“Long Shot” was choreographed by Kelly Hagfeldt and features 10 dancers. Pictured here, left to right, are Amanda McCabe, Kodi Auch, Brittney Rau, Jessica Aparicio, Ashley Magelky, Rachel Cross and Kelly Hagfeldt.

Style A2 -06

Form and Function Oktoberfest Meet 2016

Orange County Chopers

Newburgh, NY

besozzo may 2007

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Feridun Düzağaç started his music career by forming a band called “TINI” (“TONE”) in Mersin while studying in university. This band was formed in 1988 and Feridun Düzağaç was the vocalist of this band. The band consisted of five men. Other members of the band were Feridun Düzağaç’s schoolmates. The first song that Feridun Düzağaç wrote was “Lavinia” which was originally written by Özdemir Asaf. Asaf’s work was just a poetry. Feridun Düzağaç composed that poetry. In 1990 Feridun Düzağaç and his 13 schoolmates wrote a book called “İlk Rüzgar” (“The First Wind”) which contained many poetries. In 1992 he graduated from the university. In November 1994 he released a demo album called “Öğrenci İndirimi” (“Discount for Students”) which contained songs that he performed when he was studying in university.

Professional career

In January 1997 he released his debut official album called “Beni Rahatta Dinleyin” (“Listen to Me in a Comfortable Position”). This album contained songs that he wrote when he was bearing arms. He released his second official album called “Köprüden Önce Son Çıkış” (“The Last Exit Before the Bridge”) in July 1998.

In 2000 he participated in a compilation album called “Bülent Ortaçgil’e Saygı” (“In Honour of Bülent Ortaçgil”) by performing a song called “Sevgi” (“Love”). He released “© Tüm Hakları Yalnızlığıma Aittir” (“© All Rights Reserved to My Loneliness”) album in May 2001 and “Orjinal – Alt Yazılı” (“Original – Subtitled”) album in 2003. The second one was the most successful album in his career. In August 2004 he released “Uzun Uzun Feridun Düzağaç” (“Long Long Feridun Düzağaç”) album which mostly contained concert performances. Through 2004 Feridun Düzağaç appeared in hundreds of concerts.

On 4 January 2006 Feridun Düzağaç released “Bir Devam Filmi/Siyah Beyaz Türkçe Dublaj” (“A Sequel Film/Black and White Turkish Dubbing”) album. On 22 January 2008 he released his sixth album called “Uykusuza Masallar” (“Tales for Sleepless People”). This album was more optimistic in contrast his previous albums. Feridun Düzağaç released his last album called “FD7″ in March 2010.

Feridun Düzağaç released a demo release, seven original releases and a live release in his career.

Öğrenci İndirimi

“Öğrenci İndirimi” means “Discount for Students” in English. This album is a demo album and released in November 1994. This demo album includes only two songs. This album belongs to “TINI” band, not only Feridun Düzağaç.

1. Toy Yıllar (“Novice Years”)

2. Rehavet mi (“Is It Drowsiness”)

Beni Rahatta Dinleyin

“Beni Rahatta Dinleyin” means “Listen to Me in a Comfortable Position” in English. This album is the debut album of Feridun Düzağaç and released in January 1997.

1. Lavinia

2. Hoptirinom

3. Nenni (“Lullaby”)

4. Sevgili Öyküler (“Dear Tales”)

5. Paranoya (“Paranoia”)

6. Beyaz (“White”)

7. Adı Sevda (“Its Name is Love”)

8. Hep Sarhoş (“Always Drunk”)

9. Ay (“Moon”)

10. Buralar Soğuk (“Here is Cold”)

11. Kördüğüm (“Impasse”)

12. Beni Rahatta Dinleyin (“Listen to Me in a Comfortable Position”)

Köprüden Önce Son Çıkış

“Köprüden Önce Son Çıkış” means “The Last Exit Before the Bridge” in English. This album is second album of Feridun Düzağaç and released in July 1998.

1. Unut Beni (“Forget Me”)

2. Gölge (“Shadow”)

3. Aşkın E Hali (“The E Situation of Love”)

4. Hep Uzaklara (“Always Far Away”)

5. Oysa Ellerin (“But Your Hands”)

6. Yollar (“Roads”)

7. Ela (“Hazel”)

8. Düşlerime Kal (“Stay in My Dreams”)

9. Sor (“Ask”)

10. Evimin Bir Odası (“A Room of My House”)

11. Çiğ (“Dew”)

© Tüm Hakları Yalnızlığıma Aittir

“© Tüm Hakları Yalnızlığıma Aittir” means “© All Rights Reserved to My Loneliness” in English. This album is third album of Feridun Düzağaç and released in May 2001.

1. Aynı (“The Same”)

2. Dipteyim Sondayım Depresyondayım (“I am at the Bottom, at the End and in Depression”)

3. Yalnızlığım Sana Emanet (“I Trusted My Loneliness to You”)

4. Uçak (“Plane”)

5. İçimden Şehirler Geçiyor (“Cities Pass Inside Me”)

6. Senin Şarkın (“Your Song”)

7. Yanında (“Next to You”)

8. Son Yaprağıydı Güzün (“It was the Last Leaf of Autumn”)

9. Biterken Herşey (“While Everything was Ending”)

10. İyi Uykular (“Sleep Well”)

11. Dipteyim Ben (“I am at the Bottom”)

Orjinal – Alt Yazılı

“Orjinal – Alt Yazılı” means “Original – Subtitled” in English. This album is forth album of Feridun Düzağaç and released in 2003.

1. F.D.

2. Buralardan Gitme (“Don’t Walk Away”)

3. Alev Alev (“Ablaze”)

4. Boş Ders Şarkısı (“Song for Spare Lesson”)

5. Cumartesi (“Saturday”)

6. Düşler Sokağı (“Dreams Street”)

7. Nadas (“Fallow”)

8. Gamlı Uçak (“Sorrowful Plane”)

9. Yalan (“Lie”)

10. Tesadüfler (“Coincidences”)

11. Mavi Tekme (“Blue Kick”)

Uzun Uzun Feridun Düzağaç

“Uzun Uzun Feridun Düzağaç” means “Long Long Feridun Düzağaç” in English. This album is the only album which could be labeled as live album among Feridun Düzağaç albums (for now). “Rüzgar” is the only song which is original. All of the other songs are live versions of songs that already exist in previous albums. This album released in August 2004 and consists of two discs.

CD 1

1. Adı Sevda (“It’s Name is Love”)

2. Nadas (“Fallow”)

3. Buralardan Gitme (“Don’t Walk Away”)

4. Senin Şarkın (“Your Song”)

5. Uçak (“Plane”)

6. Düşler Sokağı (“Dreams Street”)

7. Sevgili Öyküler (“Dear Tales”)

8. Lavinia

9. Rüzgar (“Wind”)

10. F.D.

11. Ela (“Hazel”)

12. Son Yaprağıydı Güzün (“It was the Last Leaf of Autumn”)

CD 2

1. Düşerime Kal (“Stay in My Dreams”)

2. Paranoya (“Paranoia”)

3. Yanında (“Next to You”)

4. Aşkın E Hali (“The E Situation of Love”)

5. Boş Ders Şarkısı (“Song for Spare Lesson”)

6. Biterken Her Şey (“While Everything was Ending”)

7. Yalan (“Lie”)

8. Cumartesi (“Saturday”)

9. İçimden Şehirler Geçiyor (“Cities Pass Inside Me”)

10. Alev Alev (“Ablaze”)

11. Dipteyim Sondayım Depresyondayım (“I am at the Bottom, at the End and in Depression”)

12. Yalnızlığım Sana Emanet (“I Trusted My Loneliness to You”)

13. Gölge (“Shadow”)

14. Beyaz (“White”)

15. Unut Beni (“Forget Me”)

Bir Devam Filmi/Siyah Beyaz Türkçe Dublaj

“Bir Devam Filmi/Siyah Beyaz Türkçe Dublaj” means “A Sequel Film/Black and White Turkish Dubbing” in English. This album is fifth album of Feridun Düzağaç and released on 4 January 2006.

1. Ağlarsan Düşerim (“I’ll Fall Down if You Cry”)

2. Emekli Kerem (“Retired Kerem”)

3. Sokaklarda Evcil (“Domestic in Streets”)

4. Yıldızlar (“Stars”)

5. Ağlamıyorum (“I am not Crying”)

6. Gibi Gibi (“Like Like”)

7. Deli (“Loony”)

8. Aşk Çok Uzak (“Love is Far Away”)

9. Beni Unutma (“Don’t Forget Me”)

10. Bir Gün Ölürsem (“If I Die Oneday”)

11. Yürüdüm (“I Walked”)

Uykusuza Masallar

“Uykusuza Masallar” means “Tales for Sleepless People” in English. This album is sixth album of Feridun Düzağaç and released on 22 January 2008.

1. Çok Geç (“Too Late”)

2. Beni Bırakma (“Don’t Leave Me”)

3. Yeniköy (A neighbourhood in İstanbul)

4. Kara Kara (“Black Black”)

5. Söz Ver (“Promise”)

6. Kurumuş Ölüyorken (“When Dried and Dying”)

7. Çok Aşık (“Too Much in Love”)

8. Yüzün (“Your Face”)

9. Özledim (“I Miss”)

10. Hazırcevap (“Ready-Witted”)

11. Ardından (“Afterward”)

12. Senin İçin (“For You”)

FD7

This album is seventh and last (for now) album of Feridun Düzağaç and released in March 2010.

1. Ağır Ağır (“Slow”)

2. Mütamadiyen Ağlıyorum (“I am Always Crying”)

3. Bir Varmış Bir Yokmuş (“Once Upon a Time”)

4. Rüya (“Dream”)

5. Devrik (“Inverted”)

6. Hayat Neden Şekil Yapıyor (“Why the Life Do Irrıtating Things”)

7. Aşkın Önsözü Ayrılık (“Divorce, the Preface of Love”)

8. Sensiz (“Without You”)

9. İz (“Clue”)

10. Bir Aşk Masalı (“A Love Story”)

From Beni Rahatta Dinleyin album

* Lavinia

* Beyaz

* Buralar Soğuk

From Köprüden Önce Son Çıkış album

* Unut Beni

* Aşkın E Hali

From © Tüm Hakları Yalnızlığıma Aittir album

* Dipteyim Sondayım Depresyondayım

* Uçak

From Orjinal – Alt Yazılı album

* F.D.

* Alev Alev

* Boş Ders Şarkısı

* Cumartesi

* Nadas

From Bir Devam Filmi/Siyah Beyaz Türkçe Dublaj album

* Deli

From Uykusuza Masallar album

* Beni Bırakma

* Söz Ver

* Çok Aşık

* Hazırcevap

From FD7 album

* Mütamadiyen Ağlıyorum

* Hayat Neden Şekil Yapıyor

* Best video clip in Kral TV Video Music Awards – 2009 with “Beni Bırakma” video clip.[1]

Feridun Düzağaç is not a professinal actor. But he acted in several movies and TV series.

Official Web Site: www.feridunduzagac.com.tr

Packaging material dumped inside an inner city industrial are

free form pendant carved from a highly translucant tangiwai stone found in the nelson jade feild.

Every woman should own at least one fabulous steel-boned corset and we have a huge range to choose from AEC Corsets. To know more visit here: www.instagram.com/aeclothing/?hl=en

In the United States the Autism rates are now 1 in every 97 births. The worst country being United Kingdom with a male autism rate of 1 in 38 births. Get your exemption forms at my website: experimentalvaccines.org/vaccine-exemption-forms/

Forming a total area of 1268km2, Yala National Park Sri Lanka lies in the Southern Province and Uva Province, 300km from Colombo. Yala National Park was designated as a wildlife sanctuary in 1900 and designated as a national park in 1938. Yala National Park is most famous for its highest Panthera pardus concentration in the world, a majestic leopard endemic to Sri Lanka, and is also home to 44 varieties of mammal and 215 bird species. A large number of elephants also visit Yala park gaining access through the Lunugamvehera National Park, which works as a corridor between Yala National Park and Udawalawe National Park.

Yala National Park is sectioned into five, and only two sections are opened to visitors due to the concerns expressed about the threat to wildlife from increasing number of tourists.

The vegetation in Yala park comprises predominantly of semi-arid thorny shrub, interspersed with pockets of fairly dense secondary forest. The vast expanses of open terrain is dotted with grasslands and shrubs, tanks and lagoons, water holes and sand dunes.

The best time to visit Yala National Park is between February and July when the water levels of the park are quite low, bringing animals into the open in search of water.

Safari

A Yala National Park Safari is a must-do if you’re visiting Sri Lanka. It is possible to take full day jeep safaris or to split your day into morning and afternoon drives. Early morning and evenings are recommended for Yala safaris due to the heat of the day and animals tucked away in shade. It is evidenced that the leopards in Yala National Park show no fear of the jeeps, thus creating some excellent photographic opportunities during a Yala safari.

Yala safari jeeps and packages are available from all major towns and can negotiate a safari jeep at the entrance to the Yala National Park as well.

Tissamaharamaya is the main gateway to Yala National Park through Kirinda town.

Castlecombe Road School, Mottingham, Bromley

3rd of August, 2013.

Form and Function Oktoberfest Meet 2016

Orange County Chopers

Newburgh, NY

One I thing hate doing and that's filling in forms but this one means I'll get extra dosh in my wages so I think I can force myself to fill it in.

Randonnée à la Banne d'Ordanche en Auvergne

シロバナコマツナギ

Indigofera bungeana Walp., 1840 ‘White Flower Form’

(a true albino)

This name is the accepted. 09/07, 2022.

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Family: Fabaceae (APG IV)

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Authors:

Wilhelm Gerhard Walpers (1816-1853)

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Published In:

Linnaea 13: 525. 1839. (Linnaea)

Name publication detailView in BotanicusView in Biodiversity Heritage Library

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Annotation:

as 'Bungeana'

Type-Protolog

Locality:China: Hubei: Qiayuangu Shan, near Xiang-yang, July 1904

Collector and Number:Silvestri 1082

Institutions(s):HT: ?; IT: FI

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Publication:

Linnaea; Ein Journal für die Botanik in ihrem ganzen Umfange. Berlin

Collation:

13(5): 525

Date of Publication:

prob. Feb 1840

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Synonyms

Indigofera bungeana var. nana L.C.Wang et X.G.Sun, Bull. Bot. Res., Harbin 10(4): 47 (1990).

Indigofera hosiei Craib, Notes Roy. Bot. Gard. Edinburgh 8: 55 (1913).

Indigofera longispica Gagnep., Notul. Syst. (Paris) 3: 122 (1915).

Indigofera micrantha Bunge, Enum. Pl. China Bor. [A.A. von Bunge] 16 (1833).

Indigofera pseudotinctoria Matsum., Bot. Mag. (Tokyo) 16: 62 (1902).

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General Information

Shrubs, erect, 40-100 cm tall. Stems brown, terete; branches whitish gray, with appressed white medifixed sym-metrically 2-branched trichomes. Stipules triangular, ca. 1 mm, caducous. Leaves 2.5-5 cm, 5-9(or 11)-foliolate; petiole and rachis with appressed medifixed trichomes; petiole 0.4-1.6(-2) cm; stipels very small; petiolules ca. 0.5 mm; leaflet blades opposite, elliptic, 5-15(-25) × 3-10(-15) mm, abaxially pale green and with longer medifixed trichomes, adaxially green and with sparse appressed medifixed trichomes or glabrescent, base rounded, apex obtuse. Racemes 4-6(-10) cm; peduncle 1-5 mm; bracts linear, ca. 1.5 mm. Pedicel 1-2 mm. Calyx 2-2.5 mm, with appressed white medifixed trichomes; teeth trian-gular-lanceolate, equal, ca. 2 × as long as tube. Corolla purple to purplish red; standard broadly obovate, 5-6 mm, outside with appressed medifixed trichomes; wings and keel equal, ca. 5.5 mm; keel with spur in middle. Stamens 4-5 mm; anthers glo-bose, apex mucronate. Ovary linear, sparsely hairy. Legume cylindric, straight, 2-2.5 cm, with appressed white medifixed trichomes; endocarp red blotched. Seeds ellipsoid, ca. 2 mm. Fl. May-Jul, fr. Aug-Oct. 2n = 16.

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General:

Flora of China Editorial Committee. 2010. Flora of China (Fabaceae). 10: 1–642. In C. Y. Wu, P. H. Raven & D. Y. Hong (eds.) Fl. China. Science Press & Missouri Botanical Garden Press, Beijing & St. Louis.

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Nikon D800E

SIGMA MACRO 70mm F2.8 EX DG for Nikon AF Mount

Stainless steel and cast aluminum construction. Motor driven, 220 volts, 60 cycles. Interchangeable molder for fish / squid ball, quekiam and orion cutter molder.

created with prompts using recraftai

Modern - to reject the traditionally accepted or sanctioned (in art and design). To be of one's time, not antiquated or obsolete.

The ethos of Modernism is exemplified the collaborations between Alessi, the Italian utensils company (founded in 1921 -http://en.wikipedia.org/wiki/Alessi_(company) ) and modern designers, many of whom come from diverse professional backgrounds. This timer exemplifies form and function, the ultimate modern design accolade (IMHO), having survived many moves and daily use, and was designed by Michael Graves, one of America's leading architects of the 20th century en.wikipedia.org/wiki/Michael_Graves.

ODC Modern

TheFlickrLounge, Minimalism

Photos from the 2014 Sixth Form Presentation Evening

I've always thought a choreo was more enjoyable when you can see and feel the passion & emotion from the dancers. If that makes sense at all. I wish I had moved around more when I shot the performance. But then again I might not have gotten the images that you see here if I did.

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Camera/Lens Info:

Canon 5D Mark II

24-70mm F2.8L

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Editing Info:

B&W Tones

Diptych

Spot Healing

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.

British doom metal band Paradise Lost formed in Halifax, England in 1988; originally comprising vocalist Nick Holmes, lead guitarist Gregor Mackintosh, rhythm guitarist Aaron Aedy, bassist Steve Edmonson, and drummer Matthew Archer, the group recorded a pair of demo tapes, Drown in Darkness and Frozen Illusion, before signing with Peaceville Records to issue their debut album, Lost Paradise, in early 1990. The follow-up, 1991's Gothic, was the band's breakthrough, its dark production and orchestral elements setting them apart from the competition; a major European tour also expanded Paradise Lost's fan base dramatically. Signing with the Music for Nations label, they returned in 1992 with Shades of God, considered by many to be their high-water mark; an EP, As I Die, appeared later that same year, complete with cover art by the incomparable Dave McKean.

Icon After 1993's Icon, Archer left Paradise Lost, and was replaced by drummer Lee Morris; Draconian Times followed in 1995, with the more goth rock-oriented One Second released two years later. Arriving in 1999, Host, their first outing for EMI Germany, saw Paradise Lost straying even further away from their doom metal past by introducing elements of trance and melancholy downtempo into the mix. In 2002, the band moved to Gun Records and released Symbol of Life, which employed a harder, more metallic approach and featured guest spots from Devin Townsend, Jamie Muhoberac, and Lee Dorrian. Two years later Lee Morris left the group and was replaced by Jeff Singer, who made his first Paradise Lost album appearance on the group's eponymous 2005 outing. Released in 2007, In Requiem was issued via Century Media, as was 2010's Faith Divides Us – Death Unites Us and 2012's Tragic Idol, the latter of which marked the debut of new drummer Adrian Erlandsson, who replaced outgoing traps man Jeff Singer in 2008. In 2015, The Plague Within saw Paradise Lost return to their doom/death metal roots, as did 2017 punishing Medusa, their 15th studio long-player and first for Nuclear Blast.

Twins pitcher Pat Neshek.

www.youtube.com/watch?v=MLYs1RhSM6k&feature=related

This image forms part of the digitised photographs of the Ross and Pat Craig Collection. Ross Craig (1926-2012) was a local historian born in Stockton and dedicated much of his life promoting and conserving the history of Stockton, NSW. He possessed a wealth of knowledge about the suburb and was a founding member of the Stockton Historical Society and co-editor of its magazine. Pat Craig supported her husband’s passion for history, and together they made a great contribution to the Stockton and Newcastle communities. We thank the Craig Family and Stockton Historical Society who have kindly given Cultural Collections at the University of Newcastle, NSW, Australia, access to the collection and allowed us to publish the images. Thanks also to Vera Deacon for her liaison in attaining this important collection.

Please contact Cultural Collections at the University of Newcastle, NSW, Australia, if you are the subject of the image, or know the subject of the image, and have cultural or other reservations about the image being displayed on this website and would like to discuss this with us.

Some of the images were scanned from original photographs in the collection held at Cultural Collections, other images were already digitised with no provenance recorded.

You are welcome to freely use the images for study and personal research purposes. Please acknowledge as “Courtesy of the Ross and Pat Craig Collection, University of Newcastle (Australia)" For commercial requests please consider making a donation to the Vera Deacon Regional History Fund.

These images are provided free of charge to the global community thanks to the generosity of the Vera Deacon Regional History Fund. If you wish to donate to the Vera Deacon Fund please download a form here: uoncc.wordpress.com/vera-deacon-fund/

If you have any further information on the photographs, please leave a comment.

Foraminifera: Nodogenerina

Dead forams fall to the sea floor and build up in layers of mud over millions of years. The foram shells are like time capsules, with their chemical information locked inside.

Image: Ian McMillan, Cardiff University.

Discover more of these remarkable images on the Up Close With Nature online gallery on 'Rhagor', the collections based website from Amgueddfa Cymru - National Museum Wales.

View On Black

Some day soon, eggs will no longer be packaged in recycled paper containers, but will be housed in translucent futuristic delivery units. This we can look forward to...

www.silver-sabres.com @ mcm comicon

Forms of Nature #16: One Little Bird

digital collage

by Kenneth Rougeau

The 16th image in the new "Forms of Nature" series of digital collages I'm currently constructing. Prints are available in my Etsy store (artfamilia). At present, I'm planning several individual pieces and at least one triptych for the set. More to come soon!

Kangaroo Flat Indoor Bowling Club Hall formed 1934, at times also referred to as the Roseworthy Indoor Bowling Club and the Bowling Club Hall.

*The annual meeting of the Roseworthy Indoor Bowling Club was held on Thursday night, when the following officers were elected: — President, E Rice: Captain H Dahlitz: Secretary, J Thompson: Treasurer, G H Bammann. Ref: Bunyip (Gawler SA) Friday 8 July 1927.

*To assist the rebuilding fund, a dance was held in the Roseworthy Memorial Hall. Novelty dances were won by Mr R A Dahlitz and Miss Vera Dahlitz and Mr Milton and Miss Hazel Carter. Music was supplied by Miss D Ormsby and Mr H A Dahlitz was MC.

After a lapse of two years the Roseworthy Indoor Bowling Club has been reformed.

A dance was held in the Scout and Guide Hall, near Roseworthy College the proceeds of which were for hall funds. Miss D Ormsby was the pianist. Ref: Advertiser (Adelaide SA) Tuesday 24 April 1934.

*To bid farewell to Mr and Mrs Ralph Baker, from Roseworthy Agricultural College, the members of the Kangaroo bowls club gave a social in the club hall. Mr Hurtle Day, on behalf of club members, expressed regret at the loss of the guests as members, and presented them with a set of crystal jug and goblets. Other speakers were Mrs E A Mitchell, Messrs Lucas, V W Day, Humphries senr, and S Alexander.

Owing to the infantile paralysis epidemic it has been decided not to hold dances in aid of the Soldiers' Memorial Hall at present. Ref: Bunyip (Gawler SA) Friday 18 February 1938.

*On Saturday, 25th May, an enjoyable evening was spent in the Kangaroo Flat Bowling Club Hall, the occasion celebrating the coming of age of Mr Walter Haydon also a kitchen evening to his fiancee, Miss Joyce Nottle. Friends from Adelaide, Kersbrook, Mallala, Willaston, Two Wells, Gawler, Reeves Plains, and Wasleys were present, amounting to over 100. Mr M Hatcher occupied the chair, and Mrs J W Curnow was pianist. Games, solos, recitations, competitions, community singing and dancing were indulged in. A dainty supper was handed around. The guest was asked to cut his three-tiered birthday cake. Speeches were made by Mr W Leak, Mr E Beckwith and Miss J McDonald. A presentation of a travelling rug and a gold mounted pencil was made to Mr Haydon and a large table of useful kitchen utensils to Miss Nottle. Mr Haydon suitably responded. Ref: Bunyip (Gawler SA) Friday 31 May 1940.

*Kangaroo Flat Babies raise a total of £350 11/9.

At a well attended dance in the Bowling Club Hall at Kangaroo Flat on Saturday evening, the final of the Red Cross Junior competition was decided.

The membership of the Kangaroo Flat Circle this year is 31. The dance to be held in the Kangaroo Flat Hall next Saturday night will be for the successful baby Jillian Dawkins in the Country Baby Competition. Ref: Bunyip (Gawler SA) Friday 27 November 1942.

*The Kangaroo Flat school had its Break-up and Christmas tree in the Bowling Club hall, Thursday evening, December 17th The chairman (Mr Oates) presided. Items were given by the school children. Miss Jean Growden was the accompanist. The headteacher read the report. Father Christmas was in attendance and each child received a gift and sweets from the tree. Strawberries and cream were served, and cool drinks were on sale. Prizes were presented. Ref: Bunyip (Gawler SA) Thursday 24 December 1942.

*Returned Soldiers Club Building Appeal

A dance has been arranged by the people of Kangaroo Flat to aid the Appeal. This will be held in the Bowling Club Hall opposite the College on Saturday, September 28th at 8 pm. A good orchestra has been engaged, there will be a Monte Carlo dance and a very nice supper. Tickets are 1/11. Ref: Bunyip (Gawler SA) Friday 20 September 1946.

*ROCA Digest – Autumn 2019

However, during two recent oral history recordings, one with the Hon Dr Bruce Eastick AM (RDA 1947) and the other with Brian Condon OAM (RDA 1946), they both talked about the Saturday night dances held every month, an important event on the social calendar for male students at the time. Back to the beginning: In 1929, the local Girl Guides needed a hall, so a committee was formed. The College Principal at the time, Walter Birks, chaired the first committee. A loan was secured from the State Bank for a hall to be constructed on land (about ½ hectare) purchased from Bill Fairley for £25. The hall cost £270, built by Sidney Halford Pimlott, completed in 1931. However, the Girl Guides and Scouts got into financial difficulties and could not service the loan.

A group of locals came forward and took over the Hall that was then used for indoor bowls, table tennis, dances, wedding receptions, meetings and other events. The Kangaroo Flat Indoor Bowling Club was formed in 1934 and is still going in 2019.

The Table Tennis Club started in 1953, an added activity enjoyed by the locals. I must say that so far in my research I have not found any reference to student participation in the bowls and table tennis. Perhaps they wanted these activities for the locals only and didn’t want to get swamped by a mob of lads!

The dances were another matter though. Both Brian Condon and Bruce Eastick had attended these. Bruce ended up as MC in his last couple of years as a student. Bruce recalls that there was a fairly good supper laid on at the dance and to the young men at Roseworthy College, young women and good food were both attractive (especially as there was food rationing at the time). However, there was a bit of a scheme hatched by the senior students. Young women were chaperoned by their mothers who brought the supper. So to ensure a regular supply of supper, the First Years were directed to make sure all the girls had regular dances during the evening. There were to be no ‘wallflowers’ at this dance – if girls stopped attending it would decrease the supply of good suppers!

The band was a simple ensemble of a pianist and a basic drum kit. A piano accordion or other instruments joined in on some nights. The dances waned as motor transport became more common and Gawler became the main attraction for socialising. Many of us will remember the ‘New Boys Test’ as part of our initiation into life at the College in our first couple of weeks as First Years.

NEWS FROM THE ARCHIVES On a blank map of the college, among all the buildings, staff houses, landmarks, facilities etc to identify, there was an old galvanized iron hall at the very north of the staff houses along the road to Wasleys just short of the entrance to the old Piggery. This was known as the ‘Tin Tabernacle’. The proper name was actually the Kangaroo Flat Hall but no one at College seemed to know that. There didn’t seem to be much other information about it. It didn’t belong to the College and I don’t think any student had been in it for a long time when I started in 1968. The Tin Tabernacle – blast from the past!

The Hall is a great survivor given its age and wooden structure. There is reference in the Club Minutes to the Hall being treated for white ants in 1956. Perhaps they used DDT which, with a shelf life of 50 years, would account for its resilience, given it's still standing on wooden stumps 87 years later. Ms Evelyn Stanley, a descendent from one of the original families that started the Indoor Bowling Club, is now ‘anchor person’ for the club and has lived through its entire history. She very kindly agreed to show us around - the Hon Dr Bruce Eastick, David Purdie (Manager of Student Services) and myself.

The Hall interior is a step back in time, well preserved with accompanying memorabilia of honour rolls, tournament pennants, photos, framed certificates etc. If those walls could talk, a lot of local history would be recalled. Ref: Ref: The Roca Digest Autumn 2019 online

[Roseworthy Old Collegians Assn 1883]

This hall has recently become private property.

■Forma parte de la Comisión Directiva de Siemens España.

■Licenciado en Ciencias Empresariales por AKAD- Rendsburg (RFA).

■Especializado en Organización y RRHH.

■Formación en Gestión Administrativa en Siemens S.A.

Trayectoria Profesional:

■1979 Gestión financiera venta productos y sistemas en Siemens Valencia.

■1980 Responsable de Formación Comercial y administrativa de Siemens España.

■1987 Responsable de Política de Personal y Social Siemens España.

■1995 Director de Recursos Humanos de Siemens Nixdorf España.

■1998 Responsable de Desarrollo “Top Management” para Siemens Americas y las Divisiones de Información y Comunicación en Siemens AG Munich.

■2002 Responsable de RRHH de Compensación y Beneficios, Proyectos internacionales y Relaciones Institucionales de Siemens España.

■2009 Director General de RRHH para el Cluster SWE.

■2010 Director General de RRHH de Siemens España además de sus responsabilidades anteriores.

Form: Sculpted Teapot

Technique: Hand built with dowels

Materials: Cone 10 B-mix Paperclay w porcelain overlay

Dimensions: 6" W X 8"D X 9";H

Taken on a recent visit to Morgan Cars Ltd

at Malvern, Worcestershire, where cars are still produced using traditional coachbuilding skills. A joy to watch.

Long may it continue,.