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Masonic Rough Ashlar.
The Latin assis was a board or plank; in the diminutive form, assula, it meant a small board, like a shingle, or a chip. In this con-nection it is interesting to note that our "axle" and' "axis" were derived from it. In early English this became asheler and was used to denote a stone in the rough as it came from the quarries. The Operative Masons called such a stone a "rough ashlar," and when it had been shaped and finished for its place in the wall they called it a "perfect ashlar." An Apprentice is a rough ashlar, because unfinished, whereas a Master Mason is a perfect ashlar, because he has been shaped for his place in the organization of the Craft.
The publication of a number of Minute Books of old Lodges since it was written calls for a revision of the paragraph on ASHLAR, on page 107. In one of his memoranda on the building of St. Paul s, Sir Christopher Wren shows by the context that as the word was there and then used an ashlar was a stone, ready-dressed from the quarries (costing about $5.00 in our money), for use in walls ; and that a "perpend asheler" was one with polished ends each of which would lie in a surface of the wall ; in that case a "rough" ashlar was not a formless mass of rock, but was a stone ready for use, no surface of which would appear in the building walls; it was unfinished in the sense of unpolished. In other records, of which only a few have been found, a "perpend" ashlar was of stone cut with a key in it so as to interlock with a second stone cut correspondingly.
It is doubtful if the Symbolic Ashlars were widely used among the earliest Lodges; on the other hand they are mentioned in Lodge inventories often enough to make it certain that at least a few of the old Lodges used them ; and since records were so meagerly kept it is possible that their use may have been more common than has been believed. On April 11, 1754, Old Dundee Lodge in Wapping, London, "Resolved that A New Perpend Ashlar Inlaid with Devices of Masonry Valued at £2 12s. 6d. be purchased. " The word ''new'' proves that the Lodge had used an Ashlar before 1754, perhaps for many years before; the word "devices" duggests long years of symbolic use.
It is obvious that the Ashlars as referred to in the above were not like our own Perfect and Imperfect Ashlars. It is certain that our use of them did not originate in America ; there are no known data to show when or where they originated, but it is reasonable to suppose that Webb received them from Preston, or else from English Brethren in person who knew the Work in Preston's period. Operative Masons doubtless used the word in more than one sense, depending on time and place ; and no rule can be based on their Practice.
The Speculative Masons after 1717, as shown above, must have used "Perfect Ashlar" in the sense of "Perpend Ashlar"; nevertheless the general purpose of the symbolism has been the same throughout - a reminder to the Candidate that he is to think of himself as if he were a building stone and that he will be expected to polish himself in manners and character in order to find a place in the finished Work of Masonry. The contrast between the Rough Ashlar and the Perfect Ashlar is not as between one man and another man, thereby generating a snobbish sense of superiority; but as between what a man is at one stage of his own self-development and what he is at another stage.
In Sir Christopher Wren's use of "ashlar" (he was member of Lodge of Antiquity) the stone had a dimension of 1 x 1 x 2 feet; and many building records, some of them very old, mention similar dimensions; certainly, the "perpend" or "perfect" ashlar almost never was a cube, because there are few places in a wall where a cube will serve. Because in our own symbolism the Perfect Ashlar is a cube, a number of commentators on symbolism have drawn out of it pages of speculation on the properties of the cube, and on esoteric meanings they believe those properties to possess; the weight possessed by those theorizing is proportionate to the knowledge and intelligence of the commentator; but in any event these cubic interpretations do not have the authority of Masonic history behind them.
NOTE: During the many years of building and re-building at Westminster Abbey the clerk of the works kept a detailed account of money expended, money received, wages, etc. These records, still in existence, are called Fabric Rolls. In the Fabric Roll for 1253 the word "asselers" occurs many times, and means dressed stones, or ashlars. A "perpens" or "parpens," or "perpent-stone" was "a through stone," presumably because it was so cut that each end was flush with a face of the wall. It proves that "perpend ashlar" was not a "perfect ashlar" in the present sense of being a cube.
- Source: Mackey's Encyclopedia of Freemasonry
This Masonic Perfect Ashlar was presented to the Barton Lodge by W.Bro. C. H. Webster in 5846.
Rough and Perfect Ashlar
A rough and perfect ashlar are stones which symbolize Man's moral and spiritual life.
Cutting stone to uniform shapes and sizes requires the skill and experience of a true craftsman with many years of experience.
This is why, historically, only large edifices (buildings) were made of ashlars (rather than brick or wood), due to the necessity (and difficulty) of assembling the many skilled craftsman needed to complete the many subsets of knowledge such as how to build a stone archway, how to lay foundation stone, and how to lay stone, one atop another to great heights...not to mention the artisans who sculpted the stones into ornamental shapes.
In days of old, apprentice masons cut and raised the Rough Ashlars from the stone quarry under the supervision of more experienced craftsman, called Fellowcrafts.
The work was accomplished under the watchful eye of the Master masons of the craft...those who had proved their ability to make their Master's piece to the satisfaction of their superiors.
In Freemasonry, there are 2 forms of ashlars.
Rough Ashlar
In operative Freemasonry, the rough ashlar represents a rough, unprepared or undressed stone. In speculative Freemasonry, a rough ashlar is an allegory to the uninitiated Freemason prior to his discovering enlightenment.
Perfect Ashlar
Operatively, the Perfect ashlar represents the dressed stone (after it has been made uniform and smoothed) by use of the working tools, the common gavel, (mallet) and chisel. (The chisel may be found in English Freemasonry, but is not used in the United States as a Freemason symbol.)
Only after the stone has been dressed by an experienced stonemason, can it be suitable to be placed into the architectural structure or building.
Speculatively, a Perfect Ashlar is an allegory to a Freemason who, through Masonic education, works to achieve an upstanding life and diligently strives to obtain enlightenment.
Rough and Perfect Ashlars
In the Fellowcraft Degree, we see the use of the Rough and Perfect Ashlars. The lesson to be learned is that by means of education and the acquirement of knowledge, a man improves the state of his spiritual and moral being.
Like man, each Rough Ashlar begins as an imperfect stone. With education, cultivation and brotherly love, man is shaped into a being which has been tried by the square of virtue and encircled by the compasses of his boundaries, given to us by our Creator.
Rough and Perfect Ashlar: Fitted For The Builder's Use
In ancient times, quarried stone which could be easily shaped into desired configurations, was called "freestone". Typical freestones are limestone and sandstone.
Then, as now, only after refining and smoothing these rough stones into their desired shape, were the stonemasons able to "fit them for the builder's use".
In the Fellowcraft degree, the Rough Ashlar represents a man's unrefined state and his need for improvement. He learns that the goal of being a better man includes spirituality of thought and striving for perfection of conduct. Via duties, expectations and obligations, he is charged to work toward these goals of self improvement.
As the Freemason "smoothes" his rough edges, internally and externally; he becomes a better man and, therefore, a better Freemason.
Once a man has perfected his ashlar to the best of his ability,... as Brothers to all mankind, it is his duty to help others become better men and better Freemasons.
Rough and Perfect Ashlar - The Potential For Change
All rough ashlars must have within them the potential to be made into a perfect ashlar.
The stone must be made of sound material and have a minimum of character flaws which may cause it to weaken the edifice (building). It must be capable of being worked into a perfect stone. This is why candidates for the degrees are asked many questions as to their qualifications and character about why they wish to become Freemasons.
The candidate must have the potential to both serve and support the Fraternity. He must be carefully inspected, just as each Rough Ashlar is inspected for quality in order to be able to "fit" him into Freemasonry's tenets and goals, which are compatible to God's laws.
An imperfect stone may be made perfect, however major flaws are difficult to overcome and when assembled into a structure, the entire structure can be weakened from its improper use. This is as true of men as it is of stones.
Rough and Perfect Ashlar - States of Metamorphose
Freemasonry has a glorious history. Flawed ashlars can bring negative feelings and reproach upon the Fraternity from non-Freemasons in the outside world and therefore, can have no place within its walls.
...That said,...let us not forget that perfect ashlars are not found lying about the stone quarry without benefit of their having been hammered, chiseled and polished into such a state of being.
It also holds true that "perfect" men are also such an anomaly without the benefit of brotherly love, guidance and light. There are very few Freemasons who have not been in both the rough and perfect ashlar state-of-being at some point in their lives.
Freemason Duties For the Future of the Craft
1. Freemasons must give serious consideration to our personal responsibility to educate other Brothers toward their self improvement.
Like the Good Samaritan in the Holy Books; it is in the giving and assistance to others in which you will find the true "jewels" of enlightenment. True Master Masons not only exemplify the tenets of the craft, but they teach what they learn.
2. Lodges should carefully judge the potential of each candidate, weighing both their character and their potential for change. For more information as to how to properly perform this duty, see my page Masonic Investigation Committee.
3. Each Freemason is charged to extend the hand of brotherly love and affection to help new Freemasons become better men and strive to live on the square, stand upright with the plumb and take their true place as a man who would make his Creator (the Almighty), proud of him.
The lesson of the Rough and Perfect Ashlar applies to all men who are worthy,...who have a heartfelt wish to go from ignorance to knowledge,...from darkness to light...and from death to life.
The following poem, written by Mary Brooks Picken, entitled, "Thimblefuls of Friendliness" was written in 1924, and, perhaps says it, best.
"Thimblefuls of Friendliness"
"Isn't it strange that Princes and Kings
And clowns that caper in sawdust rings,
And just plain folks like you and me,
Are builders for Eternity?
To each is given a bag of tools,
A shapeless mass and a book of rules,
And each must make ere life is flown,
A stumbling block, or a stepping stone.
So,...it's up to you. What will YOU decide to build with YOUR working tools?
The Ashlars - Author Unknown
We are told that the Ashlars lie open in the lodge for the brethren to moralize on. Did you ever see a brother contemplating the Ashlars and trying to derive some moral benefit from them? For the most part they are quickly referred to and just as quickly forgotten. The Ashlar is the freestone as it comes from the quarry. The Rough Ashlar is the stone in its rude and natural state and is emblematic of man in his natural state – ignorant, uncultivated and vicious. But when education has exerted it’s wholesome influence in expanding his intellect, restraining his passions and purifying his life, he then is represented by the Perfect Ashlar which, under the skillful hands of workman, has been smoothed and squared and fitted for its place in the building.
However, you will observe that the Rough Ashlar in a Masonic Lodge is not in its rude or natural state. It has been squared in a fashion, partially smoothed and has apparent strength and solidarity. It possesses all the qualities that could make it a perfect stone for use in the construction of the Temple, but it needs the hands and skill of the perfect Craftsman to bring about that result. It represents the candidate for membership in a Masonic Lodge. Such an applicant is not in his rude or natural state, neither ignorant, uncultivated nor vicious.
Masonry does not accept men of such qualifications. The applicant by education and perseverance has fitted himself as a respectable man in his community, assuming full responsibility as a citizen, a churchman and a member of his family. There is a vast number of men in every community possessing such qualifications who are not members of a Masonic Lodge, and may never have the desire to associate themselves with the Ancient Craft.
A man judges Masonry by the actions and manner of living of those he knows are members of the Order, but knows little or nothing of its teachings or objectives in the building of character. In that sense, he is in the crude state of the rough Ashlar, possessing all the qualities or perfect material, but lacking the polish that comes from a continued study and practice of the great teachings of Masonry.
Membership in a lodge does not make a man a Mason. He must apply his abilities to improving all in him that falls short of that high standard set by Masonry in character and citizen building. If he is satisfied with being a Master Mason in name only, he loses the benefits of further advancement and improvement offered by membership in the Order. In other words, he falls far short of anything that might be termed the Perfect Ashlar.
The Perfect Ashlar is for the more expert Craftsman to try and adjust his jewels on. In ancient times, with crude tools that would not even be used in this age, workmen of great skill and experience produced material for the construction of the Temple having such perfection that each piece fitted perfectly into its place without adjustment or correction. Time was not one of the essential factors; perfection was the goal.
To keep this state of perfection in absolute balance, a standard must have been set whereby the workmen could constantly test their tools to know that continued wear and use had not changed the measurements; even in the slightest degree. Did they have a Perfect Ashlar on which to make such a test?
We are told that the Perfect Ashlar is for the more expert workmen to “try” and adjust their tools on. In Masonry, we are the workmen, whether we be active or inactive, workers or drones. What are our “jewels”, our most prized possession? If we have absorbed any of the teachings Masonry, the building of character and a Christian way of life are two of the many jewels that should constantly be before us. And in the building of that state of perfection to which we attain, what Perfect Ashlar have we that we might go to and “try” the tools with which we have been working, to know that they are still of fine quality and in perfect condition for the job that lies before us.
In every Masonic Lodge there rests on the Altar in the center of the room the V.O.T.S.L. It is the solid foundation upon which Masonry in our lives is built. It never changes. Civilizations may come and go, but the Book of Books remains the same, adaptable to all conditions and manner of men, in good times and bad, in peace or war, a guide for mankind.
How often do we consult this Guide to try and adjust the jewels which are ours and which may need to be altered to get them back to that state of perfection which we as Masons should endeavor at all times to hold as our standard way of life? I am afraid that in this busy world of today, we neglect this practice. Therefore, as we think of the Ashlars and try to do a little moralizing, let us forget, even for a brief period, the material things in our lives, and direct our thoughts to the more important duty of contemplating our own defects and shortcomings, and adjusting our way of life and bringing it more in harmony with that standard given us by the Great Creator in the V.O.T.S.L.
The Ashlars are not just two pieces of stone. They represent what we have been and what we hope to be. It is up to each individual Mason to pass his own judgment on himself and to adjust his jewels accordingly, so that when the time comes and he lays down his tools and makes the final journey to the Grand Lodge Above, he may leave behind a reputation as a wise counselor, a pillar of strength and stability, a Perfect Ashlar on which younger Masons may test the correctness and value of their own contribution to the Masonic order.
KPM, Berlin, Kaffeeservice, Teeservice, Biedermeier, Klassizismus, Campaner Form, Gold, godroniert, Perlrand, Löwentatzen, Kaffeekanne, Teekanne, Tasse, Kaffeetasse, Zuckerdose, Milchkännchen
Formed on the 19th June 1981 with a mandate to preserve, promote and provide racing for cars with a competition history, the Historic Sports & Racing Car Association has around 900 members.
Since its inception, the Association has promoted around 100 Historic Race meetings, along with providing driver training days, technical days, social events, and all those activities related to being the only motor-sport and heritage based racing car club in the state of New South Wales.
The Tasman Revival meeting is one of the activities promoted by the Club.
My entry for the FBTB Moc Madness. This is the Sarracenia, the space ship of bounty huntress Adjenka Ventura. This spaceship as many form, this is used to hunt in the air or in space. The firepower in then concentrated to the front.
Parallel Pleat Forms Hyperbolic Paraboloid Shelter
www.youtube.com/watch?v=2zhuS6jxJwk
Tutorial 6 Hyperbolic Paraboloid Shelter.
www.youtube.com/watch?v=5c2n44hW8bg
Hyperbolic-Paraboloid Shelter
www.youtube.com/watch?v=ATHlcgRyjNo
Hyperbolic-Paraboloid Doubly-Ruled Shelter
De skydivers van Nationaal Paracentrum Teuge (paracentrumteuge.nl) naderen elkaar voor het vormen van de formatie. Een fotograaf hangt boven de groep. Onderin het beeld zie je de wolken komen waar de groep kort hierna doorheen ging. De parachutisten sprongen van ruim 14.000ft (meer dan 4 kilometer) en zaten ruim 6 kilometer van mij verwijderd. Foto's gemaakt met 714mm telescoop met 2x converter. Als je de cropfactor van 1.6x mee rekent is dit 2285mm.
Zie meer skydiving foto's, waaronder de sprong uit de Skyvan op :
www.flickr.com/photos/wblokzijl/sets/72157645156793786/
The skydivers from Nationaal Paracentrum Teuge (paracentrumteuge.nl) approaching eachother to form a formation. A photographer is hovering above them to capture the action. They jumped out of SC-7 Skyvan OE-FDI.
More skydiving pictures, including their jump out of the Skyvan :
All photos in this gallery are all rights reserved. If you want to use any of them, please send an email before. Thanks for collaboration.
Zaha Hadid: Form in Motion at Philadelphia Museum of Art. Video at VernissageTV: vernissage.tv/blog/2011/09/30/zaha-hadid-form-in-motion-p...
Cuando eres pequeño formas en tu mente la imagen idealizada de alguien que, a menudo, no es más que fruto de la fantasía de otra persona. Mi héroe no era ningún actor de Disney, ni ningún cantante pop. Mi héroe, mi dios en la tierra, tenía la piel morena y curtida por los años, las manos grandes y expresivas, una sonrisa mellada que no se completaría con la llegada del ratoncito Pérez y unos cuantos pelos canosos sobre la cabeza: mi abuelo.
El mismo abuelo que de pequeños nos llevaba a mi hermano y a mi a la laguna y después, puntuales, a ver “Curro Jiménez”; el mismo abuelo que construyó un gallinero para complacerme y aún hoy, diez años después, sigue conservándolo; el mismo abuelo que se emociona al verme cada viernes.
Recuerdo que me llamó muchísimo la atención cuando le escuché decir una palabrota por primera vez, como si alguien tan puro, justo y honrado no tuviera derecho a desahogarse de vez en cuando.
Cuando estaba enfermo yo no me preocupaba, porque alguien tan fuerte como él no podía venirse abajo nunca. Cuando se ponía a contarme sus historias se me antojaba estar dentro de una de las novelas del genio García Márquez. Podía tirarse una hora entera contando batallitas, pero lo verdaderamente bueno era que podía estar otra hora completamente en silencio escuchando cualquier tontería mía.
Con el tiempo escuchas cosas, que si “abuelo se mete en todo” o “no le cuentes esto a abuelo que si no luego dirá tal o cual”. Y me indignaba, él, que todo lo sabía siempre y tanta razón llevaba en sus consejos no merecía ser tratado así.
Y ahora, con el tiempo, caigo en la cuenta de que no existen las personas perfectas que todo lo sepan, o que vayan a estar siempre sanas, ni siquiera que vayan a estar, ni existen las personas que nunca se equivocan, o que caen bien a todo el mundo.
Sin embargo he tomado la decisión de intentar crecer en todos los sentidos menos en uno. Intentaré dejar de comer golosinas, me esforzaré en sacarme la carrera, cambiaré a “Perry el ornitorrinco” por el telediario, dejaré de pedirme libros de perros para los Reyes y me pediré esa lectura obligada de bioquímica y para mi cumpleaños… ropa. Sin embargo hay algo que no estoy dispuesta a perder de mi niñez, nunca, y es la imagen idealizada de mi abuelo. Por que, tal vez, nunca una imagen idealizada haya estado tan cerca de la realidad.
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]
Die Caineville Wash Road zweigt zwischen den Milemarkern 99 und 98 nach Norden von der Utah State Route 24 ab und führt ins Cathedral Valley, einem abgelegenen Teil im Norden des Capitol Reef National Parks.
Sie ist nur mit allradgetriebenen Fahrzeugen befahrbar.
On jeemain.nic.in IIT JEE 2016 Application Form is available, students can apply for JEE 2016 Main Exam before 31st Dec 2015,check IIT JEE Main important Dates.
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Esta formado por tres salones, separados por dos grandes arcos, rematados por una cúpula oval de 26 metros de eje mayor. Los salones tienen los nombres del los colores nacionales: Salón Amarillo, Salón Azul y Salón Rojo. En éstos se encuentran valiosas reliquias históricas como el Arca que contiene el libro de Actas del Primer Congreso. Allí se aprecia el Acta del 5 de julio de 1811. En sus paredes se exhiben, entre otros, el retrato de Simón Bolívar, pintado al natural por el artista peruano José Gil de Castro en 1825; el lienzo de la Batalla de Carabobo, elaborado por el pintor venezolano Martín Tovar y Tovar, cubre todo el interior de la cúpula del Salón Azul, los retratos de próceres militares y civiles que lucharon por la Independencia, y los cuadros épicos de las batallas de Boyacá, Ayacucho y Junín, los cuales ocupan sus paredes y plafones. También el famoso óleo de Martín Tovar y Tovar con la escena de la firma del Acta de Independencia, ubicado en la pared este del Salón Rojo.
La cúpula fue originalmente importada de Bélgica y montada en 1890, que fue sustituida recientemente por una de aluminio anodizado. En la cúspide se encuentra la Bandera Nacional.
fuente: www.asambleanacional.gob.ve/seccion/show/id/9
El gobierno del general Juan Vicente Gómez fue el encargado de emitir un decreto el 1 de enero de 1910, en el cual se ordenaba a depositar en un arca especial, instalada en el Salón Elíptico del Palacio Federal, el original del Libro que contiene Acta Solemne de Independencia descubierta en 1907 en Valencia y aceptada como tal por la Academia Nacional de la Historia de Venezuela.
Esta orden se cumplió un año después, en la conmemoración del primer Centenario de la Emancipación, el 5 de julio de 1911. El libro de Actas del Congreso de 1811 cuenta con 436 páginas y se le conoce con el nombre de Libro Nacional de los Venezolanos.
El Capitolio es un edificio de estilo neoclásico del siglo XIX definido por tres cuerpos e inspirado en un edificio de Francia, siendo el arquitecto y principal constructor de la obra el notable ingeniero Luciano Urdaneta, hijo del General Rafael Urdaneta,
En 1872 por medio de un decreto General Antonio Guzmán Blanco en su afán de modernizar la ciudad capital se ordenó expropiar un solar o terreno del convento de las Hermanas de la Concepción (Convento de las Monjas Concepciones). La construcción del Capitolio Federal comenzó el 21 de septiembre de 1872, inaugurándose parcialmente el 19 de febrero de 1873 pero culminado totalmente en 1877. Tiempo antes de su construcción, al menos seis edificios diferentes fueron usados como sede del Congreso en distintas ciudades.
El Capitolio Federal desde 1877 fue sede de los tres Poderes de la Nación el Ejecutivo Federal, Legislativo y Judicial. Pero desde 1961 es de uso exclusivo del Poder Legislativo Nacional.
The main road deck growing as the Rubrica Engineering Form Travellers cast each six meter section of deck along with its Stay Cable anchor point, Seven Stay Cables installed so far, The southern pylon will have a total of 62 Stay Cables when completed.................Please. note ALL pictures on this Photostream are Copyright Protected . .
Flaque du : 11 Mars 2011, 15h20
Pieds : 1 Seul (le droit)
Formes Principales Possibles : Visage de côté avec un gros œil (larme possible) et un pinch // une Silhouette d’un Homme (à l’envers) // Un oiseau qui tombe avec des plumes (juste le haut de la flaque) et une branche ou un serpent
Résidus d’eau : Beaucoup
État Physique : Normal, un peu fatigué
État Mental à la prise de vue : Neutre, un peu préoccupé, mais calme, impression de solitude
État Mental à la fin de la journée : Assez heureux, après une soirée entre amis
Évocation D’un Futur Possible : N/A
Évocation D’un Passé Possible : N/A
Autre : Oiseau : J’ai entendus les premiers corbeaux du printemps le matin suivant
Analyse :
Le visage : il me représente quand même bien … la larme et la barbe
La silhouette : elle est obscure et semble émané du noir… il lui manque une jambe et sa tête est rabaissée
L’oiseau : ressemble étrangement au signe du groupe de musique Insomnium… l’oiseau semble en chute libre, le reste de la flaque tente de le rejoindre … ou est-ce un serpent qui vient pour manger sa victime?
Entry in category 4. Video loop; © CC-BY-NC-ND: Veronika Cencen
The video loop shows mammalian cells before, during and after transfection with a microfluidic device. The device squeezes the cells in order for material (in this case fluorescently labeled dextran) to pass through pores that form in the membrane, before quickly healing, after which we can check the cell membrane integrity with coplanar electrode impedance measurement. The last image shows a regular stain done as a control. The project was designed to transfect otherwise difficult to transfect cell types in hope of someday using it for stem cell transfection to cure pulmonary arterial hypertension. Of course, this is still quite a long way from commercially available. With this very truncated process record, however, I shift away from the purely practical and scientific point of view to show a different side of motivation: the fascinating images that come out of the image process, the brief triumph of a successful experiment in a series of thousands. In brief, the art in biology.
La Plaza Bolívar Chávez, forma parte de un proyecto de reconstrucción del eje costero que incluye una serie de obras de infraestructura que se extienden desde La Guaira hasta Macuto. Cuenta con 36.000 metros cuadrados y sectores comunicados por caminerías, bulevares y ciclovías, cuenta con un espacio de 1.220 metros cuadrados con juegos de caídas y espejos de agua.
La Guaira es considerada la puerta de entrada de Venezuela y está separada de Caracas por tan sólo 30 km. Fueron los indios Arauacos quienes primero marcaron con su huella el litoral central venezolano. La ciudad antiguamente conocida como Huaira, por ser un asentamiento indígena, fue fundada oficialmente en el año 1589 por Diego de Osorio con el nombre de San Pedro de La Guaira. Su importancia marítima no viene de hace poco, desde el comienzo la ciudad fue el más importante centro naval del país, pues fue allí donde se estableció la Compañía Guipuzcoana, cuya casa hasta hoy se mantiene en su casco histórico, habiendo sobrevivido a terremotos (como el de 1810), así como las inundaciones de 1999.
En está ciudad han nacido importantes proceres de la independencia venezolana, como José María España y Manuel Gual; dos presidentes de la república como Carlos Soublette y José María Vargas, además el héroe venezolano-curazoleño, Manuel Piar, quien pasó buena parte de su vida en La Guaira.
Part of Azzedine Alaïa: The Couturier
(May to October 2018)
Azzedine Alaïa’s innovations in stretch fabrics were at least as important as his elevation of leather. In his hands, these transformed the silhouette of the wearer.
Rather than creating clothes anchored at strategic points – conventionally, the waist and the shoulders – Alaïa’s bandage dresses cling to the wearer’s form, conscious of the entire body. The stretch fabric allows these minimal silhouettes to move freely.
Debuted in 1986, these variations on the ‘Bandelette’ (bandage) dress are clearly inspired by ancient Egyptian mummification, but also perhaps by the swaddling of infants. The garments join Western and Eastern traditions – highly fitted and precision-cut, with a body simply and sensually wrapped in cloth.
The dresses seem simple, but each band of fabric is precisely engineered and cut to specific dimensions, according to its place on the figure. These creations ushered in the notion of physique-delineating ‘bodycon’ dressing, the defining aesthetic of the early 1990s.
Conceived and co-curated with Monsieur Alaïa before his death in November 2017, the exhibition charts his incredible journey from sculptor to couturier, his nonconformist nature and his infectious energy for fashion, friendship and the female body.
Unlike many of his contemporaries, Alaïa personally constructed each garment by hand and refused to bow to the pressures of fashion week deadlines, instead working to his own schedule. His collaborative approach earned him an esteemed client list, including Greta Garbo, Grace Jones, Michelle Obama and Rihanna.
Rather than a retrospective, the show interlaces stories of his life and career alongside personally selected garments, ranging from the rare to the iconic and spanning the early 1980s to his most recent collection in 2017.
[Design Museum]
Dutch postcard by M.B. & Z., no. 1049. Photo: Metro Goldwyn Mayer. Sent by mail in 1942.
The only career Nelson Eddy (1901-1967) ever considered was singing. The classically trained baritone achieved his greatest popularity through eight films with Jeanette MacDonald, with whom he formed a regular screen couple in the 1930s and 1940s. At the height of his career, he received more fan mail than any other star on the MGM payroll.
Nelson Ackerman Eddy was born in 1901 in Providence, Rhode Island, USA. He was the son of Isabel (Kendrick) and William Darius Eddy. His parents were singers, and his grandparents were musicians. Nelson studied singing as a child, and in 1924, he won a competition and was allowed to perform with the Philadelphia Opera Society. The conductor of the Philadelphia Civic Opera, Alexander Smallens, began to train and promote Eddy. In the late 1920s, Eddy performed with the Philadelphia Civic Opera Company and sang a broad repertoire of 28 operatic roles, including Le nozze di Figaro. Eddy also appeared with the Savoy Company, which produced popular operettas by Gilbert & Sullivan. Eddy studied briefly with noted teacher David Bispham, a former Metropolitan Opera singer, and switched after his death to William Vilonat. Dr. Edouard Lippe coached him and loaned him money in 1927 to study in Dresden and Paris. Dresden was considered an essential training centre for American singers at the time. Eddy turned down an offer of an engagement with a small German opera house and returned to the United States. He gave his first concert recital in 1928 in Philadelphia. When Eddy went on his first tour, he hired Theodore Paxson, who remained his accompanist for four decades. In 1933, he did 18 encores for an audience in Los Angeles that included an assistant to MGM studio chief Louis B. Mayer, who signed him to a seven-year contract, which allowed him three months of concert tours per year. Mayer ordered Eddy to test for his debut in the film Broadway to Hollywood (Willard Mack, Jules White, 1933). The 33-year-old newcomer took a record 58 takes before the exasperated test director gave up. Despite this failure, Mayer overruled the consensus about Eddy's acting talent, non-existent, and ordered him to be used for a singing sequence in the film only. The producers at MGM didn't know what to do with Eddy and only allowed him to appear for individual songs in his following films. But the audience reacted favourably to this.
After MGM acting lessons, Nelson Eddy's first real success came as the Yankee scout to Jeanette MacDonald's French princess in the Operetta Naughty Marietta (Robert Z. Leonard, W.S. Van Dyke, 1935). It was a huge box-office hit made on a small budget. The film was nominated for an Oscar, received a Photoplay Award and was voted one of the ten best films of 1935 by the New York Film Critics. Eddy made six more films with Jeanette MacDonald, including Rose-Marie (W.S. Van Dyke, 1936), and Maytime (Robert Z. Leonard, Edmund Goulding, 1937), which grossed over 4 million US dollars at the box office. Concert appearances became increasingly lucrative for Eddy with his film fame, but he only sang occasionally on the opera stage. His last film with MacDonald was I Married an Angel (W.S. Van Dyke, 1942). Nelson Eddy also appeared with other leading ladies over the years, such as in Rosalie (W.S. Van Dyke, 1937) with Eleanor Powell and Balalaika (Reinhold Schünzel, 1939), where he appeared alongside Ilona Massey. The Chocolate Soldier (Roy Del Ruth, 1941) was an adaptation of a Viennese operetta by Ferenc Molnár. Eddy appeared in a double role alongside Met singer Risë Stevens. Critics nearly always panned his acting. After the financial failure of I Married an Angel, Nelson Eddy and Jeanette MacDonald left MGM. In 1943, Eddy signed a contract with Universal for two films: Phantom of the Opera and Follow the Boys. The musical Phantom of the Opera (Arthur Lubin, 1943), lavishly produced in Technicolour, was based on the well-known novel by Gaston Leroux and songs by Edward Ward. Eddy appeared in it alongside Susanna Foster and Claude Rains but was so dissatisfied with the film afterwards that he abandoned the filming of Follow the Boys, in which he would have appeared again alongside Jeanette MacDonald, and left Universal. In his home studio, he recorded three-part harmonies (tenor, baritone, & bass) for his role as a multiple-voiced singing whale in the animated Walt Disney feature, 'The Whale Who Wanted to Sing at the Met', the concluding sequence in the animated musical anthology film Make Mine Music (Jack Kinney, Clyde Geronimi, a.o., 1946). Eddy appeared with Ilona Massey in his last film, the musical Western Northwest Outpost (Allan Dwan, 1947), produced by Republic. Nelson Eddy had a large radio following. His theme song was 'Shortnin' Bread'. In 1959, Eddy and MacDonald issued a recording of their film hits, which sold well. In 1953, he had a fairly successful nightclub routine with Gale Sherwood, which ran until he died in 1967. He suffered a fatal stroke while performing in concert. He was interred at Hollywood Memorial Cemetery, now called Hollywood Forever. Nelson Eddy and his wife, Anne Denitz, had no children. He had one child, Jon, with ex-girlfriend Maybelle Marston, born in the early 1930s, and he had a stepson, Sidney Franklin Jr.
Source: Ed Stephan (IMDb), Wikipedia (Dutch, German and English) and IMDb.
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