public transport.

Enhanced impulsivity, poorer planning and rigid patterns when drawing in substance use disorder: a preliminary study

Neuropsychological assessment has uncovered deficits in several executive functions in substance use disorder (SUD) individuals. Nevertheless, research has reported moderate ecological validity in current neuropsychological paradigms. In this regard, drawing is a well-known cross-cutting task that integrates complex cognitive and affective processes. Therefore, its potential for improving the ecological validity of neuropsychological assessments has been outlined. The aim of the present study was threefold. First, we analyzed the impulsivity and planning capacity of SUD individuals (n = 16) compared to controls (n = 15) through a self-reported questionnaire and a neuropsychological paradigm. Second, we explored the differences between groups in drawing variables by means of the diagnostic drawing series, a validated drawing paradigm. Finally, we examined the relationship between the neuropsychological markers and the drawing variables. Compared to controls, SUD individuals reported higher impulsivity scores and worse planning capacity. Regarding drawing variables, SUD participants needed more time to complete the artwork, occupied more space with a predominant color and reported a lower tendency to use warmer and cooler colors than controls. Additionally, across the whole sample, higher impulsivity and worse planning capacity were related to a greater use of a predominant color. Our findings suggest difficulties in functions related to inhibitory control, as well as an alternative drawing pattern in SUD individuals. Remarkably, poor inhibitory control was associated with less variability in drawing. Together, the present preliminary study seems to reinforces the use of drawing as a valid tool for adding both diagnostic and therapeutic information to classical neuropsychological paradigms.

Sebastiano Ittar, architetto: archeologia disegno, città progetto

This research, that was made possible thanks to the recent reorganization of the Ittar Fund at the Superintendence for Cultural Heritage of Catania, concerns the use of drawing as a method for understanding the relationship between the ancient fragment and the city. At the beginning of his career, the scarcely known architect Sebastiano Ittar (1768‑1847) used drawing as a tool to study the archaeological fragments he visited during his trips in the Mediterranean. In 1832, instead, Ittar conceived the well-known topographical plan of the city of Catania that was based on the concept of fragments as what remains of archaeological evidence. The last element considered in the article is the relationship between the archaeological fragments and the city as a source of creative architectural inspiration. Ittar’s project for Palazzo Scuderi-Bonaccorso is investigated in comparison with his sketches of an ancient Roman spa building, with the aim of demonstrating that for him archeology was not just a fruitful subject of study, but even a fertile source of inspiration.

Drawing enhances memory for emotional words.

Past work has demonstrated that drawing a sketch, compared to writing during encoding, improves memory of to-be-remembered words, pictures, and academic terms. We examined whether this benefit extended to emotional materials. In Experiment 1, negative, positive, and neutral words were presented in an encoding phase, with intermixed prompts to either write out or draw a picture representing the word. Participants later freely recalled words by writing them out. Recall was higher for words drawn than for words written at encoding, and the magnitude of the benefit was differentially enhanced for emotional compared to neutral words. In Experiment 2, negative, positive, and neutral words were again presented but encoding type was compared using pure lists between participants. The pattern of memory performance replicated that observed in Experiment 1. Further, the use of drawing as an encoding technique interacted with emotionality, whereby emotional words that were drawn were best remembered. Our results demonstrate that the memory benefit conferred by drawing at encoding extends to emotional materials. Our findings suggest that the use of drawing as an encoding strategy, and the emotionality of the stimulus itself, contributes independently to enhance retention. (PsycInfo Database Record (c) 2023 APA, all rights reserved).

Paper Thin? The Evidence for 12th-Century Gothic Design Drawings

No Gothic design drawings on paper or parchment have survived from the 12th century, and only a few have survived from the 13th century. For this reason, most recent scholars tend to concur at least broadly with Robert Branner, who argued in an influential 1963 article that such drawings were first produced only after 1200. This conclusion deserves critical re-examination, however, for two principal reasons. First, the continuity of the Gothic architectural tradition in both time and space strongly suggests that early Gothic builders used similar techniques to those used by their late Gothic successors. From this perspective, the lack of surviving design drawings from before 1200 seems likely to reflect their disappearance over time, rather than their not being used in the crucial period when the conventions of Gothic design and construction were first coming into focus. A second argument for the use of drawings in the 12th century comes from consideration of early Gothic buildings, whose complex and carefully calibrated forms would be literally inconceivable without such graphic aids. Churches such as Saint-Denis Abbey and Notre-Dame in Paris, for example, already display a level of geometrical sophistication and coherence that argues strongly for the use of scaled drawings in their original conception.

Stylistic co-existence and the chronotope in Stone Fruit and onwards towards our noble deaths

ABSTRACT In this essay, I will examine the co-existence of different styles of drawing in Stone Fruit by Lee Lai (Lai, 2021). I will argue that this graphic novel uses two styles of drawing to produce different space times which can be better understood through a discussion of Bakhtin’s idea of the Chronotope. (Bakhtin 2011) I will compare this use of drawing to the drawing styles present in Onwards Towards Our Noble Deaths by Shigeru Mizuki (Mizuki and Allen, 2011) and argue that these comics use style to activate different chronotopic space times in order to deepen the reader's understanding of the interpersonal relationships between characters. I will consider the implications for both the drawn and drawing body in these comics, in the context of the history of naturalistic forms of representational drawing in manga and the practice of genre-splicing and ‘swiping’ in alternative comics. I will examine ways in which the movement between two styles of drawing form a structuring element of these narratives and argue that this movement is essential to communicating the meaning of these comics.

The Effect of Drawing Microbiology Concepts on Short-Term Retention Before and After Interrupted Learning.

Throughout the preclinical education curriculum, medical students learn numerous concepts that must be retained and added to over time. Previous studies have shown that utilizing drawing leads to improved retention of concepts. However, limited studies have investigated the use of drawing at the medical school level. The goal of this study was to utilize mechanism-based drawing aimed at presenting conceptual material rather than strict memorization before and after interrupted learning. Participants were randomly assigned to a drawing group or a text-only group and both groups received text #1 that explained a microbiology concept. The groups were instructed to read the text, but only the drawing group received a drawing prompt. The groups then completed post-test #1. During part #2 of the study, the groups were instructed to read text #2 with no drawing prompt. The two groups were instructed to complete post-test #2 which covered topics from text #1 and #2. p<0.05 was considered significant. The drawing group performed significantly better on post-test #1 compared to the text-only group. There were no significant differences on overall performance on post-test #2. However, the drawing group performed significantly better on questions related to the material covered in text #1 on post-test #2. Results presented here demonstrate that students who draw perform significantly better when assessed on complex microbiology concepts, even after interrupted by the introduction of an unrelated concept. A future study should investigate the effectiveness of drawing after interruption by learning on long-term retention and performance.

La perspective créatrice de l’autisme : le cas extraordinaire de l’autiste peintre Iris Grace

ObjectivesThe aim of this work is to examine the subjective relationship of autistic subjects to artistic creation, particularly graphic creation. More specifically, it examines the conditions under which graphic creativity can be an autistic subject's preferred means of directing the excess impulses that invade him or her into an out-of-body object, and thereby opening up the possibility of creating a multidimensional space for him- or herself. MethodCritical analysis of the main theories in the scientific literature on the graphic abilities of autistic subjects. Confrontation of the hypotheses of a cognitive deficit and those of a psychodynamic current. We propose our theoretical development based on a case study. Psychodynamic study of the functions of art and, more generally, of creativity and inventiveness in autistic subjects. ResultsPainting allowed Iris Grace to build her relationship to the world, to her body, to others, and to speech, that is to say, to build a real subjective dynamic. Iris Grace's graphic creativity testifies to one autistic subject's preference for directing an invasive instinctual excess onto paper, into an out-of-body object, thereby allowing her to create a multidimensional space where libido, body, and link to the other were unfolded and complexified. DiscussionThe use of drawings, and their infinite details, allows us to see that artistic creation raises the question of writing. We develop the link with the use of computerized devices and their 3D software: certain autistic subjects prefer this mode of writing because the computer allows them to isolate, in details, the dimensions of the language. Each form, each place, each color, each detail, all these “Ones” lead us to consider that the work of autistic subjects is more about making a consistent whole out of these “Ones”. What clinical work with autistic people teaches us is how effective it is to bet on the strengths of each individual, even if they are first and foremost fixation, obsession, or focus. In this way, they can have some chance of being invested as an out-of-body object, enabling the creation of a multidimensional space. This is not to suggest that painting and/or drawing can be a therapy for every autistic person, or a particularly suitable form of art mediation. ConclusionSupporting the creativity of each autistic person in this way helps them to deal with excess jouissance, and to locate it on an edge, thus facilitating the regulation of libido and drives, thanks to the creation of a link and an openness to the world and to learning. In institutional care, it's a question of welcoming the autistic subject as he or she presents him- or herself, welcoming the real the subject has to deal with, and ensuring that his or her creation and inventiveness, whatever it may be, is increasingly cobbled together as a Borromean knot; in short, guaranteeing the construction of a subjective dynamic, so that art, invention, or affinity can rise to the level of a sinthome.

Collaborative Self-Study with Pre-Service Teachers to Improve the Use of Drawings as a Pedagogical Tool

ABSTRACT This collaborative self-study with pre-service teachers describes a process of examining the use of drawings as a pedagogical tool at a tertiary institution of learning. Hence, this research examines the question: What can I learn from my students to improve the use of drawings as a pedagogical tool and thus improve my work as a teacher educator? Eight students (also known as pre-service teachers) accepted an invitation to help me improve the use of drawings as a pedagogical tool. Four main themes emerged from three sources of information which were qualitatively analyzed. The first theme was ‘not just knowledge’. I learned that drawings don’t have to ‘come at the expense of disciplinary knowledge’ as they can actually expand it. The second theme made it clear to me that the use of drawings evoked strong, negative and positive emotions in students when using them. The third theme led me to understand that there is complexity in using drawings. Through the fourth theme I developed an understanding of how I should use drawings as a pedagogical tool in the future. Not only did the collaborative self-study help me to better understand the use of drawings, it also led me to consider the use of other creative tools as part of an ongoing pedagogical process. In addition, in the future I will create a continuous dialogue with students that will clarify the pedagogical ideas behind using drawings and other creative learning tools, thus working towards continuous improvement in my teaching practice.

Use of Drawings and Connections Between Epistemic Practices in Grade 1 Science Lessons

Use of Drawings and Connections Between Epistemic Practices in Grade 1 Science Lessons