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The ferry turned left at King Island down Burke Channel. Turning right lead to Labouchere and Dean Channels and back to Ocean Falls.
i kept adding more details, and in a way i could continue forever. moss, sea life...so much detail in the real thing that i didn't know how to capture it all.
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my second art/landscape quilt. completely hand stitched, except for the binding which is combo machine/hand stitched. mostly reused fabrics or scraps from other projects (denim, fleece, cotton, linen); leftover yarns; raw fleece. hung on a piece of driftwood.
Admiral Sir Max Kennedy Horton, this was his bunk, if i recall correct the lower bunk was for his secretary.
Deep under Liverpool city centre, Western Approaches Command was a major operational command of the Royal Navy during World War II.
The command was responsible for the safety of British shipping in the Western Approaches, a rectangular area of the Atlantic ocean lying on the western coast of Great Britain.
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London's other marathon on Sunday April 21 2013. Royal rowbarge Gloriana leads the Tudor Pull from Hampton Court Palace to the Tower of London. Seen here approaching Kew Bridge around 1:45pm and then proceeding past Strand-on-the-Green in Chiswick. More info at: www.hrp.org.uk/HamptonCourtPalace/WhatsOn/thetudorpull
My least favoured perspective, but the needs must. Had to go up to replace a burnt out anchor light.
Negative Approach performing at the Star and Garter, Manchester, on Tuesday the 16th of October 2012
Approaching Maryland Heights is eastbound autorack Q216 in this 220 second open shutter shot, shot at ISO 400 with fstop of 6.3
Da Train Simulator 2012: un Voyager di CrossCountry entra nella stazione di Reading con un servizio veloce diretto a Sud.
From Train Simulator 2012: a CrossCountry Voyager approaches Reading station on a southbound fast service.
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.
An artist who practices or works in technical drawing may be called a drafter, draftsman, or draughtsman.[1]
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.[2] The wide availability of drawing instruments makes drawing one of the most common artistic activities.
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, 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.
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 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.
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 of 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.[16]
Notable draftsmen[edit]
Since the 14th century, each century has produced artists who have created great drawings.
Notable draftsmen of the 14th, 15th and 16th centuries include Leonardo da Vinci, Albrecht Dürer, Michelangelo and Raphael.
Notable draftsmen of the 17th century include Claude, Nicolas Poussin, Rembrandt, Guercino, and Peter Paul Rubens.
Notable draftsmen of the 18th century include Jean-Honoré Fragonard, Giovanni Battista Tiepolo, and Antoine Watteau.
Notable draftsmen of the 19th century include Paul Cézanne, Aubrey Beardsley, Jacques-Louis David, Pierre-Paul Prud'hon, Edgar Degas, Théodore Géricault, Francisco Goya, Jean Ingres, Odilon Redon, Henri de Toulouse-Lautrec, Honoré Daumier, and Vincent van Gogh.
Notable draftsmen of the 20th century include Käthe Kollwitz, Max Beckmann, Jean Dubuffet, George Grosz, Egon Schiele, Arshile Gorky, Paul Klee, Oscar Kokoschka, Alphonse Mucha, M. C. Escher, André Masson, Jules Pascin, and Pablo Picasso.
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.[18] 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.[19] 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.
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.[20]
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.[21] 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.[22]
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.[23]
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]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 shapes. Almost any form can be represented by some combination of the cube, sphere, cylinder, and cone. Once these basic shapes have been assembled into a likeness, then the drawing can be refined into a more accurate and polished form. The lines of the primitive shapes 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.[24]
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.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.[25] 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.
158816 heads through the Stray in Harrogate with a Northern service fron Leeds. Saturday June 9th 2018.
The Newport and Narragansett Bay dinner train approaches Bristol Ferry Crossing, led by GE 44 tonner number 43.
Scanned from the original print: at the end of May 1985 I accompanied a friend who needed to deliver a boat to the south of France
So my great-grandfather was born in Billensbach, and the previous two generations of Casts were born in Oberstenfeld. All the Casts before that, however, came from Beilstein, less than 2 miles north of Oberstenfeld.
Shooting into the sun is not usually the ideal choice for the photographer, but the travel pattern of the Southern Pacific's Van Nuys Local along the railroad's Burbank Branch gave us few options if we considered other elements of potential pictures more important. The local would often leave Gemco yard in Van Nuys early in the morning and head east on the main line to Burbank Junction, where it entered the Branch and headed west (and so, with the sun behind it), performing its switching chores until it reached the Branch's western end, where it rejoined the main line in Chatsworth. Then it would head east again, to return to Gemco. Thus the route it traversed very nearly represented a real-world version of that most unprototypic, but very common, model train track arrangement of a basic oval.
The little train (12 cars, plus a caboose) is seen here approaching the Oxnard Street and Woodman Avenue crossings in Van Nuys, California. On another day, I was able to snag a shot of the train nicely lit by the afternoon sun at about this same location.
Live @Into The Pit IV, Circolo Magnolia, MI
© All rights reserved. Do not use my photos without my written permission. If you would like to buy or use this photo PLEASE message me or email me at stefan.marotta@gmail.com
Dramatized shot of BAe 146 "Jumbolino" on 400 ft final approach at Berlin-Tempelhof, soon-to-be-ex innercity airport.
A westbound manifest led by an NS C40-8 approach the interlocking at Porter, where it will continue east on the LS&MS towards Chicago. Although not the leader I prefer, I can't say no to a westbound in perfect light.
Image Source: www.archivessearch.qld.gov.au/items/ITM299139
Expo 88
Australia was approaching its bicentennial celebrations, and after Brisbane’s success hosting the 1982 Commonwealth Games, Brisbane City Council and the Queensland State Government were confident they could win the bid to hold the next World Exhibition.
Brisbane won the right to hold the event and Expo 88 was officially opened by Her Majesty Queen Elizabeth II on 30 April 1988. By the time it closed, it had changed the way the world saw Brisbane and helped shaped the city as we know it today.
Starting with an estimated budget of $645 million, the Queensland State Government developed a World Expo that would recoup and support its own costs and promote international investment in Queensland, both during and after the event. South Bank, badly damaged in the 1973–74 floods, was chosen and the site acquired for $150 million. Developers completed construction on time and within budget. The targets set for ticket sales were reached 11 weeks before Expo 88 had even opened. It was off to a smashing start.
Celebrating ‘Leisure in the age of technology’, there was an incredible range of pavilions, performances, parades, comedy and artwork on show. Guests could experience over 50 restaurants filled with flavours from around the globe. Hosted over six months, it drew more than 18 million people to the renewed South Bank parklands district. An average of 100,000 people a day entered the gates.
An influx of royalty, celebrities and international visitors came to Brisbane for the exhibition, but it was Queensland residents who attended the most often, purchasing 500,000 season tickets. Expo 88 provided something the city needed: an easy-to-access recreational facility with exciting things to do, see and experience. Brisbanites returned again and again to socialise and enjoy the festival atmosphere.
The monorail was one of the most popular attractions. Giving travellers a view of the entertainments from above, it operated along a 2.3-kilometre track during Expo 88, taking up to 44,000 visitors a day from one side of Expo to the other, along the Brisbane River. Built by Swedish manufacturer Von Roll, the monorail cost $12 million and comprised four MkII trains with nine carriages each. The idea of keeping the monorail operating after Expo and extending it into the Brisbane CBD was discussed. Ultimately, the existing monorail wasn’t a feasible long-term people-moving solution and it was disbursed. Three trains were sold back to Von Roll and were used in Germany’s Europa-Park. The remaining train and some tracks were incorporated into the Sea World theme park on the Gold Coast.
Some of the most significant installations, exhibitions and artworks from Expo 88 were relocated and continue to be enjoyed today. Ken Done AM, a prominent Australian artist and designer, was commissioned to produce the entry and exit statement art pieces for the Australia Pavilion. Using the word ‘Australia’, Done produced a sign nearly six metres tall that could not be missed by anyone who attended Expo 88. The letters have since been restored and are on display at the Caboolture Heritage Village. The Nepal Peace Pagoda was the only international pavilion that remained on-site, after a petition asking that it remain attracted about 70,000 signatures. The Japan Garden and Pond were gifted to the city of Brisbane and moved to the Botanic Gardens at Mt Coot-Tha.
The buzz of activity, the investment in South Bank’s infrastructure and the spotlight on Brisbane transformed the city. The physical legacy left by Expo 88 turned South Bank into a thriving social space and prominent cultural hotspot: 42 hectares was dedicated to the construction of the South Bank Parklands.
blogs.archives.qld.gov.au/2021/10/29/when-the-world-comes...
Got home from work today and checked the radar on a local weather website, as I could see rain approaching.
The radar was showing very heavy rain with a slight chance of some thunderstorm activity.
With this in mind I quickly packed up my gear, bolted to the beach and tried to get a photo of some lightning or at least some type of structure in the system.
Unfortunately the lightning never eventuated and the system fell apart as it was approaching the coast. Needless to say I wasn't going to head home without getting a panorama for my efforts