DRAWING IN A DIGITAL AGE
Stuart Mealing

The traditionally cold image of computers and the marks they generate is at odds with the 'hot', romantic world of art, and within that of drawing. At a time when artists are increasingly coming to embrace digital technology it is fruitful to consider both the technical and the emotive conflicts this new liaison might engender. In this paper traditional and digital mark making are compared within the specific domain of objective drawing. Differences in the haptic process are considered together with their consequent manifestations and the wider influences of a moulding zeitgeist.

IN PRAISE OF BAD DRAWING
Christine Percy and Mark Povell

This paper presents the findings of an action-based research undertaken in the Faculty of Fashion & Communication at The Surrey Institute. The research examined the use of drawing as a process of clarification and selection, and more significantly, of negotiation between 2D and 3D forms. Historically, fashion has evolved a contrived convention of stylised drawing that, whilst being seductive and useful as tool of persuasion, fails to represent the true business of designing ie the business of intuitive hypotheses and intelligent selection. Our research suggests that students learn experientially and incrementally, and in a constant state of negotiation between 2D notation and 3D realisation. Drawing is one of the primary tools of investigative inquiry, but we argue that too great an attention tot he decorum and etiquette if the drawing conventions has tended to mask a significant educational challenge; seeing through (bad) drawing.

ADAPTABILITY TO CHANGE: TEACHING DRAWING TO DESIGNERS
Pam Schenk

The provision of drawing tuition for design students has been a contentious issue since the inception of the Schools of Design. The balance between the encouragement of a self-expressive approach associated with the influence of Fine art and a more pragmatic one, specifically geared to the needs of industry, has consistently been difficult to achieve.

Finding from systematic research indicate that not only do designers use drawing in a wide variety of ways, but also that usage is subject to change due to developments in technological support, attitudes towards professional practice, an individual's particular status within a design team and the requirements of specific design projects. Drawing tuition within design education must help students to become both realistic about their needs for a range of drawing abilities and flexible in their capacity to adapt to change.

/THE/USE/OF/GRAPHIC/ACT ANALYSIS/FOR/RESEARCH/IN TO/COMPUTER/SUPPORTED/DESIGN/TEAMWORKING/
Steve Garner

Graphic act analysis has an important role to play in illuminating the conduct of collaborative design activity. This paper presents an analysis of graphic activity, particularly sketching, between pairs of subjects collaborating remotely in a computer mediated environment on a set design task. The particular field is product design. Important observations regarding sketching activity, defined by 'drawing graphic acts', are presented and discussed. Suck knowledge is promoted as important for the development of hardware and software for future computer supported design teamworking (CSDT).

DEAD LINES: CODIFIED DRAWING AND SCOPIC VISION IN HOSTILE SPACE
Paul Gough

The military have long used drawing as a navigational and exploratory tool. From the early 18^th century, British military academics trained gentlemen cadets and sailors to analyse and record landscape and coastline as a means of neutralising and controlling enemy space. This paper explores the tenets of scopic control and its manifestation in the first global war of this century. Between 1915 and 1918 military sketching required avant-garde British painters to adopt the systematic coding of surveillance with varying results. The second half of the paper examines the antithesis of the analytical drawn line - the silhouette, or shadow, which has become of the familiar tropes of martial iconography.

ANALOGY, COMPLEXITY AND HOLISM - DRAWING AS 3-D MODELLING
Chris Rust and Graham Whiteley

This article discusses drawings produced by the designer, Graham Whiteley, in the course of a 3-dimensional design project concerned with new forms of artificial limbs. This is complex, difficult and wide-ranging work extending over several years. The drawings throw light on the learning methods used by the design in early stages, the holistic approach adopted and the thinking of the designer at different stages of the work. The article considers the different approaches of industrial designers and engineers and contrasts modernist concepts of planning and more recent concerns with managing rapid evolution.

GERALD SCARFE AT THE NATIONAL PORTRAIT GALLERY
Roger Malbert