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Title: Requsition form for the 20th Regiment, South Carolina Volunteers,
signed by States Rights Gist
Date Original: 1862-02-15
Description: Requisition for ordnance (muskets, bayonets,
cartridges, cap pouches, belts) for the use of the 20th Regiment, South Carolina
Volunteers.
Creator: Gist, States Rights, 1831-
Keith, L.M.
Subject: Charleston (S.C.)
Gist, States Rights, 1831-
Keitt, Lawrence M.
Confederate States of America -- Appropriations and expenditures
Confederate States of America -- History -- Sources
Confederate States of America--Armed forces--History--Sources
South Carolina -- History -- Civil War, 1861-1865
United States -- History -- Civil War, 1861-1865 -- Sources
Confederate States of America. Army--Ordnance and ordnance
stores.
Confederate States of America. Army. South Carolina Infantry
Regiment, 20th
Alternative Title: 070425-95
Publisher: Wofford College
Contributor: Keith, L.M.
Date Digital: 2008-09-03
Type: Text
Format [medium]: Manuscript
Format [IMT]: image/jpeg
Digitization Specifications: 800ppi 24-bit depth color; Scanned with
an Epson 15000 Photo scanner with Epson Scan software; Archival master is a
TIFF; Original converted to JPEG with Irfan View software.
Resource Identifier: 070425-95
Source: The original, accession number 070425-95, from which
this digital representation is taken is housed in The
Littlejohn Collection at Wofford College,
located in the Sandor Teszler Library.
Language: En-us English
Relation [is part of]:The
Littlejohn Collection
Rights Management: This digital representation has been
licensed under an Attribution
- Noncommercial- No Derivatives Creative Commons license.
Contributing Institution: Wofford College
Web Site: http://www.wofford.edu/library/littlejohn-home.aspx
3D printed models created with the generous support of Makerbot Industries, as part of my Makerbit artist-in-residence project.
Thanks especially to Colin Butgereit who ran some of these models for me very last-minute.
New pics form an old kit - and a special one it is. Even though there are Valkyrie kits with the FAST packages for deep space use available, this is a self-made conversion with many extra parts from various Valkyrie kits and some extra "functions".
The basis originally wa a normal amd rather simple 1:100 ARII Battroid mode VF-1A kit. But legs, arms and especially the torso were modified, or replaced with "better" donation parts.
Besides the FAST pack additions, the legs received additional joints in the thighs. The hip mounting was totally mofidied to allow 3D movement of the legs - it is a completely different lower body part from a transformable IMAI 1:100 Valkyrie.
The lower arms also received FAST pack additions (which include more detailed missiles, from the Valkyrie fighter mode kits) and further additional joints in the upper arms as well as new, more delicate hands to give a more agile impression. The latter come from leftover Dorvack PA-58 Powered Armors kits, actually they are 1:24th scale!
In order to keep the proportions of the more slender lower body from the transformable kit in tune with the upper torso, the latter had to be elongated.
The upper body's back side was totally modified to hold moveable wings, also from a transformable Valkyire kit in 1:100. Thorugh this huge modification the wings can now actually be swung into landing position, and even seperate rocket pods can be added in 4 vinyl caps! On the downside, the wings in forward position prevent free movement of the arms... one of the mysteries that surround the VF-1's construction. ;)
The FAST rocket boosters on the back* are leftover standard pieces from a 1:100 scale Bandai VF-1 Gerwalk kit, but also modified in detail.
Finally, the color scheme: it is a standard pattern of Roy Fokker's "Skull" squadron, just displaying a Valkyrie "from the lot", nothing specific.
Basis is an overall satin white, and almost all squadron markings in black and blue were applied with paint and by hand, since no decals for this "version" were available at the time of making.
* For the die-hard fans: this depicted weapon/Battroid arrangement is not authentic. The Rö-X2A shoulder laser can (according to Macross folklore) only be mounted on VF-1S Valkyries, the A, J and D versions only take the "simple" rocket pods. But it looks cool...! ;)
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.
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
In the face of dispair, this is a time To celebrate two of our loved one's lives. My dear mom is in her second round of chemo and she is the bravest woman I know. Our granddaughter, just had her 6th birthday and was diagnosed with a rare form of mucopolysaccridosis (no cure for this childhood rare disease). Although I feel my world is upside down, he is great knows far better than I. I continue to have faith in all that is good.
**thank you for thoughts and prayers!
ABHAY SINGH & FRIENDS
Abhay Singh & Friends was formed in Autumn 2011 when, while attending grad school to study theology after a bad breakup, Abhay Singh rounded up musicians to perform songs that allegorically related the Bible to his experiences of heartbreak and finding new love. The band performs Roots Rock and Doo-Wop music influenced by Bruce Springsteen, Roy Orbison, and Leonard Cohen. Inspired by the song structures and emotional candidness of contemporary pop music and club music, over the holidays Abhay and his musician friends recorded an 8-song album of folk, klezmer, and doo-wop music, prominently featuring harmonium, an instrument popular in the music of the Indian subcontinent.
Harmonium Songs
Full-band Rock Songs
JAMES PANTHER
Hailing from Pennington, New Jersey, James Panther has been unwaveringly dedicated to making music since 11 years old when he joined the American Boychoir in 1996. Fast forward to now-- Panther is a piano player, pop/rock/soul singer, songwriter, and producer with a dynamic, haunting and powerful voice. His songs and performances are both intimate and high energy: uncompromisingly honest accounts of personal experience and hooky self-empowerment anthems with driving beats and unforgettable pop melodies.
After years of classical/choral training and various leading roles in musical theatre productions, Panther went to study songwriting at Boston's Berklee College of Music, and made 2 albums under the name Jamie Treadwell, playing extensively in Boston and Cambridge. Deeply driven to create a unique sound and find his authentic voice, Panther left Berklee to develop artistically in radical queer artistic communities in New York, San Francisco, and Portland, OR. In addition to performing in major cities, Panther spent months at a time creatively developing in rural radical queer sanctuaries and gatherings in the pacific northwest and Tennessee, as well as in spiritual ceremonies of Native American tradition. Panther's debut EP weaves together his urban sensibility and his extensive experience as a rurally dwelling gypsy traveller and lover of nature and progressive community.
He proudly and passionately stands for truth, self-respect, self-empowerment, the health and wellness of queer communities, and creating a safer world for young queer kids to grow up.
Joe McCarthy is a singer-songwriter of brooklyn bands Senators, Abhay Singh & Friends, Doubting Thomas Cruise Control, and Youth and the Drug Explosion. He has been playing music in New York City for 7 years. Tonight he will be playing original songs on guitar and piano without accompaniment. [Check out his music.]
Hotel Pro Forma
Operation : Orfeo
Vizuális opera három tételben
Budapesti Tavaszi Fesztivál
Nemzeti Színház - Nagyszínpad
2010.03.22.
Lisbeth Sonne Andersen - tánc,
Baiba Berķe - ének,
a Lett Rádió Kórusa
Koreográfia: Anita Saij
Fény: Maja Ravn, Jesper Kongshaug
Jelmez: Annette Meyer
Technikai igazgató: Jesper Sønderstrup
Vezényel: Sigvards Kļava
Rendező: Kirsten Dehlholm
www.dailymotion.com/video/xcoh3r_hotel-pro-forma-operatio...
I created this form to help record my accomplishments. When I finish my todos, I usually just throw out the list, along with any persistent sense of accomplishment. When I close out a set of todos, I can "shoot down" an invader and take it as a trophy of my accomplishments.
You can read about it and download the forms here:
The Kamakshi Temple is a famous Hindu temple dedicated to Kamakshi, one of the forms of the goddess Parvati. It is located in the historic city of Kanchipuram, near Chennai, India and is popularly associated with Sankaracharya, one of the greatest Hindu gurus. The Meenakshi Temple in Madurai, the Akilandeswari temple in Thiruvanaikaval near Tiruchirappalli and this Kamakshi are the important centers of worship of Parvati as the mother goddess, in the state of Tamil Nadu. The temple was most probably built by the Pallava kings, whose capital was Kanchipuram, around 6 C.E.
The main deity, Kamakshi, is seated in a majestic Padmasana, an yogic posture signifying peace and prosperity, instead of the traditional standing pose. The goddess holds a sugarcane bow and bunch of flowers in the lower two of her arms and has a pasha (lasso), an ankusha (goad) in her upper two arms. There is also a parrot perched near the flower bunch. There are no other Parvati temples in the city of Kanchipuram, apart from this temple, which is unusual in a traditional city that has hundreds of traditional temples. There are various legends that account for this fact. One of them according to Kamakshivilasa is that the Goddess had to absorb all the other shakthi forms to give a boon to Kama, the Hindu god of love. Another legend attributes it to the Raja Rajeswari pose of the deity that signifies an absolute control over the land under the deity's control. Legend has it that Kamakshi offered worship to a Shivalingam made out of sand, under a mango tree and gained Shiva's hand in marriage.
FESTIVALS
Four worship services are offered each day. The annual festival falls in Spring, in the Tamil month of Masi, which runs from mid-March to mid-April. During this time the chariot festival (Ther) and float festival, (Theppam) are held. Other festivals include Navaratri, Aadi and Aippasi Pooram, Sankara Jayanthi and Vasanta Utsavam in the Tamil month of Vaikasi. All Fridays are considered sacred, though the Fridays in the Tamil months of Adi (mid-July to mid-August) and Thai (mid-January to mid-February) are celebrated.
THE OLD KAMAKSHI DEVI TEMPLE
The original Kamakshi Devi Temple is what is now known as Adi Peeteswari or the Adi Peeta Parameswari. This temple is just adjacent to the Kumarakottam, and is near to the Kamakshi Devi temple.
Adi Shankaracharya, the famous 8th-century CE scholar and saint, established the Sri Chakra at this original Kamakshi Devi temple in the trough-like structure in that shrine. This Sri Chakra soon became the All India famous Kamakoti Peeta. The Acharya's Lalitha Trishati Bhashya comments Kamakoti Peetam as Sri Chakra.
The Acharya changed the fierce form of worship into a sowmya form. The Devi in this original Kamakshi temple is called by various names like Kirtimati, Devagarbha in extant Tantric works like Tantrachudamani. She has four hands containing in each of them respectively, Ankusa, PAsa, Abhaya and a Kapala. This description corresponds to those extant old tantric works. Further, Girvanendra Saraswathi describes precisely this swaroopa as Kameswari.
Sundaramurthi Nayanar, the Saiva saint of the 12th century is aware of the Kamakottam. He in fact mentions that the Kamakottam has come in existence just at that time.
THE MODERN KAMAKSHI DEVI TEMPLE AT KANCHI
The Siruthondar Puranam of Sekkilar Peruman, written during this time, is aware of both the temples and mentions the original temple as the Yoga Peeta and the present Kamakshi devi temple as Bhoga peetam. The reference to the present Kamakshi Devi as Aram Purappaval (bestower of boons)by Sekilar Peruman is noteworthy, as the present name of the street in which this new temple is located in Kanchipuram is called Arapanak Ara Theru.
The present Kamakshi temple too, has a Sri Chakra which was established during the 16th Century by NrusimhAdvari, of the famous dathamAnji family. There is a stone inscription inside the new temple, near this Sri Chakra, which states this fact. It is noteworthy that Arunagirinathar a 15th Century Tamil Saint, sings in praise of the Goddess as devi of dark emarald complexion and the mother of Muruga of Kumarakottam. The Original Kamakshi Devi temple i.e. Adi PeeteswariKamakshi Devi temple is just adjucant to the Kumarakottam. Arunagirinathar mentions the Sri Yantra in the Kamakshi Devi temple, which can apply, during the 15th century, only to the original Adi Peeteswari Kamakshi Devi, which contained the Sri Chakra installed by Adi Shankara. Arunagirinathar does not make any reference to the new temple.
Also noteworthy is the fact that this new temple's legend considers the Bangaru Kamakshi at Thanjavur as Dharmadevi This is the metallic counterpart of the stone image of Dharmadevi, which is at present at Thiruparuthikunram (Jina Kanchi) to where it was removed from this present Kamakshi (Tara Devi) temple after the conversion of the Jain Tara Devi temple into Hindu Sakta tradition has become stronger. There is a stone inscription at the Jina Kanchi temple which explains this fact. There are strong evidences that Dharadevi was worshipped in the present day main shrine.
THE KANCHI KAMAKSHI AMMAN TEMPLE AS A
SHAKTI PEETH
The mythology of Daksha yaga and Sati's self immolation is the main theme in the origin of Shakti Peethas.
Shakti Peethas are divine temples of Adiparashakti. The cause of the presence of Devi's presence is due to the falling of body parts of the corpse of Sati Devi. The eyes/back of Sati Devi is believed to have fallen here. There are 51 Shakti Peeth linking to the 51 alphabets in Sanskrit. There are also arguments that the old Kanchi temple is the Shakti peetha, where Sankaracharya has installed the Shri Chakra. It is reverred world wide as Kanchi Kamakoti Peetham.
TIRUKKALAVANUR
In the shrine of Kamakshi Amman close the sanctum, the Tirukalavanur Divya Desam, the temples dedicated to Lord Vishnu glorified by the 7th-10th century alwars (Tamil saint poets) is present. The temple faced west went to ruins and the deity is now placed inside the Kamakshi Amman temple. There are shrines over the vimana.
WIKIPEDIA
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.
Aplicatii:
O razuitoare de gheata cu forma de trapez cu 4 suprafete de lucru.
Prima suprafata din stanga este plata pentru a razui chiciura de pe geam.
A doua si a treia suprafata sunt zimtate, pentru a razui gheata de pe geam.
A patra suprafata inferioara a razuitoarii gheata – TR – 85 ...
Tudo começou em 1958 com João Gilberto e sua forma inovadora de tocar o violão. Para homenagear os 50 anos da gravação de "Chega de Saudade", canção de Vinícius de Moraes e Tom Jobim, pelo músico, considerada o marco inicial da bossa nova, um grande show vai reunir alguns dos principais nomes da MPB no posto 10 da praia de Ipanema (zona sul do Rio), no próximo dia 1º de março, a partir das 19h, com entrada gratuita.
Entre as atrações, há nomes de peso, como Maria Rita, Leila Pinheiro, Roberto Menescal e Fernanda Takai. Ainda participam da festa Emílio Santiago, Joyce, Bossacucanova, João Donato, Carlos Lyra, Wanda Sá, Leny Andrade, Zimbo Trio, Marcos Valle e Oscar Castro Neves.
O show aproveita para celebrar ainda os 443 anos da cidade do Rio de Janeiro. A banda que vai acompanhar o grupo de artistas é formada por Marcio Bahia (bateria), Adriano Giffoni (contrabaixo), Fernando Merlino (piano), Ricardo Pontes (sax e flauta) e Jesse Sadoc (trompete).
A apresentação do evento ficará a cargo do produtor e diretor Miéle e da atriz e cantora Thalma de Freitas. A roteirista Solange Kafuri, idealizadora do projeto, escolheu seis marcos da história do gênero musical para conduzir o espetáculo.
The vikings needed new canopy as the original was thick & blurry - blocking out the cockpit details. Hence I need to make my own canopies.
The setup consist of:
1. Vacuum Pump from a brake bleeding kit. It didn't bleed my motorcycle brake well :(
2. A forming "table" made from tupperware.
3. Female mold of the original made with RTV silicone.
4. A frame to hold the hot plastic.
5. A toaster oven.
The New Zealand bellbird (Anthornis melanura), also known by its Māori names korimako and makomako, is a passerine bird endemic to New Zealand. The bellbird forms a significant component of the famed New Zealand dawn chorus of bird song that was much noted by early European settlers. The explorer Captain Cook wrote of its song "it seemed to be like small bells most exquisitely tuned". Its bell-like song is sometimes confused with that of the tui.
DESCRIPTION
Bellbirds are green with a short, curved bill, slightly forked tail, and noisy whirring, fast and direct flight. Adult males are olive green, slightly paler on the underparts, with a dark purplish sheen on their head and blackish outer wing and tail. Females are a duller olive brown with a blue sheen on the head and yellowish-white curving from the base of the bill to below the eye. Adults of both sexes have a notably red eye. They are about 17–20 cm from the tip of their beak to the end of their tail. Juveniles are similar to females, but with a light yellow cheek stripe, brown eyes and lacking the bluish gloss on the head.
VOICE
Song varies regionally but is ringing notes without grunts or wheezes. Alarm call a rapidly repeated harsh “yeng”. The famous bell notes noted by Sir Joseph Banks in Queen Charlotte Sound on James Cook first voyage to NZ are only heard when many birds are present at once, mostly at dawn and dusk in places of high bellbird density with few other bird species.
CLASSIFICATION
There are four sub-species: NZ bellbird (A. melanura melanura/dumerii), Poor Knights bellbird (A. melanura oneho), Three Kings bellbird (A. melanura obscura), and the Chatham bellbird (A. Melanocephala) that became extinct in the early 20th century.
DISTRIBUTION
The bellbird is found throughout both the main islands of New Zealand apart from the north of the North Island. Its population and distribution had been seriously affected by the introduction of European-style farming, which has led to the removal of native forests (the natural habitat of the bellbird). Another important factor is the introduction of predatory species such as cats, weasels, stoats, ferrets, rats and food-robbing species like wasps. Predators either eat the birds or consume eggs, while food robbers compete with the bellbird for its natural food sources of nectar, honeydew and insects. The decline occurred around the same time as many other NZ species, but for unknown reasons was reversed and the species is still common across much of New Zealand.
BREEDING
Bellbirds breed in spring and summer (two broods), building a loose nest of twigs and grasses, lined with feathers and fine grasses. Most nests are in a fork under dense cover, from near ground level to >5m. The clutch size is typically 3-4, rarely up to 5 eggs. The female incubates and both parents care for the young.
THREATS AND CONSERVATION
Bellbirds are common throughout most of their range, and can reach extraordinarily high densities on predator-free offshore islands (e.g. 5.5 to 9.1 pairs per hectare). The cause of the rapid decline of the bellbird from Northland and around Auckland in the 1860s is a matter for speculation. At least nine attempts had been made to translocate bellbirds to islands or mainland sites up to 2012; most failed, and none has yet resulted in a well-established population.
BEHAVIOUR AND ECOLOGY
Bellbirds are territorial when breeding, but may leave the territory to feed at nearby sources of concentrated food, such as nectar. After breeding they move around, usually alone, although several may feed simultaneously in a flowering tree. Males are substantially larger than females and often dominate at concentrated food sources such as nectar sources. The outer primaries of males are notched and these produce a whirring when the birds are in flight and males accentuate the sound during territorial disputes. The oldest known bird was over 8 years. Banded birds have moved up to 10 km, but they are likely to move greater distances when searching for concentrated food source during winter.
FOOD
Bellbirds mainly feed on nectar from many native and introduced plants. They use their brush-like tongue to reach deeply into flowers. In late summer and autumn they take fruit, and in beech forests they take honeydew from scale insects on beech trunks. Bellbirds also eat many insects and spiders by gleaning trunks, branches and leaves; also by hawking. Young appear to be fed insects almost exclusively. As honeyeaters they play an important part pollinating numerous native plants such as mistletoe, flax, fuchsia and kowhai. Subsequently, when feeding on fruits they have a role in dispersing the seeds, and so they assist in the regeneration of the forest in at least two ways.
Source Wikipedia, nzbirdsonline.org.nz
A warm June evening with long shadows forming with the two pipe bands playing as part of the retreat parade.
Drawing is a form of visual art in which a person uses various drawing instruments to mark paper or another two-dimensional medium. Instruments include graphite pencils, pen and ink, inked brushes, wax color pencils, crayons, charcoal, chalk, pastels, various kinds of erasers, markers, styluses, various metals (such as silverpoint) and electronic drawing.
A drawing instrument releases small amount of material onto a surface, leaving a visible mark. The most common support for drawing is paper, although other materials, such as cardboard, plastic, leather, canvas, and board, may be used. Temporary drawings may be made on a blackboard or whiteboard or indeed almost anything. The medium has been a popular and fundamental means of public expression throughout human history. It is one of the simplest and most efficient means of communicating visual ideas.[1] The wide availability of drawing instruments makes drawing one of the most common artistic activities.
In addition to its more artistic forms, drawing is frequently used in commercial illustration, animation, architecture, engineering and technical drawing. A quick, freehand drawing, usually not intended as a finished work, is sometimes called a sketch. An artist who practices or works in technical drawing may be called a drafter, draftsman or a draughtsman.[2]
Drawing is one of the major forms of expression within the visual arts. It is generally concerned with the marking of lines and areas of tone onto paper/other material, where the accurate representation of the visual world is expressed upon a plane surface.[3] Traditional drawings were monochrome, or at least had little colour,[4] while modern colored-pencil drawings may approach or cross a boundary between drawing and painting. In Western terminology, drawing is distinct from painting, even though similar media often are employed in both tasks. Dry media, normally associated with drawing, such as chalk, may be used in pastel paintings. Drawing may be done with a liquid medium, applied with brushes or pens. Similar supports likewise can serve both: painting generally involves the application of liquid paint onto prepared canvas or panels, but sometimes an underdrawing is drawn first on that same support.
Madame Palmyre with Her Dog, 1897. Henri de Toulouse-Lautrec
Galileo Galilei. Phases of the Moon. 1616.
Drawing is often exploratory, with considerable emphasis on observation, problem-solving and composition. Drawing is also regularly used in preparation for a painting, further obfuscating their distinction. Drawings created for these purposes are called studies.
There are several categories of drawing, including figure drawing, cartooning, doodling, free hand and shading. There are also many drawing methods, such as line drawing, stippling, shading, the surrealist method of entopic graphomania (in which dots are made at the sites of impurities in a blank sheet of paper, and lines are then made between the dots), and tracing (drawing on a translucent paper, such as tracing paper, around the outline of preexisting shapes that show through the paper).
A quick, unrefined drawing may be called a sketch.
In fields outside art, technical drawings or plans of buildings, machinery, circuitry and other things are often called "drawings" even when they have been transferred to another medium by printing.
History[edit]
Drawing as a Form of Communication Drawing is one of the oldest forms of human expression, with evidence for its existence preceding that of written communication.[5] It is believed that drawing was used as a specialised form of communication before the invent of the written language,[5][6] demonstrated by the production of cave and rock paintings created by Homo sapiens sapiens around 30,000 years ago.[7] These drawings, known as pictograms, depicted objects and abstract concepts.[8] The sketches and paintings produced in prehistoric times were eventually stylised and simplified, leading to the development of the written language as we know it today.
Drawing in the Arts Drawing is used to express one's creativity, and therefore has been prominent in the world of art. Throughout much of history, drawing was regarded as the foundation for artistic practise.[9] Initially, artists used and reused wooden tablets for the production of their drawings.[10] Following the widespread availability of paper in the 14th century, the use of drawing in the arts increased. At this point, drawing was commonly used as a tool for thought and investigation, acting as a study medium whilst artists were preparing for their final pieces of work.[11][12] In a period of artistic flourish, the Renaissance brought about drawings exhibiting realistic representational qualities,[13] where there was a lot of influence from geometry and philosophy.[14]
The invention of the first widely available form of photography led to a shift in the use of drawing in the arts.[15] Photography took over from drawing as a more superior method for accurately representing visual phenomena, and artists began to abandon traditional drawing practises.[16] Modernism in the arts encouraged "imaginative originality"[17] and artists' approach to drawing became more abstract.
Drawing Outside the Arts Although the use of drawing is extensive in the arts, its practice is not confined purely to this field. Before the widespread availability of paper, 12th century monks in European monasteries used intricate drawings to prepare illustrated, illuminated manuscripts on vellum and parchment. Drawing has also been used extensively in the field of science, as a method of discovery, understanding and explanation. In 1616, astronomer Galileo Galilei explained the changing phases of the moon through his observational telescopic drawings.[16] Additionally, in 1924, geophysicist Alfred Wegener used illustrations to visually demonstrate the origin of the continents.The medium is the means by which ink, pigment or color are delivered onto the drawing surface. Most drawing media are either dry (e.g. graphite, charcoal, pastels, Conté, silverpoint), or use a fluid solvent or carrier (marker, pen and ink). Watercolor pencils can be used dry like ordinary pencils, then moistened with a wet brush to get various painterly effects. Very rarely, artists have drawn with (usually decoded) invisible ink. Metalpoint drawing usually employs either of two metals: silver or lead.[20] More rarely used are gold, platinum, copper, brass, bronze, and tinpoint.
Paper comes in a variety of different sizes and qualities, ranging from newspaper grade up to high quality and relatively expensive paper sold as individual sheets.[21] Papers can vary in texture, hue, acidity, and strength when wet. Smooth paper is good for rendering fine detail, but a more "toothy" paper holds the drawing material better. Thus a coarser material is useful for producing deeper contrast.
Newsprint and typing paper may be useful for practice and rough sketches. Tracing paper is used to experiment over a half-finished drawing, and to transfer a design from one sheet to another. Cartridge paper is the basic type of drawing paper sold in pads. Bristol board and even heavier acid-free boards, frequently with smooth finishes, are used for drawing fine detail and do not distort when wet media (ink, washes) are applied. Vellum is extremely smooth and suitable for very fine detail. Coldpressed watercolor paper may be favored for ink drawing due to its texture.
Acid-free, archival quality paper keeps its color and texture far longer than wood pulp based paper such as newsprint, which turns yellow and become brittle much sooner.
The basic tools are a drawing board or table, pencil sharpener and eraser, and for ink drawing, blotting paper. Other tools used are circle compass, ruler, and set square. Fixative is used to prevent pencil and crayon marks from smudging. Drafting tape is used to secure paper to drawing surface, and also to mask an area to keep it free of accidental marks sprayed or spattered materials and washes. An easel or slanted table is used to keep the drawing surface in a suitable position, which is generally more horizontal than the position used in painting.
Technique[edit]
Raphael, study for what became the Alba Madonna, with other sketches
Almost all draftsmen use their hands and fingers to apply the media, with the exception of some handicapped individuals who draw with their mouth or feet.[22]
Prior to working on an image, the artist typically explores how various media work. They may try different drawing implements on practice sheets to determine value and texture, and how to apply the implement to produce various effects.
The artist's choice of drawing strokes affects the appearance of the image. Pen and ink drawings often use hatching—groups of parallel lines.[23] Cross-hatching uses hatching in two or more different directions to create a darker tone. Broken hatching, or lines with intermittent breaks, form lighter tones—and controlling the density of the breaks achieves a gradation of tone. Stippling, uses dots to produce tone, texture or shade. Different textures can be achieved depending on the method used to build tone.[24]
Drawings in dry media often use similar techniques, though pencils and drawing sticks can achieve continuous variations in tone. Typically a drawing is filled in based on which hand the artist favors. A right-handed artist draws from left to right to avoid smearing the image. Erasers can remove unwanted lines, lighten tones, and clean up stray marks. In a sketch or outline drawing, lines drawn often follow the contour of the subject, creating depth by looking like shadows cast from a light in the artist's position.
Sometimes the artist leaves a section of the image untouched while filling in the remainder. The shape of the area to preserve can be painted with masking fluid or cut out of a frisket and applied to the drawing surface, protecting the surface from stray marks until the mask is removed.
Another method to preserve a section of the image is to apply a spray-on fixative to the surface. This holds loose material more firmly to the sheet and prevents it from smearing. However the fixative spray typically uses chemicals that can harm the respiratory system, so it should be employed in a well-ventilated area such as outdoors.
Another technique is subtractive drawing in which the drawing surface is covered with graphite or charcoal and then erased to make the image.[25]
Tone[edit]
Line drawing in sanguine by Leonardo da Vinci
Shading is the technique of varying the tonal values on the paper to represent the shade of the material as well as the placement of the shadows. Careful attention to reflected light, shadows and highlights can result in a very realistic rendition of the image.
Blending uses an implement to soften or spread the original drawing strokes. Blending is most easily done with a medium that does not immediately fix itself, such as graphite, chalk, or charcoal, although freshly applied ink can be smudged, wet or dry, for some effects. For shading and blending, the artist can use a blending stump, tissue, a kneaded eraser, a fingertip, or any combination of them. A piece of chamois is useful for creating smooth textures, and for removing material to lighten the tone. Continuous tone can be achieved with graphite on a smooth surface without blending, but the technique is laborious, involving small circular or oval strokes with a somewhat blunt point.
Shading techniques that also introduce texture to the drawing include hatching and stippling. A number of other methods produce texture. In addition to the choice of paper, drawing material and technique affect texture. Texture can be made to appear more realistic when it is drawn next to a contrasting texture; a coarse texture is more obvious when placed next to a smoothly blended area. A similar effect can be achieved by drawing different tones close together. A light edge next to a dark background stands out to the eye, and almost appears to float above the surface.
Form and proportion[edit]
Pencil portrait by Ingres
Measuring the dimensions of a subject while blocking in the drawing is an important step in producing a realistic rendition of the subject. Tools such as a compass can be used to measure the angles of different sides. These angles can be reproduced on the drawing surface and then rechecked to make sure they are accurate. Another form of measurement is to compare the relative sizes of different parts of the subject with each other. A finger placed at a point along the drawing implement can be used to compare that dimension with other parts of the image. A ruler can be used both as a straightedge and a device to compute proportions.
When attempting to draw a complicated shape such as a human figure, it is helpful at first to represent the form with a set of primitive volumes. Almost any form can be represented by some combination of the cube, sphere, cylinder, and cone. Once these basic volumes have been assembled into a likeness, then the drawing can be refined into a more accurate and polished form. The lines of the primitive volumes are removed and replaced by the final likeness. Drawing the underlying construction is a fundamental skill for representational art, and is taught in many books and schools. Its correct application resolves most uncertainties about smaller details, and makes the final image look consistent.[26]
A more refined art of figure drawing relies upon the artist possessing a deep understanding of anatomy and the human proportions. A trained artist is familiar with the skeleton structure, joint location, muscle placement, tendon movement, and how the different parts work together during movement. This allows the artist to render more natural poses that do not appear artificially stiff. The artist is also familiar with how the proportions vary depending on the age of the subject, particularly when drawing a portrait.
Perspective[edit]
Linear perspective is a method of portraying objects on a flat surface so that the dimensions shrink with distance. Each set of parallel, straight edges of any object, whether a building or a table, follows lines that eventually converge at a vanishing point. Typically this convergence point is somewhere along the horizon, as buildings are built level with the flat surface. When multiple structures are aligned with each other, such as buildings along a street, the horizontal tops and bottoms of the structures typically converge at a vanishing point.
Two-point perspective drawing
When both the fronts and sides of a building are drawn, then the parallel lines forming a side converge at a second point along the horizon (which may be off the drawing paper.) This is a two-point perspective.[27] Converging the vertical lines to a third point above or below the horizon then produces a three-point perspective.
Depth can also be portrayed by several techniques in addition to the perspective approach above. Objects of similar size should appear ever smaller the further they are from the viewer. Thus the back wheel of a cart appears slightly smaller than the front wheel. Depth can be portrayed through the use of texture. As the texture of an object gets further away it becomes more compressed and busy, taking on an entirely different character than if it was close. Depth can also be portrayed by reducing the contrast in more distant objects, and by making their colors less saturated. This reproduces the effect of atmospheric haze, and cause the eye to focus primarily on objects drawn in the foreground.
Artistry[edit]
Chiaroscuro study drawing by William-Adolphe Bouguereau
The composition of the image is an important element in producing an interesting work of artistic merit. The artist plans element placement in the art to communicate ideas and feelings with the viewer. The composition can determine the focus of the art, and result in a harmonious whole that is aesthetically appealing and stimulating.
The illumination of the subject is also a key element in creating an artistic piece, and the interplay of light and shadow is a valuable method in the artist's toolbox. The placement of the light sources can make a considerable difference in the type of message that is being presented. Multiple light sources can wash out any wrinkles in a person's face, for instance, and give a more youthful appearance. In contrast, a single light source, such as harsh daylight, can serve to highlight any texture or interesting features.
When drawing an object or figure, the skilled artist pays attention to both the area within the silhouette and what lies outside. The exterior is termed the negative space, and can be as important in the representation as the figure. Objects placed in the background of the figure should appear properly placed wherever they can be viewed.
Drawing process in the Academic Study of a Male Torso by Jean-Auguste-Dominique Ingres (1801, National Museum, Warsaw)
A study is a draft drawing that is made in preparation for a planned final image. Studies can be used to determine the appearances of specific parts of the completed image, or for experimenting with the best approach for accomplishing the end goal. However a well-crafted study can be a piece of art in its own right, and many hours of careful work can go into completing a study.
Process[edit]
Individuals display differences in their ability to produce visually accurate drawings.[28] A visually accurate drawing is described as being "recognized as a particular object at a particular time and in a particular space, rendered with little addition of visual detail that can not be seen in the object represented or with little deletion of visual detail”.[29]
Investigative studies have aimed to explain the reasons why some individuals draw better than others. One study posited four key abilities in the drawing process: perception of objects being drawn, ability to make good representational decisions, motor skills required for mark-making and the drawer's own perception of their drawing.[29] Following this hypothesis, several studies have sought to conclude which of these processes are most significant in affecting the accuracy of drawings.
Motor function Motor function is an important physical component in the 'Production Phase' of the drawing process.[30] It has been suggested that motor function plays a role in drawing ability, though its effects are not significant.[29]
Perception It has been suggested that an individual's ability to perceive an object they are drawing is the most important stage in the drawing process.[29] This suggestion is supported by the discovery of a robust relationship between perception and drawing ability.[31]
This evidence acted as the basis of Betty Edwards' how-to drawing book, Drawing on the Right Side of the Brain.[32] Edwards aimed to teach her readers how to draw, based on the development of the reader's perceptual abilities.
Furthermore, the influential artist and art critic John Ruskin emphasised the importance of perception in the drawing process in his book The Elements of Drawing.[33] He stated that "For I am nearly convinced, that once we see keenly enough, there is very little difficult in drawing what we see".
Visual memory has also been shown to influence one's ability to create visually accurate drawings. Short-term memory plays an important part in drawing as one’s gaze shifts between the object they are drawing and the drawing itself.[34]
The Shard, also referred to as the Shard of Glass, Shard London Bridge and formerly London Bridge Tower, is a 95-storey skyscraper in Southwark, London, that forms part of the London Bridge Quarter development.
Standing 309.6 metres (1,016 ft) high, the Shard is the tallest building in the United Kingdom, the 105th tallest building in the world, and the fourth tallest building in Europe. It is also the second-tallest free-standing structure in the United Kingdom, after the concrete tower at the Emley Moor transmitting station.
The Shard's construction began in March 2009; it was topped out on 30 March 2012 and inaugurated on 5 July 2012. Practical completion was achieved in November 2012. Its privately operated observation deck, the View from the Shard, opened to the public on 1 February 2013.
The glass-clad pyramidal tower has 72 habitable floors, with a viewing gallery and open-air observation deck on the 72nd floor, at a height of 244.3 metres (802 ft). It was designed by the Italian architect Renzo Piano and replaced Southwark Towers, a 24-storey office block built on the site in 1975. The Shard was developed by Sellar Property Group on behalf of LBQ Ltd, and is jointly owned by Sellar Property and the State of Qatar. Source: en.wikipedia.org
Form and Formed runs until June 9 and features ceramic and installation work by Suk Jin Choi and work by architect Yu-Chih Hsiao. Community Arts @ Paramount Gallery located on west side of Woodward, south of 9 mile in Paramount Bank. 22635 Woodward Avenue, Ferndale, MI.
Winning form returns against CIYMS
by Roger Corbett
In this important fixture, it was Bangor who took the victory against CIYMS by 22-5 resulting in the two sides swapping places in the league.
Bangor got the game underway, kicking off into a stiff breeze. Within 3 minutes, Bangor conceded the first penalty of the game, which CIYMS elected to kick for goal, but failed to convert. The Bangor back line looked sharp, with Davy Charles coming in from full back to break the CIYMS line and set up a promising attack. James Henly came close but the CIYMS defence was sound.
The Bangor pack had seen a number of changes as the result of ongoing injury problems, but it performed well in both scrum and lineout set pieces. In fact it was from a lineout after just 9 minutes that the ball was cleanly won and passed quickly to Jason Morgan at out half, who produced another great line to wrong foot the CIYMS defence and ghost in to score under the posts. The conversion was successfully taken by Neil Cuthbertson, putting Bangor into the lead by 7-0.
This gave Bangor the boost they needed, and they continued to dominate play. After a further 6 minutes, from a scrum just inside the CIYMS half, scrum half Craig Harper passed to Morgan who then off-loaded to Mike Aspley in the centre. Although tackled, he managed to get the ball to Phil Whyte who had followed up from propping in the scrum. Drawing the defending tacklers, he then passed to flanker James Henly who burst through to run in unopposed for Bangor’s second try under the posts. Again, the simple kick was converted by Cuthbertson, doubling the lead to 14-0.
CIYMS responded well, using the wind advantage wisely to bring play repeatedly back into Bangor’s territory, but mistakes at crucial periods of play denied them any meaningful scoring opportunities. Bangor, on the other hand, stuck to their plan and continued to apply pressure. This soon forced CIYMS to concede a kickable penalty, which Cuthbertson converted to increase the lead to 17-0 after 23 minutes of play.
However, just 3 minutes later, the referee showed the yellow card to captain Jamie Clegg after he was judged to have deliberately knocked on the ball while defending a CIYMS attack. From the subsequent penalty, CIYMS passed the ball wide to the left and made a push for the line. What looked like a certain try was prevented by great Bangor defending, as they managed to hold the ball up and win the turnover.
Within minutes of Clegg’s return from the sin bin, the circumstances that led to his penalty were repeated, this time by Jason Morgan who similarly was shown the referee’s yellow card. From this penalty, the CIYMS players didn’t make the same mistake as before, and finally managed to touch down for a try in the left hand corner. The difficult kick was missed, but CIYMS were now on the scoreboard, reducing Bangor’s lead to 17-5 as the first half drew to a close.
As the teams turned around and CIYMS got the second half underway, hopes were high that Bangor would build on their first half tries and use the wind to keep their opponents pinned down in their own twenty two. However, it’s fair to say that CIYMS came out the stronger and frustrated Bangor’s attacks, while moving the ball through their backs with more purpose and accuracy.
It was not until 30 minutes had been played that the second half deadlock was broken. From a long CIYMS clearance kick, the ball was safely taken by Harper inside his own half. Two long and quickly made passes, saw the ball move via Jason Morgan to Davy Charles whose pace was too much for the thinly spread CIYMS defence. Running wide, he rounded the final CIYMS players to score on the right hand side. Cuthbertson’s kick was just wide of the posts, but Bangor were now 3 tries to the good, and within sight of another bonus point victory.
However, just 2 minutes later, and with CIYMS moving back into Bangor territory, the game produced another sting for the home side. In his attempt to intercept a long CIYMS pass, he knocked the ball forward and stopped the CIYMS attack. The referee deemed this to be deliberate once again and produced a second yellow card which in turn led to a red card, and Morgan was to take no further part in the game. Stung by this set-back, and with just 8 minutes remaining, Bangor re-grouped and wisely focussed on defending their lead and denying CIYMS any further scoring chances. This they did, and as the final whistle was blown, they could celebrate a return to winning ways, and a return to their previously held 3rd position in the league.
This was an encouraging team performance that should give added confidence as the players now set their sights on the first round of the Towns Cup (next weekend, at home to City of Derry 2nds), followed by a challenging journey to league leaders Clogher Valley in the league afterwards.
Bangor side: P Whyte, A Jackson, J Leary (J Harrison), A Rushe, D Kelly, J Henly, R Latimer, J Clegg (c), C Harper, J Morgan, M Widdowson, M Aspley, C Morgan (G Caughey), N Cuthbertson, D Charles
Subs: J Harrison, G Caughey
Bangor scores: J Morgan (1T), J Henly (1T), D Charles (1T), N Cuthbertson (2C, 1P)
Winning form returns against CIYMS
by Roger Corbett
In this important fixture, it was Bangor who took the victory against CIYMS by 22-5 resulting in the two sides swapping places in the league.
Bangor got the game underway, kicking off into a stiff breeze. Within 3 minutes, Bangor conceded the first penalty of the game, which CIYMS elected to kick for goal, but failed to convert. The Bangor back line looked sharp, with Davy Charles coming in from full back to break the CIYMS line and set up a promising attack. James Henly came close but the CIYMS defence was sound.
The Bangor pack had seen a number of changes as the result of ongoing injury problems, but it performed well in both scrum and lineout set pieces. In fact it was from a lineout after just 9 minutes that the ball was cleanly won and passed quickly to Jason Morgan at out half, who produced another great line to wrong foot the CIYMS defence and ghost in to score under the posts. The conversion was successfully taken by Neil Cuthbertson, putting Bangor into the lead by 7-0.
This gave Bangor the boost they needed, and they continued to dominate play. After a further 6 minutes, from a scrum just inside the CIYMS half, scrum half Craig Harper passed to Morgan who then off-loaded to Mike Aspley in the centre. Although tackled, he managed to get the ball to Phil Whyte who had followed up from propping in the scrum. Drawing the defending tacklers, he then passed to flanker James Henly who burst through to run in unopposed for Bangor’s second try under the posts. Again, the simple kick was converted by Cuthbertson, doubling the lead to 14-0.
CIYMS responded well, using the wind advantage wisely to bring play repeatedly back into Bangor’s territory, but mistakes at crucial periods of play denied them any meaningful scoring opportunities. Bangor, on the other hand, stuck to their plan and continued to apply pressure. This soon forced CIYMS to concede a kickable penalty, which Cuthbertson converted to increase the lead to 17-0 after 23 minutes of play.
However, just 3 minutes later, the referee showed the yellow card to captain Jamie Clegg after he was judged to have deliberately knocked on the ball while defending a CIYMS attack. From the subsequent penalty, CIYMS passed the ball wide to the left and made a push for the line. What looked like a certain try was prevented by great Bangor defending, as they managed to hold the ball up and win the turnover.
Within minutes of Clegg’s return from the sin bin, the circumstances that led to his penalty were repeated, this time by Jason Morgan who similarly was shown the referee’s yellow card. From this penalty, the CIYMS players didn’t make the same mistake as before, and finally managed to touch down for a try in the left hand corner. The difficult kick was missed, but CIYMS were now on the scoreboard, reducing Bangor’s lead to 17-5 as the first half drew to a close.
As the teams turned around and CIYMS got the second half underway, hopes were high that Bangor would build on their first half tries and use the wind to keep their opponents pinned down in their own twenty two. However, it’s fair to say that CIYMS came out the stronger and frustrated Bangor’s attacks, while moving the ball through their backs with more purpose and accuracy.
It was not until 30 minutes had been played that the second half deadlock was broken. From a long CIYMS clearance kick, the ball was safely taken by Harper inside his own half. Two long and quickly made passes, saw the ball move via Jason Morgan to Davy Charles whose pace was too much for the thinly spread CIYMS defence. Running wide, he rounded the final CIYMS players to score on the right hand side. Cuthbertson’s kick was just wide of the posts, but Bangor were now 3 tries to the good, and within sight of another bonus point victory.
However, just 2 minutes later, and with CIYMS moving back into Bangor territory, the game produced another sting for the home side. In his attempt to intercept a long CIYMS pass, he knocked the ball forward and stopped the CIYMS attack. The referee deemed this to be deliberate once again and produced a second yellow card which in turn led to a red card, and Morgan was to take no further part in the game. Stung by this set-back, and with just 8 minutes remaining, Bangor re-grouped and wisely focussed on defending their lead and denying CIYMS any further scoring chances. This they did, and as the final whistle was blown, they could celebrate a return to winning ways, and a return to their previously held 3rd position in the league.
This was an encouraging team performance that should give added confidence as the players now set their sights on the first round of the Towns Cup (next weekend, at home to City of Derry 2nds), followed by a challenging journey to league leaders Clogher Valley in the league afterwards.
Bangor side: P Whyte, A Jackson, J Leary (J Harrison), A Rushe, D Kelly, J Henly, R Latimer, J Clegg (c), C Harper, J Morgan, M Widdowson, M Aspley, C Morgan (G Caughey), N Cuthbertson, D Charles
Subs: J Harrison, G Caughey
Bangor scores: J Morgan (1T), J Henly (1T), D Charles (1T), N Cuthbertson (2C, 1P)
Stepping into this room at SFMOMA feels like entering a living forest made of air and wire. Ruth Asawa’s suspended sculptures gently sway overhead, each hand-looped form echoing natural rhythms—like seedpods, sea creatures, or even cellular structures. Visitors wander through the delicate mesh, instinctively whispering, awed by the way shadow and form intermingle across the floor and walls. Asawa’s ability to transform industrial material into organic elegance is on full display, her work drawing you inward without demanding interpretation. The space breathes with quiet reverence—equal parts sculpture, architecture, and spirit. It's a meditation in motion.