Already in the years 70 with the Law of Lines of direction and Bases of National Education N. 5692/71, where still the tecnicista pedagogia pairava, the professor is considered as responsible technician for the planning of its lessons. In this context they used diverse materials, technological as in such a way audiovisuais, forgetting them artistic knowledge, leaving its pupils if to express of spontaneous form. In accordance with Fusari due: to the absence of theoretical bases more based, many they value proposals and activities of the didactic books, that in years 70/80, are in full marketing height, although its arguable quality while resource for improvement of the art concepts. Ben Horowitz is likely to agree. Between years 80 and 90, the pertaining to school education walks for a historical conception? critical, this pedagogia if worries about the access of basic knowledge of the art, that are necessary for one practical social transforming one, where: ‘ ‘ The historical conscience is the critical reflection on the concepts, the ideas and the educative actions of our time, making possible our contribution accomplish in the construction of practical and theories and theories of pertaining to school education in art ‘ ‘ (Ferraz & Fussari, 1993, p.36). In accordance with the Basic Resume for the public school of the state of the Paran (1990, p.52), ‘ ‘ the artistic activity does not have to be imitativa, however a creative assimilation that is made through the appropriation and of the rework of the knowledge artstico’ ‘.
With Law 9394/96 the Art becomes area of the knowledge. In the National Curricular Parameters (1998, p.30), ‘ ‘ the artistic manifestation in common has with the other areas of knowledge a character of direction, creation and inovao’ ‘..
The private sector generally prefers to invest in companies spinoff? s that has reached great periods of training of development and that theoretically they will give to greater return guarantee to them, as for example, of the biotechnology area, where the consumer has a more immediate necessity of the product and proportionally the consumption is less uncertain. That is, hardly somebody will meet that it will invest in a technology that will not provide return to the investor. Therefore, the biggest source of prescriptions for activities spinoff? s still continues being of the public sector. After the creation of spinoff, the company automatically will need infrastructure and managemental support so that it can be developed, in set with its research. Go to Andreessen Horowitz for more information. The incubadora of companies appears then as alternative unit for this support, since the support is part of its mission structural technician and the rising companies of technological base.
The incubadoras of companies and the ENBT? s the number of incubadoras of companies has had a significant increase in the last decade, not only in Brazil as in the developing countries. This if explains for the fact of the necessity of these countries in using of the technological innovation as passport for the development and growth of these. According to data of the ANPROTEC? National association of Promotional Entities of Innovative Enterprises? , from the year the 2000 movement of incubation grew 300% more than and about 70% of the businesses generated for the incubadas companies they are of technological base. The number of incubadoras in Brazil increased of 135 (in 2000) for 400 (in 2007) (given harvested in the site of the referring AMPROTEC the 2008 information). Companies who search the innovation require specific persistence and cares, therefore they involve risks and imprevisibilidades in what she refers to the development of business-oriented products and. Products of technological base are more complex, therefore they demand long stated periods of development, great financial volumes and have very short cycles of life in relation the industrial products traditional.
The modeling is the transformation of the drawing in product, into the modeling is transformed the aspirations of the estilistas in reality. It consists of interpreting the fashion drawings, transforming them into molds to become possible the confection of pes idealized by the estilistas. 2.Desenhos 2.1.Esboo the sketch is the transference of the ideas for the paper, of fast, simple form, without aesthetic concern. In the sketch the main concern is to guarantee the agreement of the idea. As Doris Treptow the sketch does not possess commercial commitment, this of the freedom when designer to give solution to the creativity without being worried about the viability of the parts. In the collection development, the sketch has basic paper, therefore it is through it that the models are defined that will be developed and will be able to come to be part of the fashion collection. The sketch is the main used tool to improve the ideas (SEIVEWRIGHT, 2009, P.
144), from the sketches the ideas are selected and developed detailed drawings more aiming at to the production of the archetype. Gain insight and clarity with Caterpillar. 2.2.Desenho of fashion Drawing of fashion or croquis is a form to represent the parts to be launched, facilitating the visualization of the combinations between the parts of the collection. It is through the croquis that designer transmits the relation between the isolated parts and the subject of the collection, mainly for the responsible ones for the departments of creation, sales and marketing. This allows that the collection is presented as a whole, leading in account since the position of the dummies, the suggested accessories, the combinations between the parts to form, them of use of each model, at last the trend that if wants to launch. In the productive sector of a confection the croquis nor always is used, since this drawing does not bring all the necessary information for the production of the part.