Among Us Pop Up Drawing
Jessia Adachi
Learn how to draw Among Us characters with this easy tutorial! If your students are like mine, they are obsessed with Among Us. I put together this Among Us drawing tutorial video and handout to excite my students, and it did NOT disappoint.
My plan is to add this Among Us drawing tutorial to my distance learning assignments to spice things up for my distance learning students! I love that you can also shade or add color to these characters to reinforce prior learned skills.
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Increasingly, applied social scientists and clinicians recognize the value of engaging transgender and gender-diverse (TGD) people, particularly TGD individuals with lived experience as care recipients (peers), to inform the provision of gender-affirming care. Despite this trend, few researchers have systematically examined how this group can contribute to and enhance the development and delivery of interventions intended to affirm gender diversity. In this article, we address limitations in the literature by drawing on a secondary analysis of qualitative data - originally collected to examine the peer support experiences of TGD individuals - to explore the potential that TGD peers hold for elevating gender-affirming care. The study was informed methodologically by an abductive approach to grounded theory, and conceptually by critical resilience and intersectional scholarship. Data collection involved virtual, semi-structured interviews with 35 TGD individuals in two Canadian cities who indicated having experiences of seeking, receiving, and/or providing peer support. Data analysis comprised an iterative, abductive process of cross-referencing participant accounts with relevant scholarship to arrive at an account of how TGD peers may contribute to the growth of gender-affirming care. Our findings suggest, broadly, that TGD peers may enhance gender-affirming care by: (1) validating a growing diversity of embodiments and experiences in healthcare decision-making, (2) nurturing and diversifying relevant networks of safety, community support, and advocacy outside formal systems of care, and (3) strengthening possibilities for resisting and transforming existing healthcare systems. After outlining these findings, we briefly consider the implications of our analysis and leverage our inferences to substantiate the notion of community-driven gender-affirming care, meaning care that is intentional in its incorporation of relevant community stakeholders to shape governance and service provision. We conclude with reflections on the promise of community-driven care at a time of heightened volatility across systems serving TGD populations.
Jamie Bennett: Once I finished undergraduate school with a business degree from The University of Georgia, I began taking art classes there. I was thrilled with the freedom I sampled by taking painting, ceramics, sculpture, and jewelry. Though I had only taken one class in jewelry, the intimacy, the particular type of making, and these objects all appealed to me. And I realized I already had a connection, which perhaps instigated my interest.
I knew little of hobby-shop enamelwork, although I did purchase a Raggedy Andy enamel plaque at the Washington Square art fair when I was about 10. Outside of this experience, my exposure to enamel was at The Metropolitan Museum of Art, The Morgan Library & Museum, and of course, The Cloisters. I really cannot give a reason or conjure up a memory why, but I loved the Byzantine and medieval enamelwork. The first time I used it was in a required class in graduate school with Kurt Matzdorf. I have to say it did not go well, both the outcome and my resolve to continue. However, I had already signed up for a class with Bill Harper at Penland School of Crafts, so I continued. Bill was a great supporter and teacher. From that point, my experience would define my medium.
I really do not try to make things that appear as whole or complete, both in the surface imagery and in the forms I use. I work by accumulating from varied sources, some tangible and some not. In my mind, they are like frames from a film. I begin to juxtapose them in no particular order. These are fragments or glimpses, not complete on their own, but I hope compelling and suggestive in their mutual presence. I believe the basis of their meaning is in the want and the act of putting such things on the body.
These drawings are not necessarily preparatory or specific studies for jewelry. But, they are about studying. Enameling can be very procedural, and it lends itself to set patterns and practices. I am not interested in my work having that formality. Drawing reminds me how important the act of a gesture is, and I guess I need that reminder. Drawing is also my archive. It is my inventory of ideas. I show the drawings with the jewelry to suggest their reciprocal influence. They do not need each other, but I do like to look at them together.
I am not going to rant on about how much harder it is to be an artist/ academic today. Everyone knows that. But if you make that decision, as I did, you have to figure out how to make it work. Otherwise, you will be miserable in one, the other, or both. I made a decision that if I was going to teach, then it was going to be as an activist. Thinking you can make a difference and putting ideas and challenges out there are a lot more compelling reasons to teach than showing people how to load a saw frame. Not that it is not important, but it would not sustain me.
God, I wish I had a magic wand that could give me that capacity! My colleague Myra Mimlitsch Gray and I wrench ourselves trying to figure out the best strategy to get the biggest bang for the critical buck. That is a tough one.
We really do not give assignments to MFA students. Rather, we give them a few motivational tools, such as over the summer make 100 drawings, whose subjects can be your burning issue. Then, following a fall critique, make 10 pieces in one week that respond to the dialogue around your drawings. Begin!
Galleries in Europe represent some American work, but it is very rare indeed for an American to have a solo show. I can think of only a handful. I will reserve comment on that. I have never gone to Europe strategically. I go because I enjoy it, and I get a great deal of satisfaction being among other artists. I am in Europe almost every year. I have been to Munich for the Schmuck fair or for other jewelry events more than a dozen times going back to the early 1980s. Being in Europe and meeting the galleries and the artists is rewarding on a very personal level, and even professionally.
My introduction to Antonella Villanova and her gallery was a result of first meeting and becoming friends with Doris Maninger and Lucia Massel, co-directors of Alchimia, the contemporary jewelry school in Florence, Italy. In 2010, my partner Anat and I were holidaying in Tuscany and arranged to visit Alchimia, where I gave an informal lecture on my work. Lucia, Doris, and Ruudt Peters, who was teaching there at the time, urged me to show my work to Antonella, whose gallery in Florence was showing contemporary jewelry. They believed she would like the work because she was clearly interested in pieces that had a painterly sensibility. She was already showing Manfred Bischoff and Ruudt Peters. They made the phone call, and I went to visit.
It was clear to me that Antonella Villanova was a good fit for my work, which, of course, is important. I made plans to send her some. That was in October. The following March we were planning to meet in Munich. I was to deliver some pieces, and we were to plan an exhibition. That did not come to pass, so after some consideration, I changed my schedule and flew to Florence for the day. The show is the result of our planning and agreeing. We are simpatico.
I do have two other thoughts about what I would recommend. I am probably more interested in books around jewelry or in jewelry but not necessarily about jewelry. There are excellent books, such as The Language of Ornament by James Trilling; The Craftsman by Richard Sennett; Beauty and the Contemporary Sublime by Jeremy Gilbert-Rolf; Extra/Ordinary by Maria Elena Buszek; Under Blue Cup by Rosalind E. Krauss; and From Head to Hand by David Levi Strauss.
This study investigated how children's drawings can provide insights into their cognitive development. It can be challenging to quantify the diversity of children's drawings across their developmental stages as well as between individuals. This study observed children's representational drawing ability by conducting a completion task where children could freely draw on partially drawn objects, and quantitatively analyzed differences in children's drawing tendencies across age and between individuals. First, we conducted preregistered analyses, based on crowd-sourced adult ratings, to investigate the differences of drawing style with the age and autistic traits of the children, where the latter was inspired by reports of atypical drawing among children with autism spectrum disorder (ASD). Additionally, the drawings were quantified using feature representations extracted with a deep convolutional neural network (CNN), which allowed an analysis of the drawings at different perceptual levels (i.e., local or global). Findings revealed a decrease in scribbling and an increase in completion behavior with increasing age. However, no correlation between drawing behavior and autistic traits was found. The network analysis demonstrated that older children adapted to the presented stimuli in a more adult-like manner than younger children. Furthermore, ways to quantify individual differences in how children adapt to the presented stimuli are explored. Based on the predictive coding theory as a unified theory of how perception and behavior might emerge from integrating sensations and predictions, we suggest that our analyses may open up new possibilities for investigating children's cognitive development.
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