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Lavender Girl, Factory Girl, translucent
Ragazza, Petite Wanderling
Jackie Custom
Kenner, adopted from Gina Garan
Free download under CC Attribution (CC BY 4.0). Please credit the artist and rawpixel.com.
Chromolithographic patterns from La Plante et ses Applications Ornementales (1896) by Maurice Pillard Verneuil (1869–1942), French artist and decorator in the Art Nouveau and Art Deco movement. Verneuil studied and developed his style from Eugène Grasset, a Franco-Swiss pioneer of Art Nouveau design. Inspired by Japanese art, nature and particularly the sea. He is known for his contributions to the Art Deco movement through the use of bold floral designs on ceramic tiles, wallpapers, textiles, and posters. We have digitally enhanced the decorative illustrations from La Plante et ses Applications Ornementales (1896) for you to download for free under the creative commons 0 license.
Higher resolutions with no attribution required can be downloaded: https://www.rawpixel.com/board/1267418/la-plante-et-ses-applications-ornementales-free-cc0-ornamental-designs
Applications Open FEBRUARY 20th - MARCH 1st
Cold Ash is looking to expand its blogger team for the Menswear line. If you or anyone you know is interested and is an active blogger, you can apply by clicking the Blogotex board in the Mainstore or using the direct link here: blogotex.com/brand/coldash/application
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(Knock! Knock!)
”Who’s there?”
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Walter Newell, an oceanographer and engineer based in New York City. Yeah, New York, the home of every generic and clichéd superhero story. Well guess what? Buckle up as you’re in for the ride of… well… another one of those stories. Walter Newell, like many scientists that have come and pass has begun creating a device that promises to be a “step in the right direction” in his field of science. Have you heard that one before?
Thought so.
Here’s some generic backstory to get you caught up to speed:
All his life, Walter has been fascinated with the ocean. He was intrigued as a young boy by the movies that depicted the creatures that roamed the deep blue abyss. The thing that stood out the most was the fact that there was so much about the ocean that has yet to be discovered. When new findings would emerge he would be jealous of those men and women that were lucky enough to be there. So, he did everything he could to ensure his future as someone that would become famous making new discoveries about the ocean. He read, watched, and studied everything he could about the ocean.
With his head full of, figuratively, everything one could know about the ocean he applied to the best school that had the very program he knew would get him a job with a major company. His goal was a company that stood out to him. This company had shown interest in almost anyone that would show up at their doorstep with an idea to give to them. Well that was if you wanted to make an advancement in technology. Walter had poured over this for the years and years he spent in college.
Now before we get to that, we’ll need to visit a girl. This girl was anything but ordinary. Her name was Diane. She loved the ocean as much as, if not more than, Walter. The two rivaled each other with every assignment they were given. They always had identical test scores and were co-valedictorians as they graduated. In the following months after they’re graduation, they began to date. This moved quickly as Walter asked Diane if she would like to help him with his project. Without hesitation, she said yes. So, they began working on something that would be sure to set them apart from anyone else trying to get a job at…
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
“Advanced Idea Mechanics?” Diane asked.
”Yeah, I’ve heard a lot of great things about them.”
“Alright. Let’s do this!”
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
It took them a little over a year to fully develop a reasonable idea. They took their idea to Advanced Idea Mechanics and got enough funding for a prototype. During the building time, Walter proposed to Diane and they were set to marry the next summer. With everything coming up in spades, Walter felt like he was finally making a name for himself. His once rival was now his best friend and fiancé. His passion turned into his job and without his knowing, there was another surprise that Diane was hiding from him until they finished their prototype.
A few months after they had begun, Walter and Diane had a finished prototype of their idea. A suit that would allow divers to go even further than a submarine could. This suit, with modifications they had planned if they got funding to make a second version, would be able to aid the diver in swimming faster and breathing fresh air longer. All of this had the organization’s head, Mister Benton, very intrigued. So much so that he granted them a green light on the project. So with the necessary funding, material, and extra hands, the duo began planning the development of the…
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
“’Project Stingray’.”
”Why Stingray?”
“I’ve always had a love of the creature. They’re very much so like humans. Each has their own personality and their own distinct features. Stingrays are remarkable beings.”
”Alright, let’s do this.”
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
The team focused on building one suit to showcase that they could indeed make this thing a reality. While this was going on, Diane let Walter in on a little secret she had kept from him for almost a month. This was the fact that she was pregnant. Walter became overjoyed and ran through the building’s corridors screaming and jumping for joy. He was happier than he had ever been… unfortunately, happier than he would ever be…
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
“The Stingray suit, built to last in the depths of the ocean. The world record for the deepest human dive is just over a thousand feet, and with the aid of this suit you can go double or even triple that. The lightweight material this armor is made of can survive the extreme pressures of the deep blue.” Diane says as she unveils a red and black diving suit. She looks over at her boss and smiled as his mouth was wide open in shock.
“That’s impressive. We know that for sure?” Mister Benton replies with slight concern.
“Well…” Diane begins to speak but is cut off by Walter.
”Well we’ve yet to test it, but there’s a very slim chance that our calculations are off.”
“I want it tested before I pitch this to the board.” Mister Benton turns around and walks out of the lab.
“Alright, let's do... (cough! Cough!)” Diane walks over to a table while suffering a coughing fit.
”Are you okay?” Walter says as he places his hand on his fiancé’s back.
“Yeah, it’s just my... (cough!)”
”We’ve got to get you home.”
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
”So that’s why I’m doing this.” Walter said to his boss with a muffled sigh.
“Doing what?” His boss quickly answered.
”Why I’m leaving.” Walter took a deep breath as he held back tears. ”I’m taking an early leave to be with my wife. She’s dying and I need to be with her.”
“Y’know you can still work here, right?” Benton says as he stands up from his chair and walks over to the side of the desk Walter sits at.
”I know.” Walter looks down at his shoes. ”I just want to be with her right now.”
“I understand. Listen, if… when you want to come back, you’ve got your job.” Mister Benton outreaches his hand and smiles as Walter takes his hand and shakes it firmly.
”Th-thanks.” Walter says as he gets up from his seat and makes his way to the door. He pauses just before the door and turns around as Mister Benson speaks.
“Good-bye, Mister Newell.”
”Good-bye.” Walter opens the door and leaves. He begins his drive back to his house to be with his newborn child and his ill wife. Just as everything began to feel right, it all went wrong…
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
”Take his wife. That’ll give him reason enough to continue his work.”
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
(NOTES:)
"Who the heck is Stingray?" You may be asking. Well, that's a fair question. I'll tell ya who he is.
He's a character that I think doesn't get as much love as he could. Sure he showed up in Deadpool's "heroes for money" run, but I wanted to show him some real good love. Perfect explanation, right? Thought so...
I actually planned to introduce him in Deadpool but since I dropped Deadpool I decided I would make him my new role (hopefully).
So I hope y'all enjoy this and I hope I get the role. :D
#musicaltheatre #headshots #headshot #photographer #stalbans #profile #portrait #portraitphotography #interview #model #herts #theatre #music #arts #application #man #80d #teenager #artist #teenage #canon #student #review #portraitmode #people #selfie
Looking for some bloggers. Application @ mainstore or contact me directly inworld @themescudi . Notecards only please. IMS get lost. Click bloggers needed sign inworld for the notecard. Fill out & drop back into my box.
Flickr, wordpress, tumblr, & or blogspot will be necessary.
Inworld Location:
Free download under CC Attribution (CC BY 4.0). Please credit the artist and rawpixel.com.
Chromolithographic patterns from La Plante et ses Applications Ornementales (1896) by Maurice Pillard Verneuil (1869–1942), French artist and decorator in the Art Nouveau and Art Deco movement. Verneuil studied and developed his style from Eugène Grasset, a Franco-Swiss pioneer of Art Nouveau design. Inspired by Japanese art, nature and particularly the sea. He is known for his contributions to the Art Deco movement through the use of bold floral designs on ceramic tiles, wallpapers, textiles, and posters. We have digitally enhanced the decorative illustrations from La Plante et ses Applications Ornementales (1896) for you to download for free under the creative commons 0 license.
Higher resolutions with no attribution required can be downloaded: https://www.rawpixel.com/board/1267418/la-plante-et-ses-applications-ornementales-free-cc0-ornamental-designs
Free download under CC Attribution (CC BY 4.0). Please credit the artist and rawpixel.com.
Chromolithographic patterns from La Plante et ses Applications Ornementales (1896) by Maurice Pillard Verneuil (1869–1942), French artist and decorator in the Art Nouveau and Art Deco movement. Verneuil studied and developed his style from Eugène Grasset, a Franco-Swiss pioneer of Art Nouveau design. Inspired by Japanese art, nature and particularly the sea. He is known for his contributions to the Art Deco movement through the use of bold floral designs on ceramic tiles, wallpapers, textiles, and posters. We have digitally enhanced the decorative illustrations from La Plante et ses Applications Ornementales (1896) for you to download for free under the creative commons 0 license.
Higher resolutions with no attribution required can be downloaded: https://www.rawpixel.com/board/1267418/la-plante-et-ses-applications-ornementales-free-cc0-ornamental-designs
I found Jobs' job application to Atari as an 18 year old. He uses all lower case, self-describes as an English Lit major with no phone number, but skilled in digital design, computers and calculators. He hung out in the lobby of what was a one-year-old startup at the time, until Pong creator Al Alcorn hired him as a technician.
The misspelling of Hewlett-Packard, where he interned at age 12, and the reference to design engineering sounded like he was channeling the Woz's skills on his application. So I asked Woz about this since Jobs didn’t do any digital circuit design as far as I knew.
Woz replied (with nuance preserved for posterity): “You are correct. Steve Jobs was never near a design engineer. He was technician level from high school electronics on. He was an intern at HP but never spoke of design there.
I drove Jobs to Reed. The reason he went in other directions than engineering, at Apple, was because from the start he knew he could never be a real design engineer. He saw what I could do.
There is a mix in how he describes himself but he could have moved towards becoming an engineer as some of us do. There is a difference between reading an app sheet and assembling something or adjusting settings, and actually designing such things from the ground up.”
Some context from Wikipedia: "In September 1972, Jobs enrolled at Reed College in Portland, Oregon. After just one semester, Jobs dropped out of Reed College without telling his parents... Jobs said: "If I had never dropped in on that single calligraphy course in college, the Mac would have never had multiple typefaces or proportionally spaced fonts." In 1973, Steve Wozniak designed his own version of the classic video game Pong and gave the board to Jobs. According to Wozniak, Atari only hired Jobs because he took the board down to the company, and they thought that he had built it himself."
It reminds me of a discussion I had many years ago with Bill Gates, who marveled at Jobs' successes: “Most people lose that fire in the belly as they age. Except Steve Jobs. He still had it, and he just kept going. He was not a programmer, but he had hit after hit.”
Jobs named his first son Reed.
Free download under CC Attribution (CC BY 4.0). Please credit the artist and rawpixel.com.
Chromolithographic patterns from La Plante et ses Applications Ornementales (1896) by Maurice Pillard Verneuil (1869–1942), French artist and decorator in the Art Nouveau and Art Deco movement. Verneuil studied and developed his style from Eugène Grasset, a Franco-Swiss pioneer of Art Nouveau design. Inspired by Japanese art, nature and particularly the sea. He is known for his contributions to the Art Deco movement through the use of bold floral designs on ceramic tiles, wallpapers, textiles, and posters. We have digitally enhanced the decorative illustrations from La Plante et ses Applications Ornementales (1896) for you to download for free under the creative commons 0 license.
Higher resolutions with no attribution required can be downloaded: https://www.rawpixel.com/board/1267418/la-plante-et-ses-applications-ornementales-free-cc0-ornamental-designs
Free download under CC Attribution (CC BY 4.0). Please credit the artist and rawpixel.com.
Chromolithographic patterns from La Plante et ses Applications Ornementales (1896) by Maurice Pillard Verneuil (1869–1942), French artist and decorator in the Art Nouveau and Art Deco movement. Verneuil studied and developed his style from Eugène Grasset, a Franco-Swiss pioneer of Art Nouveau design. Inspired by Japanese art, nature and particularly the sea. He is known for his contributions to the Art Deco movement through the use of bold floral designs on ceramic tiles, wallpapers, textiles, and posters. We have digitally enhanced the decorative illustrations from La Plante et ses Applications Ornementales (1896) for you to download for free under the creative commons 0 license.
Higher resolutions with no attribution required can be downloaded: https://www.rawpixel.com/board/1267418/la-plante-et-ses-applications-ornementales-free-cc0-ornamental-designs
Free download under CC Attribution (CC BY 4.0). Please credit the artist and rawpixel.com.
Chromolithographic patterns from La Plante et ses Applications Ornementales (1896) by Maurice Pillard Verneuil (1869–1942), French artist and decorator in the Art Nouveau and Art Deco movement. Verneuil studied and developed his style from Eugène Grasset, a Franco-Swiss pioneer of Art Nouveau design. Inspired by Japanese art, nature and particularly the sea. He is known for his contributions to the Art Deco movement through the use of bold floral designs on ceramic tiles, wallpapers, textiles, and posters. We have digitally enhanced the decorative illustrations from La Plante et ses Applications Ornementales (1896) for you to download for free under the creative commons 0 license.
Higher resolutions with no attribution required can be downloaded: https://www.rawpixel.com/board/1267418/la-plante-et-ses-applications-ornementales-free-cc0-ornamental-designs
We are looking for talented designers for our 6th Edition in December, the application is still open !
Interested in participating? Read our rules and fill out your form here 👉 forms.gle/p5HVojwcBqFzF1Rv5
**Voting Link: ideas.lego.com/challenges/1b817aba-3990-4e6d-a17f-7a59a94...
Everybody knows the moon is made of cheese, including this brave little mouse! With his tiny space suit and his portable fridge, our little friend sets off on his adventure to dig up all the cheese (slopes) on the moon in his retro rocket!
LEGO IDEAS is holding a Space Building Contest recently and the winning entry may become a promotional set in 2019! I came up with this cute vignette for this contest， telling the tale of a brave little mouse’ search for cheese (slopes) on the moon, inspired by my childhood memory, Wallace and Gromit: A Grand Day Out (1989). When designing this model, most of my effort went into constructing the perfect circular shape of the rocket in the limited scale, especially for the top. If you enjoy it, you can support me with your vote and possibly share it with your friends before Feb 19 so that I can get to the next stage!
Full album:
Free download under CC Attribution (CC BY 4.0). Please credit the artist and rawpixel.com.
Chromolithographic patterns from La Plante et ses Applications Ornementales (1896) by Maurice Pillard Verneuil (1869–1942), French artist and decorator in the Art Nouveau and Art Deco movement. Verneuil studied and developed his style from Eugène Grasset, a Franco-Swiss pioneer of Art Nouveau design. Inspired by Japanese art, nature and particularly the sea. He is known for his contributions to the Art Deco movement through the use of bold floral designs on ceramic tiles, wallpapers, textiles, and posters. We have digitally enhanced the decorative illustrations from La Plante et ses Applications Ornementales (1896) for you to download for free under the creative commons 0 license.
Higher resolutions with no attribution required can be downloaded: https://www.rawpixel.com/board/1267418/la-plante-et-ses-applications-ornementales-free-cc0-ornamental-designs
January 30, 1999
This shot taken along the old Pennsylvania Railroad just outside Logansport, Indiana known as Logansport Yard "A."
A part of the railroad scene that is fast disappearing are the railroads pole lines. Basically called the pole line, the pole line had four basic functions or electrical applications - telegraph, telephone, controlling (signaling), and power.
Telegraph - The telegraph was the first electrical application used along the railroad for both railroads own use and for public or leased lines like the Western Union. Although the telegraph was built along railroads ROW in the early years of the telegraph for easy access. However, in 1851, the New York and Erie Railroad would be the first railroad in the U.S. to use the telegraph to coordinate the movements of its trains. The telegraph was last used for railroad use by the mid 1980s.
Telephone - Railroads first started to use the telephone in 1879, but wouldn't become common use until the early 1900s. In later years the telephone was used for wayside communications between train crews and dispatchers at switches, control points, etc. Also used between railroad stations and basic dispatcher use.
Controlling (Signaling) - This is also sometimes called the code line. This was basically used for signal control circuits which includes the CTC which used many wires and ABS which required less wires.
Power - Power was needed to run the various signal apparatuses, switch machines, and wayside detectors.
Usually the busier the railroad was the more lines were used along the railroad. A small branch line railroad might only need a few wires for telegraph or telephone use, while a main trunk line railroad would have up to 60-80 wires with all the electrical applications.
Today all this old open wire technology is being replaced by fiber optics, microwave, radio, satellite, and computers. If a pole line is still being used along a railroad today, only the controlling (signaling) and power lines would be the only electrical applications used. In 5-10 years railroad pole lines will only be seen in books or pictures.
Scanned from a 35mm negative using a Pentax PZ-10 camera, Pentax FA 28-80mm f/3.5-4.7 lens.
Drawing is a form of visual art in which a person uses various drawing instruments to mark paper or another two-dimensional medium. Instruments include graphite pencils, pen and ink, inked brushes, wax color pencils, crayons, charcoal, chalk, pastels, various kinds of erasers, markers, styluses, various metals (such as silverpoint) and electronic drawing.
A drawing instrument releases small amount of material onto a surface, leaving a visible mark. The most common support for drawing is paper, although other materials, such as cardboard, plastic, leather, canvas, and board, may be used. Temporary drawings may be made on a blackboard or whiteboard or indeed almost anything. The medium has been a popular and fundamental means of public expression throughout human history. It is one of the simplest and most efficient means of communicating visual ideas.[1] The wide availability of drawing instruments makes drawing one of the most common artistic activities.
In addition to its more artistic forms, drawing is frequently used in commercial illustration, animation, architecture, engineering and technical drawing. A quick, freehand drawing, usually not intended as a finished work, is sometimes called a sketch. An artist who practices or works in technical drawing may be called a drafter, draftsman or a draughtsman.[2]
Drawing is one of the major forms of expression within the visual arts. It is generally concerned with the marking of lines and areas of tone onto paper/other material, where the accurate representation of the visual world is expressed upon a plane surface.[3] Traditional drawings were monochrome, or at least had little colour,[4] while modern colored-pencil drawings may approach or cross a boundary between drawing and painting. In Western terminology, drawing is distinct from painting, even though similar media often are employed in both tasks. Dry media, normally associated with drawing, such as chalk, may be used in pastel paintings. Drawing may be done with a liquid medium, applied with brushes or pens. Similar supports likewise can serve both: painting generally involves the application of liquid paint onto prepared canvas or panels, but sometimes an underdrawing is drawn first on that same support.
Madame Palmyre with Her Dog, 1897. Henri de Toulouse-Lautrec
Galileo Galilei. Phases of the Moon. 1616.
Drawing is often exploratory, with considerable emphasis on observation, problem-solving and composition. Drawing is also regularly used in preparation for a painting, further obfuscating their distinction. Drawings created for these purposes are called studies.
There are several categories of drawing, including figure drawing, cartooning, doodling, free hand and shading. There are also many drawing methods, such as line drawing, stippling, shading, the surrealist method of entopic graphomania (in which dots are made at the sites of impurities in a blank sheet of paper, and lines are then made between the dots), and tracing (drawing on a translucent paper, such as tracing paper, around the outline of preexisting shapes that show through the paper).
A quick, unrefined drawing may be called a sketch.
In fields outside art, technical drawings or plans of buildings, machinery, circuitry and other things are often called "drawings" even when they have been transferred to another medium by printing.
History[edit]
Drawing as a Form of Communication Drawing is one of the oldest forms of human expression, with evidence for its existence preceding that of written communication.[5] It is believed that drawing was used as a specialised form of communication before the invent of the written language,[5][6] demonstrated by the production of cave and rock paintings created by Homo sapiens sapiens around 30,000 years ago.[7] These drawings, known as pictograms, depicted objects and abstract concepts.[8] The sketches and paintings produced in prehistoric times were eventually stylised and simplified, leading to the development of the written language as we know it today.
Drawing in the Arts Drawing is used to express one's creativity, and therefore has been prominent in the world of art. Throughout much of history, drawing was regarded as the foundation for artistic practise.[9] Initially, artists used and reused wooden tablets for the production of their drawings.[10] Following the widespread availability of paper in the 14th century, the use of drawing in the arts increased. At this point, drawing was commonly used as a tool for thought and investigation, acting as a study medium whilst artists were preparing for their final pieces of work.[11][12] In a period of artistic flourish, the Renaissance brought about drawings exhibiting realistic representational qualities,[13] where there was a lot of influence from geometry and philosophy.[14]
The invention of the first widely available form of photography led to a shift in the use of drawing in the arts.[15] Photography took over from drawing as a more superior method for accurately representing visual phenomena, and artists began to abandon traditional drawing practises.[16] Modernism in the arts encouraged "imaginative originality"[17] and artists' approach to drawing became more abstract.
Drawing Outside the Arts Although the use of drawing is extensive in the arts, its practice is not confined purely to this field. Before the widespread availability of paper, 12th century monks in European monasteries used intricate drawings to prepare illustrated, illuminated manuscripts on vellum and parchment. Drawing has also been used extensively in the field of science, as a method of discovery, understanding and explanation. In 1616, astronomer Galileo Galilei explained the changing phases of the moon through his observational telescopic drawings.[16] Additionally, in 1924, geophysicist Alfred Wegener used illustrations to visually demonstrate the origin of the continents.The medium is the means by which ink, pigment or color are delivered onto the drawing surface. Most drawing media are either dry (e.g. graphite, charcoal, pastels, Conté, silverpoint), or use a fluid solvent or carrier (marker, pen and ink). Watercolor pencils can be used dry like ordinary pencils, then moistened with a wet brush to get various painterly effects. Very rarely, artists have drawn with (usually decoded) invisible ink. Metalpoint drawing usually employs either of two metals: silver or lead.[20] More rarely used are gold, platinum, copper, brass, bronze, and tinpoint.
Paper comes in a variety of different sizes and qualities, ranging from newspaper grade up to high quality and relatively expensive paper sold as individual sheets.[21] Papers can vary in texture, hue, acidity, and strength when wet. Smooth paper is good for rendering fine detail, but a more "toothy" paper holds the drawing material better. Thus a coarser material is useful for producing deeper contrast.
Newsprint and typing paper may be useful for practice and rough sketches. Tracing paper is used to experiment over a half-finished drawing, and to transfer a design from one sheet to another. Cartridge paper is the basic type of drawing paper sold in pads. Bristol board and even heavier acid-free boards, frequently with smooth finishes, are used for drawing fine detail and do not distort when wet media (ink, washes) are applied. Vellum is extremely smooth and suitable for very fine detail. Coldpressed watercolor paper may be favored for ink drawing due to its texture.
Acid-free, archival quality paper keeps its color and texture far longer than wood pulp based paper such as newsprint, which turns yellow and become brittle much sooner.
The basic tools are a drawing board or table, pencil sharpener and eraser, and for ink drawing, blotting paper. Other tools used are circle compass, ruler, and set square. Fixative is used to prevent pencil and crayon marks from smudging. Drafting tape is used to secure paper to drawing surface, and also to mask an area to keep it free of accidental marks sprayed or spattered materials and washes. An easel or slanted table is used to keep the drawing surface in a suitable position, which is generally more horizontal than the position used in painting.
Technique[edit]
Raphael, study for what became the Alba Madonna, with other sketches
Almost all draftsmen use their hands and fingers to apply the media, with the exception of some handicapped individuals who draw with their mouth or feet.[22]
Prior to working on an image, the artist typically explores how various media work. They may try different drawing implements on practice sheets to determine value and texture, and how to apply the implement to produce various effects.
The artist's choice of drawing strokes affects the appearance of the image. Pen and ink drawings often use hatching—groups of parallel lines.[23] Cross-hatching uses hatching in two or more different directions to create a darker tone. Broken hatching, or lines with intermittent breaks, form lighter tones—and controlling the density of the breaks achieves a gradation of tone. Stippling, uses dots to produce tone, texture or shade. Different textures can be achieved depending on the method used to build tone.[24]
Drawings in dry media often use similar techniques, though pencils and drawing sticks can achieve continuous variations in tone. Typically a drawing is filled in based on which hand the artist favors. A right-handed artist draws from left to right to avoid smearing the image. Erasers can remove unwanted lines, lighten tones, and clean up stray marks. In a sketch or outline drawing, lines drawn often follow the contour of the subject, creating depth by looking like shadows cast from a light in the artist's position.
Sometimes the artist leaves a section of the image untouched while filling in the remainder. The shape of the area to preserve can be painted with masking fluid or cut out of a frisket and applied to the drawing surface, protecting the surface from stray marks until the mask is removed.
Another method to preserve a section of the image is to apply a spray-on fixative to the surface. This holds loose material more firmly to the sheet and prevents it from smearing. However the fixative spray typically uses chemicals that can harm the respiratory system, so it should be employed in a well-ventilated area such as outdoors.
Another technique is subtractive drawing in which the drawing surface is covered with graphite or charcoal and then erased to make the image.[25]
Tone[edit]
Line drawing in sanguine by Leonardo da Vinci
Shading is the technique of varying the tonal values on the paper to represent the shade of the material as well as the placement of the shadows. Careful attention to reflected light, shadows and highlights can result in a very realistic rendition of the image.
Blending uses an implement to soften or spread the original drawing strokes. Blending is most easily done with a medium that does not immediately fix itself, such as graphite, chalk, or charcoal, although freshly applied ink can be smudged, wet or dry, for some effects. For shading and blending, the artist can use a blending stump, tissue, a kneaded eraser, a fingertip, or any combination of them. A piece of chamois is useful for creating smooth textures, and for removing material to lighten the tone. Continuous tone can be achieved with graphite on a smooth surface without blending, but the technique is laborious, involving small circular or oval strokes with a somewhat blunt point.
Shading techniques that also introduce texture to the drawing include hatching and stippling. A number of other methods produce texture. In addition to the choice of paper, drawing material and technique affect texture. Texture can be made to appear more realistic when it is drawn next to a contrasting texture; a coarse texture is more obvious when placed next to a smoothly blended area. A similar effect can be achieved by drawing different tones close together. A light edge next to a dark background stands out to the eye, and almost appears to float above the surface.
Form and proportion[edit]
Pencil portrait by Ingres
Measuring the dimensions of a subject while blocking in the drawing is an important step in producing a realistic rendition of the subject. Tools such as a compass can be used to measure the angles of different sides. These angles can be reproduced on the drawing surface and then rechecked to make sure they are accurate. Another form of measurement is to compare the relative sizes of different parts of the subject with each other. A finger placed at a point along the drawing implement can be used to compare that dimension with other parts of the image. A ruler can be used both as a straightedge and a device to compute proportions.
When attempting to draw a complicated shape such as a human figure, it is helpful at first to represent the form with a set of primitive volumes. Almost any form can be represented by some combination of the cube, sphere, cylinder, and cone. Once these basic volumes have been assembled into a likeness, then the drawing can be refined into a more accurate and polished form. The lines of the primitive volumes are removed and replaced by the final likeness. Drawing the underlying construction is a fundamental skill for representational art, and is taught in many books and schools. Its correct application resolves most uncertainties about smaller details, and makes the final image look consistent.[26]
A more refined art of figure drawing relies upon the artist possessing a deep understanding of anatomy and the human proportions. A trained artist is familiar with the skeleton structure, joint location, muscle placement, tendon movement, and how the different parts work together during movement. This allows the artist to render more natural poses that do not appear artificially stiff. The artist is also familiar with how the proportions vary depending on the age of the subject, particularly when drawing a portrait.
Perspective[edit]
Linear perspective is a method of portraying objects on a flat surface so that the dimensions shrink with distance. Each set of parallel, straight edges of any object, whether a building or a table, follows lines that eventually converge at a vanishing point. Typically this convergence point is somewhere along the horizon, as buildings are built level with the flat surface. When multiple structures are aligned with each other, such as buildings along a street, the horizontal tops and bottoms of the structures typically converge at a vanishing point.
Two-point perspective drawing
When both the fronts and sides of a building are drawn, then the parallel lines forming a side converge at a second point along the horizon (which may be off the drawing paper.) This is a two-point perspective.[27] Converging the vertical lines to a third point above or below the horizon then produces a three-point perspective.
Depth can also be portrayed by several techniques in addition to the perspective approach above. Objects of similar size should appear ever smaller the further they are from the viewer. Thus the back wheel of a cart appears slightly smaller than the front wheel. Depth can be portrayed through the use of texture. As the texture of an object gets further away it becomes more compressed and busy, taking on an entirely different character than if it was close. Depth can also be portrayed by reducing the contrast in more distant objects, and by making their colors less saturated. This reproduces the effect of atmospheric haze, and cause the eye to focus primarily on objects drawn in the foreground.
Artistry[edit]
Chiaroscuro study drawing by William-Adolphe Bouguereau
The composition of the image is an important element in producing an interesting work of artistic merit. The artist plans element placement in the art to communicate ideas and feelings with the viewer. The composition can determine the focus of the art, and result in a harmonious whole that is aesthetically appealing and stimulating.
The illumination of the subject is also a key element in creating an artistic piece, and the interplay of light and shadow is a valuable method in the artist's toolbox. The placement of the light sources can make a considerable difference in the type of message that is being presented. Multiple light sources can wash out any wrinkles in a person's face, for instance, and give a more youthful appearance. In contrast, a single light source, such as harsh daylight, can serve to highlight any texture or interesting features.
When drawing an object or figure, the skilled artist pays attention to both the area within the silhouette and what lies outside. The exterior is termed the negative space, and can be as important in the representation as the figure. Objects placed in the background of the figure should appear properly placed wherever they can be viewed.
Drawing process in the Academic Study of a Male Torso by Jean-Auguste-Dominique Ingres (1801, National Museum, Warsaw)
A study is a draft drawing that is made in preparation for a planned final image. Studies can be used to determine the appearances of specific parts of the completed image, or for experimenting with the best approach for accomplishing the end goal. However a well-crafted study can be a piece of art in its own right, and many hours of careful work can go into completing a study.
Process[edit]
Individuals display differences in their ability to produce visually accurate drawings.[28] A visually accurate drawing is described as being "recognized as a particular object at a particular time and in a particular space, rendered with little addition of visual detail that can not be seen in the object represented or with little deletion of visual detail”.[29]
Investigative studies have aimed to explain the reasons why some individuals draw better than others. One study posited four key abilities in the drawing process: perception of objects being drawn, ability to make good representational decisions, motor skills required for mark-making and the drawer's own perception of their drawing.[29] Following this hypothesis, several studies have sought to conclude which of these processes are most significant in affecting the accuracy of drawings.
Motor function Motor function is an important physical component in the 'Production Phase' of the drawing process.[30] It has been suggested that motor function plays a role in drawing ability, though its effects are not significant.[29]
Perception It has been suggested that an individual's ability to perceive an object they are drawing is the most important stage in the drawing process.[29] This suggestion is supported by the discovery of a robust relationship between perception and drawing ability.[31]
This evidence acted as the basis of Betty Edwards' how-to drawing book, Drawing on the Right Side of the Brain.[32] Edwards aimed to teach her readers how to draw, based on the development of the reader's perceptual abilities.
Furthermore, the influential artist and art critic John Ruskin emphasised the importance of perception in the drawing process in his book The Elements of Drawing.[33] He stated that "For I am nearly convinced, that once we see keenly enough, there is very little difficult in drawing what we see".
Visual memory has also been shown to influence one's ability to create visually accurate drawings. Short-term memory plays an important part in drawing as one’s gaze shifts between the object they are drawing and the drawing itself.[34]
"The Bion satellites (Russian: Бион), also named Biocosmos, is a series of Soviet (later Russian) biosatellites focused on space medicine. They are part of the Kosmos satellites.
Bion Space Program
Bion precursor flights and Bion flights:
The Soviet biosatellite program began in 1966 with Kosmos 110, and resumed in 1973 with Kosmos 605. Cooperation in space ventures between the Soviet Union and the United States was initiated in 1971, with the signing of the United States and Soviet Union in Science and Applications Agreement (which included an agreement on space research cooperation). The Soviet Union first offered to fly U.S. experiments on a Kosmos biosatellite in 1974, only a few years after the termination (in 1969) of the U.S. biosatellite program. The offer was realized in 1975 when the first joint U.S./Soviet research were carried out on the Kosmos 782 mission.
The Bion spacecraft were based on the Zenit spacecraft and launches began in 1973 with primary emphasis on the problems of radiation effects on human beings. Launches in the program included Kosmos 110, 605, 690, 782, plus Nauka modules flown on Zenit-2M reconnaissance satellites. 90 kg (200 lb) of equipment could be contained in the external Nauka module.
The Soviet/Russian Bion program provided U.S. investigators a platform for launching Fundamental Space Biology and biomedical experiments into space. The Bion program, which began in 1966, included a series of missions that flew biological experiments using primates, rodents, insects, cells, and plants on a biosatellite in near-earth orbit. NASA became involved in the program in 1975 and participated in 9 of the 11 Bion missions. NASA ended its participation in the program with the Bion No. 11 mission launched in December 1996. The collaboration resulted in the flight of more than 100 U.S. experiments, one-half of all U.S. life sciences flight experiments accomplished with non-human subjects.
The missions ranged from five days (Bion 6) (Kosmos 1514) to around 22 days (Bion 1 and Kosmos 110).
Bion-M:
In 2005, the Bion program was resumed with three new satellites of the modified Bion-M type – the first flight was launched on 19 April 2013 from Baikonur Cosmodrome, Kazakhstan. The first satellite of the new series Bion-M1 featured an aquarium by the German Aerospace Center (DLR) and carried 45 mice, 18 Mongolian gerbils, 15 geckos, snails, fish and micro-organisms into orbit for 30 days before re-entry and recovery. All the gerbils died due to a hardware failure, but condition of the rest of the experiments, including all geckos, was satisfactory. Half the mice died as was predicted.
Bion-M2 is scheduled to launch in 2023 on a Soyuz 2.1a rocket to an altitude of 800 km. The orbiter will carry 75 mice and studies will focus on how they are affected at the molecular level by space radiation."
The above from/at. Although I’m sure the links won’t be clickable:
en.wikipedia.org/wiki/Bion_(satellite)
www.wikiwand.com/en/Bion_(satellite)
Credit: Wikipedia/Wikiwand websites
A surprise to me, it's by the hand of Rick Guidice.
It’s beautiful of course, the colors, the ‘texture’, the clouds, their shadows, sun glint…exquisite.
You know, if festooned with another 15 - 20 ungainly antennas, 30+ meters of additional external wiring and several more spherical fuel tanks, one can almost picture Gagarin inside or Leonov egressing. 😉 In fact, if you slap on a couple of solar arrays, you've got a semi-Soyuz.
Note the DaVinci “Vitruvian Man” at the center of what I think is the battery module, which was also incorporated into the Skylab II mission emblem.
Curiously, note also the respective orientation of the flags of the U.S. & U.S.S.R. They are - appropriately enough - the opposite of each other. That is, the Stars & Stripes has the 'fly end' toward the center, whereas the hammer & sickle has the 'hoist' end toward the center. Furthermore, the flags of Romania & Poland are oriented as the U.S. flag is, while the flags of Czechoslovakia, France & Hungary/Magyarország are as that of the U.S.S.R.
If this was truly a "joint/cooperative” effort, all of the flags should’ve been oriented the same, no?
There's probably a 15-page MOU/MOA that took three days to arrive at regarding this trivial point.
At the following, where the depiction is identified as Bion no. 11. However, with all due respect to the proprietor of the excellent website, based on what (admittedly little) I know of the period of Mr. Guidice’s remarkable space/astronomy artwork, along with the photo paper’s watermark, I believe the print to be from the 1970s.
www.astronautix.com/b/bion.html
Credit: Astronautix website
Additionally, based on the identification of one of the images at the above, at:
www.astronautix.com/graphics/c/cosmo782.jpg
...and a mission date which falls within my guesstimated date range, this may be a depiction of Bion 3/Kosmos 782. This would actually make sense, it being the first Bion mission that the United States participated in. That would seem to merit being depicted by the likes of Mr. Guidice. 😉
See also:
en.m.wikipedia.org/wiki/Kosmos_782
Also credit: Wikipedia
Furthermore, at the following link. BTW, Mr. Zak is incredibly knowledgeable regarding Soviet/Russian space…pretty much everything. Really quite impressive. I recommend taking a good look at his stuff, especially on Twitter. You won’t be disappointed:
www.russianspaceweb.com/bion.html
Credit: Anatoly Zak/RussianSpaceWeb.com website
Last, but not least. Unfortunately, with no amplifying information and at very low resolution:
rickguidice.com/nasaart/nasaarti.html
Specifically:
rickguidice.com/images/241_Untitled-51_edited-2.jpg
Credit: the website of Rick Guidice
We once again open our doors for new talented designers to join us for our 2nd round!
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I took this photo a while ago and thought I had posted it but I didn't.
Basically it shows how I apply my stickers. Using this technique it allows me to line up the bottom of the sticker with the bottom of the torso. The only issue that i have sometimes is getting it centered but if you only stick the bottom then you can check the alignment before you place it all the way.
I hope that this helps some of you.
Link : goo.gl/forms/W2Dcda5KS0ccYF4C2
You are refused in several great shops, you are fed up! You are serious,& have a beautifull blog, try your luck for my shop :)
In an increasingly digital world...
There are still some applications where paper has the edge.
Dedicated to all those trees that die to preserve my posterior from a digital solution.
Strobist sb80dx 1/4 pwr 24mm zoom in 38cm ezybox. 1m above , behind camera left
Job application with pen and glasses
When using this image please provide photo credit (link) to: www.flazingo.com per these terms: www.flazingo.com/creativecommons
Shot with three large Neewer LED panels, nothing else, no light formers .... seems like I start to like LED light (never would have guessed that).
EXIF
5d3 with EF 70-200 f/2.8 II at f/3.5 and at 145 mm,, ISO 320, Av-Mode, Raw., WB on flash.
Free download under CC Attribution (CC BY 4.0). Please credit the artist and rawpixel.com.
Chromolithographic patterns from La Plante et ses Applications Ornementales (1896) by Maurice Pillard Verneuil (1869–1942), French artist and decorator in the Art Nouveau and Art Deco movement. Verneuil studied and developed his style from Eugène Grasset, a Franco-Swiss pioneer of Art Nouveau design. Inspired by Japanese art, nature and particularly the sea. He is known for his contributions to the Art Deco movement through the use of bold floral designs on ceramic tiles, wallpapers, textiles, and posters. We have digitally enhanced the decorative illustrations from La Plante et ses Applications Ornementales (1896) for you to download for free under the creative commons 0 license.
Higher resolutions with no attribution required can be downloaded: https://www.rawpixel.com/board/1267418/la-plante-et-ses-applications-ornementales-free-cc0-ornamental-designs