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The Cumberland River Bridge (also called the Veterans Memorial Bridge) as it crosses Old Hickory Lake just south of Gallatin, Tennessee can be seen on the far right of this photo. It is a steel through truss bridge that was built in 1954 and is currently on the 'Structurally Deficient" list due to the 'poor' rating on it's superstructure. What you see in the rest of this photo is its replacement. It is a new Structural Steel/Precast Bulb-Tee Bridge designed by ICA Engineering. The new bridge is 1890 ft in length and has approximately 3500 ft of roadway widened from 2 lanes to 4 lanes with curb/gutter and sidewalk. As a Structural Engineer, this was a photograph that was just too interesting to pass up!!
Three bracketed photos were taken and combined with Photomatix to create this HDR image. Additional adjustments were made in Photoshop CS5.
"For I know the plans I have for you,” declares the LORD, “plans to prosper you and not to harm you, plans to give you hope and a future." ~Jeremiah 29:11
Engineering work taking place from 31st January to 3rd February 2023 closed the line between Malton and Scarborough. Freightliner class 66/5 no. 66514 passes Copmanthorpe on 1st February 2023 heading 6Y22, a ballast working from Doncaster Belmont yard to Malton. Sister loco no. 66501 was on the rear of the train.
View of the full-size Rosetta engineering model (EQM) at ESOC, Darmstadt.
Rosetta is en route to Comet 67P/Churyumov-Gerasimenko, where it will make the most detailed study of a comet ever attempted. It will follow the comet on its journey through the inner Solar System, measuring the increase in activity as the icy surface is warmed up by the Sun. The lander will focus on the composition and structure of the comet nucleus material. It will also drill more than 20cm into the subsurface to collect samples for inspection by the lander’s onboard laboratory.
More about Rosetta: www.esa.int/rosetta
Credit: ESA/J.Mai
The new Engineering 5 building on campus. Taken at a UW Photo Club meeting.
Velvia 100, 4x5 processed at home. No post-processing at all - just as scanned.
Taken with a Schneider 90mm, f/8
It was hard to decide which to enter the contest with, but I went with this shot instead.
Was lucky enough to visit the McLaren showroom for a second time! Lovely red spider was the feature car!
Please 'Like' my Facebook page!
I have a profound respect and appreciation for all of the folks that conceived, designed and built these two engineering wonders. But I also know that as grand as they are they are only temporary in time. I shot this with a Laowa 9mm f2.8. I forgot to change the lens data. I’m bad about that!
The High Level Bridge is a road and railway bridge spanning the River Tyne between Newcastle upon Tyne and Gateshead in North East England. It is considered the most notable historical engineering work in the city. It was built by the Hawks family from 5,050 tons of iron. George Hawks, Mayor of Gateshead, drove in the last key of the structure on 7 June 1849, and the bridge was officially opened by Queen Victoria later that year.
It was designed by Robert Stephenson to form a rail link towards Scotland for the developing English railway network; a carriageway for road vehicles and pedestrians was incorporated to generate additional revenue. The main structural elements are tied cast-iron arches.
Notwithstanding the considerable increase in the weight of railway vehicles since it was designed, it continues to carry rail traffic, although the King Edward bridge nearby was opened in 1906 to ease congestion. The roadway is also still in use, although with a weight restriction. It is a Grade I listed structure.
In 1835, the Newcastle and Carlisle Railway (N&CR) Act authorised the line to approach Newcastle to a terminus at Redheugh, on the south bank of the River Tyne, close to the end of the present-day New Redheugh Bridge. The Act also authorised a crossing of the Tyne there, giving rail access to the north shore quays. The river was shallow at this point, and the bridge would have been at a low level, only 20 ft (6.1 m) above high water. The line would then have climbed to a terminus at the Spital, near Neville Street and the east end of the present-day Newcastle Central station. The climb was to be at a gradient of 1 in 22 and would have been operated by a stationary steam engine with rope haulage.
Hitherto railways in the region had had a local focus, but now the Great North of England Railway (GNER) obtained authorising Acts to build from Newcastle to York, forming part of a continuous trunk railway network to connect to London; the project was controlled by George Hudson, the so-called Railway King. At first the GNER was content to get access to the N&CR Newcastle terminus, by connecting with the N&CR at Redheugh and running over its line across the Tyne and up to the Spital. This had the advantage of avoiding a separate, and expensive, crossing of the river, but would have meant a steep descent to Redheugh as the GNER line approached on high ground from the Team Valley, only to climb once again to the Spital. Moreover, William Brandling had made known his intention to reach Newcastle from his line by running at a high level through Gateshead. On 25 April 1837, the N&CR decided to build to their south side, low-level terminus at Redheugh, but to leave the issue of the Tyne crossing open.
Richard Grainger was a developer in Newcastle, and had acquired lands at Elswick (on the north bank of the Tyne west of the proposed Redheugh crossing). In 1836, he published a pamphlet recommending a crossing of the Tyne there, and the formation of spacious railway terminal accommodation there. Drawing attention to the limited scope for extending eastwards from the Spital, and "in the event of an Edinburgh Railway also terminating in this situation, the interchange of passengers, goods, and cattle would be greatly increased".
Grainger's plan was not adopted, and the Brandling Junction Railway reached Gateshead in 1839. The GNER ran out of money and it was superseded in Hudson's railway empire by the Newcastle and Darlington Junction Railway, which opened its line using the Brandling Junction Railway from the south east instead of through the Team Valley. The Brandling Junction line had a terminus in Gateshead at Greenesfield at a high level, and the N&CR line was built climbing on an inclined plane at a gradient of 1 in 23 from Redheugh to reach that. The Newcastle and Darlington Junction Railway opened its line from the south to Pelaw, allowing its trains to reach Gateshead over the Brandling Junction line, in 1844. The tables had been turned, and indeed for a while Greenesfield was the de facto main station for the conurbation of Newcastle and Gateshead.
John and Benjamin Green were a father and son architectural practice active in Newcastle. In 1841 Benjamin Green had proposed a high level bridge for road traffic, substantially on the alignment of the actual High Level Bridge; and sensing the commercial climate he explained how it could be adapted for railway use. He failed to get any financial support, but in 1843 George Hudson was looking for ways to extend his railway network northwards, and the Greens' scheme fitted with his takeover of the Newcastle and Darlington Junction Railway; the line got its authorising Act on 22 May 1844, and the Act included the road bridge.
The Newcastle and North Shields Railway had opened in 1839 from its own terminus at Carliol Square, on the north-east edge of Newcastle. As a purely local concern, the disconnection was not important, but interest gathered in a railway to central Scotland; the "Edinburgh Railway" foreseen by Grainger. A Scottish concern, the North British Railway, had got its Act of Parliament the previous year to build as far south as Berwick (later known as Berwick-upon-Tweed.
Now Hudson was intent on capturing the line to Edinburgh for his empire, and he encouraged the development of railway plans to get there; the route such a line might take continued to generate considerable controversy. There was still ambiguity about Hudson's intentions for the bridge—an easier crossing point at Bill Quay, two miles downstream had been considered—and Newcastle Town Council sought undertakings from him. In addition, he promised a footway crossing; this was apparently not a sweetener to the Town Council, but a commercial decision, expected to bring in £250 a week. The footway crossing was later extended to include horse-drawn vehicles.
Finally, the Newcastle and Berwick Railway was authorised by Act of Parliament of 31 July 1845. The line would cross the Greens' high level bridge, starting from the Gateshead Greenesfield station, and commitments made to the building of a bridge by the Newcastle and Darlington Junction Railway were transferred to the Newcastle and Berwick Railway.
The bridge was to be designed by Robert Stephenson; T E Harrison did the detailed design work.
The height of the railway, at about 120 ft (37 m) above high water, was determined by the level of the Brandling Junction line in Gateshead. A double-deck configuration was selected because of road levels on the approaches, and to avoid the excess width of foundations which a side-by-side arrangement would require. The deck width was determined by the useful roadway width plus the width of structural members, which gave the railway deck the width for three tracks.
The foundations were to be difficult because of the poor ground conditions in the river, and this ruled out an all-masonry structure, so cast iron or wrought iron was inevitable for the superstructure. A tied arch (or bow-string) design was favoured because the outward thrust imposed by an arch is contained by the tie; no abutments capable of resisting the thrust could be provided here.
Stephenson had used this configuration before; he recorded that, "The earliest railway bridge on the bowstring principle is that over the Regent's Canal, near Chalk Farm, on the London and Birmingham Railway".
The arch would consist of iron ribs. Fawcett says, "The reasons for not using wrought iron was due to some engineers' distrust of rivetting, the relatively small size of wrought iron plates then available, and the higher cost… On 1 October 1845 when the Newcastle and Berwick Board instructed T E Harrison for their bridges, none of the uses of wrought iron had been developed far enough to be considered as an alternative to cast iron for the High Level Bridge. A tubular bridge might have been considered by Robert Stephenson but the distance between solid and reasonably shallow foundations would have given a span much larger than the Britannia Bridge."
The depth of rock in the riverbed resulted in a height of 140 ft (43 m) from there to the superstructure. Three river piers were permitted by the Tyne Improvement Commissioners, and therefore four river spans of 125 ft (38 m) were decided on; there were additional subsidiary spans on the shore.
The cast iron arch ribs are 3 ft 6 in (1.07 m) deep at the crown, increasing to 3 ft 9 in (1.14 m) at the springing, with 12-inch (30 cm) flanges; the flanges and webs were three inches thick; in the case of the inner ribs, and two inches for the outer ribs. The rise was 17 ft 6 in (5.33 m), determined by the desired geometry to confine the horizontal thrust within bounds. Each arch was cast in five sections, bolted together.
Stephenson described the tie bars:
The ties consist of flat wrought-iron bars, 7 inches by 1 inch of best scrap iron, with eyes of 3½ inches diameter, bored out of the solid, and pins turned and fitted closely. Each external rib is tied by four of these bars, and each internal rib by eight. The sectional area of each external tie is 28 [square] inches, and of each internal tie 56 [square] inches, giving a total area of 168 square inches. These bars were all tested to 9 tons on the square inch.
The rail deck is supported above the arches by twelve 14-inch (360 mm) square columns at 9 feet 11 inches (3.02 m) centres. Suspension rods supported the road deck, and both decks had two layers of diagonally laid three-inch deck timbers on suitable wrought iron cross girders (and rail-bearers in the case of the rail deck).
The main contractors for the ironwork were Hawks, Crawshay, and Sons, who were assisted by John Abbot and Co., of Gateshead Park Works, and Losh Wilson and Bell, of Walker Ironworks, in the production of the castings. The tender was accepted at £112,000. The contract for the bridge piers and land arches and for the Newcastle Viaduct were won by John Rush and Benjamin Lawton of York for £94,000 and £82,500 respectively. The total cost of the contracts at 1999 prices would be over £30 million.
The first masonry was laid on 12 January 1847. A temporary timber viaduct on the east side was ready on 20 August 1848.
Timber coffer dams were constructed; they were 76 ft 6 in (23.32 m) by 29 ft (8.8 m) with two skins, the space between being filled with puddle clay. James Nasmyth had a novel design of steam pile driver; it had first been used in Devonport Docks in 1845; it could deliver 60 to 70 blows a minute; the cycle time with the hand-operated pile drivers formerly in use was four minutes. The drop weight was 1½ tons and its stroke was 2 ft 9 in (0.84 m); one was purchased from Nasmyth.
The ground gave considerable trouble during construction; Stephenson recorded:
Many difficulties occurred in driving the piles which considerably retarded the progress of the work, and, among others, the peculiar effect of ebb and flow during this operation is worthy of note. At flood-tide, the sand became so hard as almost totally to resist the utmost efforts of driving, while at ebb the sand was quite loose, and allowed of doing so with facility. It was therefore found necessary to abandon the driving on many occasions during high water. The difference between high and low water is 11 feet 6 inches. Another difficulty arose from the quicksands beneath the foundations. Although the piles were driven to the rock bottom, the water forced its way up, baffling the attempts to fill in between them; this, however, was remedied by using a concrete made of broken stone and Roman cement, which was continually thrown in until the bottom was found to be secure.
The arch ribs were erected in section by travelling crane; each arch was temporarily erected at the contractor’s works. The first was placed on 10 July 1848, and the erection of the ironwork was quick.
Already on 29 August 1848, it was possible to pass a special train over the first arch, and over a temporary structure for the rest of the crossing:
The High Level Bridge Over the Tyne: This important junction between the York and Newcastle and the Newcastle and Berwick Railway has been completed, and the event was celebrated on Tuesday last. In the afternoon of that day, a train of [specially invited] passengers passed along the temporary timber viaduct from the station at Gateshead to the station at Newcastle. Mr Hudson and several other Directors of the York, Newcastle, and Berwick line, who had been visiting Sunderland ... proceeded in a special train from that town to Gateshead... Several carriages were then added to the special train, and an open truck placed at each end, in which bands of music were stationed. The shrill sound of the whistle gave the signal for a royal salute, under the booming of which the train passed along the line, the band playing, and the thousands assembled to witness the event, rending the air with joyous acclamation Upon reaching the bridge, the bands struck up the well-known local air of "The Keel Row" which they continued till the train had reached the solid ground on the northern side of the river... The train proceeded to the Newcastle and Berwick station, where the company alighted and walked in procession to the Queen’s Head Inn, where a magnificent entertainment had been provided for the Directors and their friends, by the Mayor of Newcastle.
[From the south abutment of the High Level Bridge] and the river pier on the south side, the cast iron arch and road-way are nearly completed, and the second arch will be in progress in the course of a few weeks. From the middle of the first arch, the line curves to a temporary timber viaduct erected along the west side of the intended bridge. The height of this viaduct is one hundred and twenty feet to the level of the rails; it is built upon piles, which are driven between thirty and forty feet into the bed of the river. Its stability was sufficiently tested on Monday, when Captain Leffan (sic), the Government Inspector of Railways, examined it preparatory to the opening. On that day, two powerful engines weighing upwards of seventy tons, traversed it at different degrees of speed for between two and three hours; the weight would be about one ton to a foot, being four or five times greater than the temporary structure will ever be required to bear, and the result was, in the highest degree, satisfactory.
Among the company in the train were four ladies, who are deserving of honourable mention, from the courage they displayed in accompanying it, namely, Mrs Nichs. Wood, and Miss F. Wood, Mrs I. L. Bell, and her sister, Miss Pattinson of Washington. As the train passed steadily over the bridge the anxiety of the immense multitude seemed intense, and the scene was truly exciting, yet fearful—not only from the lofty eminence occupied by the train but, from the apparent narrowness and nakedness of the platform on which it rolled along. It seemed from its noiselessness, rather an aerial flight, than the rattling sweep of the iron horse.
Ordinary traffic appears to have used the temporary single line structure after this date.
The eastern track was ready for an inspection by Captain Laffan, Inspecting Office for the Board of Trade, when he visited on 11 August 1849; a load test with four tender locomotives and eighteen wagons loaded with ballast, a total weight of 200 tons. Laffan approved the bridge:
I believe all the works of the bridge are completed, and that I believe it to be perfectly secure and safe. The Company have as yet only laid one line of rails over this structure, and I beg to recommend that permission be given to open that one line.
The first passenger train crossed the completed structure on the morning of 15 August 1849.
Queen Victoria formally inaugurated the bridge on passing through by train on 28 September 1849.
The Queen at Newcastle: Her Majesty yesterday honoured this ancient borough with her presence. The event was one of universal and all-engrossing interest... The morning, unfortunately, was dull and the weather unsettled, giving forebodings of a wet and uncomfortable day... Notwithstanding, however, the unfavourable weather dense crowds assembled at every spot in this locality, where a view of the royal carriage could be obtained, and many remained for hours exposed to the weather in order that they might retain the places which at an earlier period of the morning they had secured. The bridge was densely lined with people, and the platform was well covered, though not inconveniently crowded. A profusion of banners were displayed on this elegant and substantial structure, and from nearly all the public and many of the private buildings both in Newcastle and Gateshead. The vessels in the river hoisted their flags mast-high on the occasion, and the church bells of the two towns rung many a merry peal in honour of the royal visit... Pursuant to a request issued by the Mayor, most of the shops were closed about 11 o’clock, and the manufacturers were desired by our worthy chief magistrate "not to produce smoke between that hour and one," with which we believe, they generally complied... At precisely twenty minutes past twelve, the royal carriage appeared in sight, and when it reached the Spital, a splendid locomotive, built by the celebrated house of Stephenson and Co., gaily decorated and bearing on its front "God save the Queen" surmounted by a crown, and a suitable inscription encircling the boiler, was attached to the train. It then slowly proceeded to the centre of the colossal fabric, amidst bursts of loud and rapturous cheering from the assembled thousands, her Majesty repeatedly acknowledging these marked demonstrations of loyalty and affection from her faithful and attached subjects.
The Mayors of Newcastle and Gateshead presented a formal address. The queen travelled in the royal carriage belonging to the London and North Western Railway.
In other carriages were members of her Majesty’s suite and the directors of the York, Newcastle, and Berwick Railway. The engine drawing the royal train was under the direction of Mr T. E. Harrison, the resident engineer, and driven by Mr Thos. Carr... After staying altogether from five to ten minutes, the train was again put in motion, and amidst firing of artillery and rapturous plaudits from the dense throng, proceeded en route to Darlington.
The bridge and its immediate approaches had cost £243,000.
The road deck was re-opened only in a southbound (towards Gateshead) direction and carries only buses and taxis; the one-way operation is required because of width considerations after protection to the structural members was inserted. Pedestrians and cyclists use the bridge freely. Railway traffic continues in full use of the bridge, although the majority of mainline trains use the King Edward VII bridge for reasons of convenience.
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]
#483
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Taken at about 5.15pm, this is actually a sunset. Once again D80 in my backpack proves worthy. I was going to attend a lecture, when I simulated this composition in my mind and couldn't resist taking this shot.
* Looks superb in black background.
THANK YOU for the appreciation, this picture got into Flickr Interestingness on March 2, 2007 :)
37609 has been detached from the head of the train (6X23, the 0625 Sellafield – Barrow Marine Terminal) and run into the spur to allow the tail locomotive (37218) to propel the flask train into the Barrow Marine terminal.
This picture - taken on 6 October 2016 - offers a good opportunity to marvel at the beautiful engineering on display, particularly the graceful curves of the W H Davis built KXA-C wagon, both longitudinally and in its cross sections. One can see that the wagon has a narrow bed (broadened only in the centre to support the flask) allowing it to meet the network loading gauge despite its length. It has a tare weight of 53.5t and is capable of carrying a 126.5t payload, (I make that 180t gross without the use of a calculator!) and its eight axles maintain the 22.5t axle loading.
Mounted on the wagon is a Castor HAW 28M type flask weighing in around 102te (116t fully loaded) though its shock absorbers and frame would increase the payload almost to the the maximum 126.5te.
We built some great piers, the Germans built some great cars..
German registered "Fintail" in Eastbourne.
These pictures were taken with my brand new Tokina 11-16mm 2.8 wide angle lens and I was just having some fun. The location for these pics is the University of Illinois, particularly the Main and Engineering Quad.
Some photos while waiting around on set filming this week. Took up the opportunity to play with my Sony RX100 M3. Very pleased with this little camera. I also had my Canon 7D with me and the Sony holds up very well when comparing similar images taken with each camera.
The Pere Marquette 1225 steam locomotive on a holiday season excursion from Owosso (home of the Steam Railroading Institute) to Ashley, Michigan. This historic train (built 1941) was the model for the train in "The Polar Express" and was listed on the National Register of Historic Places in 1994.
Engineering works closed the line between Faversham and Herne Bay on Sunday 15 February 1981. Here 33204 gets away from Whtistable towards Faversham on the wrong line with a CE's train that includes wooden-bodied open wagons. Meanwhile 73117 stands in the station on the up line.
Some cool milling engineering images:
Hagen – Freilichtmuseum Hagen – Zink Walzwerk Karusellgießer Fa. Hoesch
Image by Daniel Mennerich
The Hagen Open-air Museum (LWL-Freilichtmuseum Hagen – Westfälisches Landesmuseum für Handwerk und Technik English: "LWL Open-air Museum Ha...
Read more about Cool Milling Engineering photos
(Source from Chinese Rapid Prototyping Blog)
This is a one in a billion nanoparticle. It did not resist the extreme temperature conditions it was submitted to during its formation, and literally burst from the inside, expelling water vapour from the pores, thus creating that intricate nanostructure that reminds me of a brain. Nano-brain would be more accurate, as its diameter is about 500 nm, that is roughly 200 times smaller than the diameter of a human hair.
The other nanoparticles that can be seen in the foreground and the background did not burst, and were able to act as a catalyst for carbon nanotube growth. Interestingly, noticing this one in a billion nanoparticle among all the others gave us the idea to change our synthesis method in order to selectively produce these “nano-brains” on purpose, as their porosity and high surface area is of interest to advanced energy storage devices.
The picture was taken using a scanning electron microscope allowing to capture details smaller than the wavelength of light. Artificial colours were added during post-processing to highlight the eeriness of the scene.
Where the chief engineer monitors and controls the star ships warp drive, weapons, life support and all things critical to the ship and crew. Set used for the fan films "Star Trek Continues". Neutral Zone Studios, Kingsland, Georgia.
xx
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The Queen meets guests at a reception for The Queen Elizabeth Prize for Engineering in the Throne Room in 2015.
Stone wall at Mihintale. I tend to believe that there is a reason why some stones are at an angle and have 5 edges. They could have easily straighten it up, given what we can see around.
After years of working in this style I have only recently come to realize the heavy influence of the pictorialists. My favorite pictorialist is William Mortensen(WM), but that's likely because I'm a little uncertain as to who was most influential in the movement.
The new art is based on refinements I've made to my process after gaining a better understanding of WM's own process. He worked primarily in B&W, but liked the gum-bichromate processes too. For these, I took the ideas and techniques and moved them into my own color-space. I love the subtly and grace of where this approach leads me.
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Photographer: C'est moi
Photog's Assistant: Judith Turano
Model/Hair/MUA/Couture: (unknown aetheric engineering timetraveler)