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What are children’s responses to storybook characters portrayed as socioeconomically disadvantaged? Do these responses vary by gender, race, socioeconomic status, and setting? Sixty-two 8-year-old-children individually listened and responded to a story about a soup kitchen using two different communication systems: drawings and words. Categories generated from the data were analyzed using chi-square analyses, yielding statistically significant findings for each of the variables of interest. Results offer a unique, detailed picture of the conceptual schemas of 8-year-old children about poverty.

The PROCESS OF MAKING WIRE by drawing operations through dies, as distinct from hammering, though believed to be several thousand years old, until the last century was performed only by man‐, horse‐ or water‐power, so that production was slow and small. These old methods could not meet the greatly increased demand that then arose for wire of all kinds, such as copper wire for electrical purposes, and consequently power‐driven multi‐die benches were developed. Drawing speeds were still limited to several hundreds of feet per minute because of the rapid wear of the chilled iron and steel dies then used; but with the introduction of tungsten carbide dies and diamond dies, speeds were again increased, and now figures of 2,000 ft. per minute for steel wire, and 5,000 ft. per minute or more for copper and aluminium, are commonplace. These advances have required improved drawing lubricants, and future increases in drawing speeds likewise largely depend on improving lubricants still further. The general problem is to provide adequate lubrication for long die life, coupled with the intensive cooling that higher drawing speeds compel.

Architectural drawing is changing because architects today draw with computers. Due to this change digital diagrams employed by computational architectural practices are often emphasized as powerful structures of control and organisation in the design process. But there are also diagrams, which do not follow computational logic worth paying attention to. In the following I will investigate one such other kind of diagram, a sketch diagram, which has a play-like capacity where rules can be invented and changed as you go. In that way, sketch diagrams are related to steered indeterminacy and authorial ways of directing behaviour of artefacts and living things without controlling this behaviour completely. I analyse a musical composition by John Cage as an example of a sketch diagram, and then hypothesize that orthogonal, architectural drawing can work in similar ways. Thereby I hope to point out important affordance of architectural drawing as a ¬hybrid between the openness of hand-sketching and the rule-basedness of diagramming, an affordance which might be useful in the migrational zone of current architectural drawing where traditional hand drawing techniques and computer drawing techniques are being combined with each other.

DRAWING technique comprises the methods of working in which hollow components are formed from plane material by means of a drawing die ring and a drawing punch and, if necessary, by using blank holders so that a more or less considerable movement of material takes place.