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The purpose of this study is to explore a support system for beginners in drawing in a networked environment. Learners can receive advice and assessments from art experts without time and/or place constraints by using the proposed system. The authors investigate the possibilities of online supporting drawing learning. Two key factors are introduced: a digital pen as a drawing tool and a drawing process model (DPM).

The major difference between an offline drawing class and an online drawing class is the availability of instruction during learners' drawing. The instruction for the learners' drawing process is more important than instructional comments for his/her work. Therefore, quick and personalized feedback from a tutor is an indispensable function for a networked learning environment. In this study, the learner's drawing process that is recorded by a digital pen is reused in order to replay and refer his/her drawing process. To generate an evaluation for the drawing process automatically, these data are also reused in the system the authors propose.

The paper provides three findings. One is the DPM to capture learner's drawing features. Second is a drawing learning support system based on the DPM. And third is a feasibility study of the support system in a real art school. In this study, the learner's drawing process is reused in two evaluations. One is the tutors' evaluation, and the other is the system's evaluation. For the latter, the authors implemented the automated evaluation function based on the DPM. This model consists of three types of parameters. They are the drawing step, the drawing phase and the features of the drawing strokes.

Because of the art school curriculum, the authors cannot examine the learning effectiveness deeply. So the research results in this paper may lack generality. Therefore, researchers are encouraged to test the proposed approach further.

The paper includes implication for the skill learning support based on the ICT.

This paper fulfils an identified need to capture and support how drawing behaviour can be done.

This study aims to investigate how configurations of boundary objects (BOs) support innovation teams in developing innovative product concepts. Specifically, it explores the effectiveness of different artefact configurations in facilitating collaboration and bridging knowledge boundaries during the concept development process.

The research is based on data from ten undergraduate innovation teams working with an industry partner in a creative industry. Six categories of BOs are identified, which serve as tools for collaboration. The study applies fsQCA (fuzzy-set qualitative comparative analysis) to analyse the configurations employed by the teams to bridge knowledge boundaries and support the development of innovative product concepts.

The findings of the study reveal two distinct groups of configurations: product envisioning and product design. The configurations within the “product envisioning” group support the activities of visioning and pivoting, enabling teams to innovate the product concept by altering the product vision. On the other hand, the configurations within the “product design” group facilitate experimenting, modelling and prototyping, allowing teams to design the attributes of the innovative product concept while maintaining the product vision.

This research contributes to the field of innovation by providing insights into the role of BOs and their configurations in supporting innovation teams during concept development. The results suggest that configurations of “product envisioning” support bridging semantic knowledge boundaries, while configurations within “product design” bridge pragmatic knowledge boundaries. This understanding contributes to the broader field of knowledge integration and innovation in design contexts.

Most of the business of Koltanbar Engineering is designing large automated welding lines producing body assemblies. In the past, designing a welding station for one of these lines was an extremely time‐consuming process requiring complicated sectional drawings at each welding point, which were stacked up to determine the gun configuration; intricate stick drawings of the robot's motion, and very tricky cycle time studies.

The many speculative writings found in Finnish architect Alvar Aalto's notes show an interesting array of information about the construction of a knowledge society, and the formation of networks, in which sharing and exchanging new knowledge among different bodies of architectural agencies become possible. These notes reveal insightful remarks, his personal accounts on the Internet and the growing Network Society that could be regarded as pioneering scholarly engagements, which still further stimulate new and profoundly articulated reflections in architectural theory. At the same time, these notes also encourage further scholarly studies on the possible relationships between time and space on philosophical grounds. With respect to his writings, one can summarize Aalto's contribution under three major headings: the future is nestled in the past; often what is sought is located in the unthinkable; and of many, Alvar Aalto will never cease to be new, unexpected and innovative in his design thinking methods and procedures.

In marketing and consumer research, the application of subjective personal introspection, or SPI, to the understanding of one’s own consumption experiences benefits from the representation of such self‐reflective insights in the most vivid and compelling manner possible. Toward the latter end, stereographic three‐dimensional images may deepen the marketing or consumer researcher’s ability to communicate with managers and other readers in a suitably forceful, engaging, and transparent way. Thus, three‐dimensional photographs in the form of stereo pairs may provide corroborative evidence for the interpretations suggested by SPI or other research approaches. In this, literally, stereo 3D displays enhance the vividness, clarity, realism, and depth of communication between marketing researchers and their audience. But beyond that, figuratively, three‐dimensional stereography also serves as a metaphor to capture the essence of operating on the edge, of attaining profound insights, or of pursuing creativity in the postmodern world of consumption‐oriented hyperreality.

In this paper, the authors aim to review the benefits of sketching or ad‐hoc, collaborative hand drawings for knowledge creation, knowledge sharing, and knowledge documentation.

The authors conducted a comprehensive literature review in the fields of design, psychology, and computer science that documents the multiple advantages of sketch‐based approaches for managing knowledge in organizations, especially on the team‐level. The authors argue for the complementary use of this “low‐tech knowledge management” approach with existing digital infrastructures and tools. The literature survey is based on a search for the title term “sketching” on the ISI Web of Knowledge online database. After topic filtering and eliminating all articles where sketching was used in the sense of a project proposal or a theoretical sketch, there were only 48 articles left related to the keyword “sketching”. Based on the authors' awareness of important contributions in the field of sketching, which did not appear in the database search, they extended their inclusion criteria to include grey or conference literature and examined the reference sections of highly cited articles. The article concludes with a set of propositions for practitioners regarding the use of sketching in different knowledge management contexts and with implications for future research in this area.

Knowledge creation contexts, such as innovation management or problem solving sessions, provide participants with the opportunity to jointly devise large scale sketches in order to integrate their views and experiences on joint frameworks. Knowledge sharing situations, such as in team briefings or debriefings, in hand‐over processes, or in strategic alliances, equip all participants with pens and paper tablecloths to augment their knowledge dialogues with visible means that facilitate interaction and turn‐taking, increase vividness and memorability, and allow for an authentic and personal follow‐up documentation.

An implication for research is to study sketching in knowledge management through interdisciplinary research efforts. This could be done by paying attention to the way that digital and hand‐drawn sketches affect interactions differently among professionals and the way that they share, defend, and integrate their knowledge. Specifically researchers with a background in organizational psychology could work jointly with human computer interaction specialists to study differences among analogue and digital sketching activities. In this way one can learn about the respective advantages and risks of hand‐drawn versus computer‐supported sketching for knowledge‐intensive group collaboration tasks.

The literature review resulted in an extended list of benefits which support three relevant tasks in knowledge management, namely knowledge creation, knowledge sharing and knowledge documentation. This compilation shows simple and effective ways in which the use of hand drawings can enhance existing knowledge management practices.

THE method of controlling work on the factory varies considerably. It can start from simply telling an operator the quantity required of a certain part, handing him the blueprint and telling him to get on with the job, to a complex breakdown where everything has been considered in advance, an exact line‐up prepared, and an adherence to a fixed production plan.

Last month Mr Macqueen's article dealt generally with solid geometry and industrial drawing. In the present article Mr Howarth, who is a member of the SBAC Committee on the Training of Draughtsmen, follows this with the development of 1st and 3rd angle projection in particular.

WE recently received a pamphlet entitled ‘Mechanical Drawings for Reproduction in Printed Matter’, that had so obviously been based upon the very troubles we frequently meet in the illustrations to contributed articles that we are reproducing it in full here through the courtesy of its publishers—who are specialists in industrial publicity—Rowlinson‐Broughton, Royal Buildings, 2 Mosley Street, Manchester, 2. We commend the precepts to would‐be contributors and also to all those, unused to drawing for reproduction in the normal course of events, who are called upon to illustrate handbooks or brochures. Some copies of the original pamphlet are still available and can be had on application to Messrs Rowlinson‐Broughton. Here follows the text of the pamphlet.