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Lillian träumt sich die Wahrheit,
Lillian träumt sich das Licht,
Lillian träumt auch die Lüge.
Lillian sucht ihr Gesicht.
Accession Number: spa.gw.em.2.18.2
This leaflet forms part of the Gordon Wilson collection. Gordon Wilson was MP for Dundee East between 1974 and 1987. He was Deputy Leader of the SNP between 1973 and 1974 and leader from 1979 to 1990. He has participated in an interview with the Scottish Political Archive discussing his memories of the 1979 and 1997 devolution referendums. His interview forms part of the Devolution Referendums Oral History Collection within the archive.
The Scottish Political Archive is housed at the University of Stirling. The archive is home to the oral interviews, personal papers and associated material from prominent Scottish politicians. For further information about the work of the archive please visit our website www.scottishpoliticalarchive.org.uk
Mobile scaffolding and scissor lifts are used to prepare the surface of the station box interior for spraying sound-absorbing material called Pyrok, while the construction of concrete forms for the station platform continues below.
La corsa di Ignazio Marino alla segreteria del Partito Democratico passa per Formia. Una fermata obbligatoria per il ruolo rivestito nella mozione da Sandro Bartolomeo. Ed è proprio l'ex sindaco a lanciare il senatore chirurgo, il king maker di questa competizione: l'agitatore dei diritti civili. Il Pd a cui pensa Ignazio Marino deve applicare «quel metodo laico» di cui è vivace sostenitore. «Ognuno porti con passione, con entusiasmo le proprie idee, le proprie convinzioni, la propria cultura, ma alla fine si faccia una sintesi e tutti ci si senta realmente obbligati a sostenere la decisione che si è presa a maggioranza» afferma il senatore incassando l'applauso convinto dei presenti. La Sala Ribaud è piena. Ma non ci sono solo quelli della mozione. Ci sono i bersaniani e i pro Franceschini. C'è il popolo delle primarie, ma ci sono anche i disillusi: «E' il solito discorso dei politici». Ma Marino piace. Strappa applausi e consensi. C'è chi annuisce quando afferma: «Io credo che abbiamo una risorsa straordinaria. Abbiamo le persone. Sciogliamo queste correnti che producono solo poteri, sottopoteri, controllo e non danno entusiasmo, passione e nuove idee. Utilizziamo una sola corrente, la corrente delle persone, della gente e dei circoli» esalta i presenti. In fondo è proprio questo che chiede la base del Pd. «Io voglio un partito che ritorni alle persone. Che interroghi la gente. Ve lo dico con grande chiarezza. Se per esempio sul tema del testamento biologico, interrogando tutti voi, in tutt'Italia il 98% di voi arrivasse a dire che la pensa come Paola Binetti, io in un Partito Democratico me ne farei una ragione. Ma se il 98% di voi dice che deve avere la libertà di scegliere a quali terapie accedere» lasciando fuori dalla propria stanza il legislatore, «anche Paola Binetti se ne deve fare una ragione» scandisce il senatore. I diritti civili sono il suo cavallo di battaglia. Uno spazio democratico in cui far confluire le istanze tanto degli omosessuali quanto degli immigrati. Su questo tema rilancia: «Sull'immigrazione le regole devono essere chiare, ma devono rispettare le persone». Quindi facendo leva sulla sua esperienza, racconta: «Negli Usa, pagavo regolarmente le tasse, ma non mi è mai capitato di stare in una tenda al freddo per rinnovare il permesso di soggiorno». Diritti, diritti e ancora diritti quando si parla di respingimenti, per i quali nutre una personale riserva, sposando quell'orientamento giuridico che solleva qualche dubbio di legittimità su tale pratica, lesivo del diritto d'asilo. «L'immigrazione attraverso il mare - conclude Marino - è assai limitata rispetto alle altre modalità illegali di ingresso. Si diano, invece, più mezzi alle polizie di frontiera» rileva il candidato. Un discorso ricco di spunti e di grande respiro ideale, che non trascura certo la green economy, che «fa sia bene all’ambiente e crea lavoro», la giustizia sociale, e la legalità. Convince i presenti, se ce ne fosse stato già bisogno. La vera sfida, però, è quella di riavvicinare i delusi. Se questa missione sarà stata superata lo vedremo il 25 ottobre.
Martedì 20 Ottobre 2009
Formado pela dupla Mayra (vocal) e Bruno (guitarra elétrica e acústica), o College 11 tem seduzido multidões por onde passa com seu som que abusa de sintetizadores, bits eletrônicos, instrumentos acústicos, incorporando guitarras e vocais vibrantes com grande personalidade.
Show de abertura para o 3OH!3. São Paulo. 17.09.10
The stoat (Mustela erminea), also known as the short-tailed weasel, is a species of Mustelidae native to Eurasia and North America, distinguished from the least weasel by its larger size and longer tail with a prominent black tip. The name ermine is often, but not always, used for the animal in its pure white winter coat, or the fur thereof.[2] In the late 19th century, stoats were introduced into New Zealand to control rabbits. The stoats have had a devastating effect on native bird populations (see stoats in New Zealand).
It is classed by the IUCN as Least Concern, due to its wide circumpolar distribution, and because it does not face any significant threat to its survival.[1] It was named one of the world's top 100 "worst invasive species" by the IUCN Species Survival Commission's Invasive Species Specialist Group.[3]
The ermine luxury fur is often used by Catholic monarchs, Pontiffs and Cardinals who sometimes use it as the mozetta cape, and devotional images such as the Infant Jesus of Prague. It also forms part of the parliamentary and coronation robes of British peers of the Realm.
Forms a sort of natural-prison-bar-effect around the house. Taken this morning. Snowing then, still snowing now.
Contenitore barattolo a forma di renna di Natale in ceramica lucida rifinito e dipinto a mano.
Un arredo natalizio di tutto rispetto che cambierà totalmente la vostra tavola o la vostra cucina nel giorno di natale, e non solo.
Può essere utilizzato come porta biscotti, zuccheriera, porta dolci, porta caramelle e cioccolatini, salvadanaio o svuota tasche.
Oggetto venduto in una semplice scatola di cartone bianco anonima.
ATTENZIONE: Questi oggetti unici nel loro genere sono rifiniti e dipinti a mano, potrebbero quindi avere delle piccolissime imperfezioni sul corpo,
non è un difetto ma sono delle particolarità che rendono ogni pezzo unico, sono opere di artigianato.
Oggetto a norma CE made in Italy.
Dimensione: cm 12 x 12 x 18 H
www.lefantasiedicasa.com/prodotto/contenitore-barattolo-a...
Formé à Saint-Cyr, promotion Austerlitz de 1904, Henry Lachouque a participé à la bataille de Marne en 1914 au sein du 66e régiment d'infanterie. Blessé, il fut obligé de quitter les rangs de l'armée.
Officier de la Légion d’honneur et décoré de la Croix de Guerre 14-18, Fondateur de l’Association des Amis de Sainte-Hélène, le commandant Lachouque a été de 1936 à 1946, Conservateur adjoint du Musée de Malmaison
Il se consacra plus particulièrement à l'histoire du premier Empire. Il fit restaurer la maison de Napoléon à Longwood (1934) et publia de nombreux ouvrages. (Wikipedia)
Output A
Stage: 25%
Status: Finding
Shader effects video on Vimeo
1) Depth of Field, Blur + Bloom GLSL
Technical demonstration video w/o shader effects
Apresentação comemorativa da Academia Toute Forme no Teatro SESIMINAS em 2011.
Prática fotográfica realizada pela Escola de Fotografia Studio 3 / SESIMINAS por Vanessa Oliveira.
Espacios Bioseguros
“Necesitamos tomar medidas preventivas de forma urgente bajo el paradigma del uso de las mejores tecnologías”
Luis de la Fuente Ramírez, presidente de ABQ, presentó Espacios Bioseguros junto al decano del Colegio de Biólogos de la Comunidad Autónoma de Madrid (COBCM), Ángel Fernández Ipar, como “un concepto en el que destacamos una serie de medidas de prevención para la población general por medio de un conjunto de soluciones tecnológicas para prevenir y minimizar los riesgos de contagio en, por ejemplo, espacios interiores, medios de transporte y otros, con el objetivo de controlar los agentes contaminantes de una forma eficaz y sostenible desde el punto de vista medioambiental y económico”. Por otro lado, “los profesionales debemos de controlar de forma eficaz los riesgos de contagio, tanto en las superficies como en el empleo de los materiales de trabajo que utilizamos todos los días”, matizó Ramírez a lo largo de su exposición.
Con motivo del acto de presentación de las Olimpiadas de Biología de la Comunidad Autónoma de Madrid, los responsables de ABQ dieron a conocer los objetivos de la entidad, así como el proyecto Espacios Bioseguros.
De esta manera, ABQ, entidad europea especializada en bioseguridad, “desea llevar a cabo un protocolo de implantación de un certificado de calidad para garantizar el Espacio Bioseguro en las empresas e instituciones con un 80% de éxito en todos los análisis que hagamos a partir de ahora”, indicaron los responsables de la asociación.
Recordemos que “ABQ ha logrado seleccionar, junto a los colegios de biólogos de las distintas Comunidades Autónomas, soluciones eficientes que han sido contrastadas por la NASA”, concluyó Ramírez.
De esta manera, la asociación ABQ participó en las Olimpiadas de Biología de la Comunidad de Madrid, organizadas por el Colegio de Biólogos de la Comunidad de Madrid (COBCM) con el patrocinio de la Consejería de Educación y la colaboración de la Universidad Complutense, Universidad Autónoma y Editorial Santillana.
Foto (derecha a izquierda): Ángel Fernández Ipar, decano del Colegio de Biólogos de la Comunidad de Madrid (COBCM), y Luis de la Fuente Ramírez, presidente de ABQ.
Para más información:
www.youtube.com/user/asociacionabq
Sobre ABQ:
www.asociacionabq.org/index.php/es/inicio/61-convenio-con...
ABQ, entidad sin ánimo de lucro que se encargará de buscar soluciones para todos los sectores de la actividad profesional, es una asociación que propone y busca, por medio del debate, la transmisión del conocimiento e información precisa sobre determinadas amenazas para el sector humano, sobre todo con las nuevas bacterias y el tratamiento y análisis de casos concretos. Luis de la Fuente Ramírez, presidente, reconoce que “el esfuerzo no ha hecho más que empezar”. En la actualidad, representará los intereses de los colectivos allegados por la firma de Convenios de Colaboración en materia de divulgación, formación y colaboración en la redacción de estudios e informes especializados.
Objetivos ABQ:
1º.- Concienciar a la sociedad sobre los riesgos que les afectan en materia de bioseguridad en su contexto universal. Riesgos que afectan a todos los espacios públicos donde la gente interacciona físicamente entre sí y la necesidad, por ello, de generar “Espacios Bioseguros” donde estos riesgos sean minimizados.
2º.- Encontrar, evaluar y difundir a la sociedad las mejores técnicas y/o tecnologías disponibles para minimizar dichos riesgos. Dichas técnicas y/o tecnologías una vez encontradas deberán ser evaluadas por los comités científico-técnicos formados expertos de la comunidad científica.
Departamento de Comunicación y Prensa de ABQ
Jorge Hierro Álvarez
C/ Ramón Gómez de la Serna, 1 – Local A4
28035 Madrid (España)
Teléfono: 696 67 37 21
Email: jorge.hierro@asociacionabq.org
Website: www.asociacionabq.org
Rodney Gray Cup returns to Bangor by Roger Corbett
Bangor's good run of form continued with a convincing 41-13 league win against local rivals Donaghadee, regaining the Rodney Gray Cup in the process.
The afternoon got off to a great start with the clubhouse close to full capacity for the pre-match corporate lunch. Although many chose to stay indoors and view the game in comfort, many more gathered along the touchlines to watch this keenly contested fixture. North Down pride was at stake, with not only league points on offer, but also the Rodney Gray Cup which has particular importance for both sides.
As Donaghadee got the game underway, playing with the wind at their backs, conditions were good and the prospect of good running rugby was anticipated. The first scrum, after 5 minutes of play, heralded a problem for both sides. For Donaghadee, they were completely overpowered and saw their pack disrupted. However, for Bangor, the referee viewed Bangor’s power as being applied in an illegal fashion and penalised their pack as a result. The penalty kick from Bangor’s twenty two was pushed wide.
A clever drop-out by Jason Morgan saw Bangor hold on to possession and start to work back down field. The back line that has worked so well together then kicked into action. A move which started with Mike Weir, showing his strength to ride out some touch tackles, continued through Curtis Stewart, Jason Morgan and Ricky Armstrong before reaching Chris Morgan who had joined the line on the left wing. Having made an overlap, Morgan had the room and pace to run in at the left hand corner for a well worked try. Mark Widdowson kicked the conversion putting Bangor ahead by 7-0.
Another strange penalty decision against Bangor at a scrum gave the visitors another chance to kick at goal, but once again the tricky wind conditions forced the kick wide. Almost immediately, Donaghadee were awarded yet another penalty, and this time the kick was good, making the score now 7-3 with 12 minutes gone.
Another penalty opportunity for Donaghadee after 20 minutes was unsuccessful. Within minutes of the restart, the ball came to Jason Morgan just outside Donaghadee’s twenty two. Although tackled and brought to the ground, he had the presence of mind to release the ball, then pick it up again as he got to his feet. With Jamie Clegg in close support, it looked like the pass was on, but instead Morgan shrugged off another tackle and dashed through to score under the posts. Widdowson’s kick was successful, extending the lead to 14-3.
Bangor’s backs were now looking to be in control, and when another attacking move started to build, a Donaghadee player was guilty of deliberately knocking the ball forward, resulting in a yellow card. As is so often the case in situations like this, the loss of a player for 10 minutes left Donaghadee with too much space to cover, resulting in another Chris Morgan try, after Bangor had quickly passed the ball wide, exploiting the free space. Although Donaghadee bravely fought back and were pressing hard in Bangor’s twenty two, a turn-over gave possession back to Bangor. Although tackled hard, Mike Weir managed to stay on his feet and broke through the centre. Having made good ground and drawn other defenders, he passed outside to Davy Charles on the right wing whose pace and footwork were too much for the retreating defence, allowing him to touch down for Bangor’s bonus point try. The conversion was missed, but Bangor were now a comfortable 24-3 ahead.
From the scrappy restart, Bangor failed to gather the ball and immediately found themselves on the back foot. This time the Donaghadee players combined well, taking advantage of an out-of-shape defence, to run in to the right of Bangor’s posts and score an unconverted try, bringing the half time score to 24-8.
As Bangor got the second half underway, the weather was beginning to deteriorate, although the wind was now in their favour. Despite a number of good attacking positions, Bangor failed to add to their score as a result of mishandling and a growing penalty count. From one of these penalties, Donaghadee kicked for touch inside Bangor’s twenty two. The resulting lineout was taken cleanly and the subsequent forward drive proved too difficult to stop, resulting in a try wide on the left of Bangor’s posts. The difficult kick was missed but, with a try either side of half time, Donaghadee now found themselves back in the game at 24-13.
Unfortunately, this was as good as it got for the visitors. With the wind strengthening, and the rain coming down heavily, conditions were becoming difficult for both sides. However, the strength of Bangor’s pack came to the fore once again when, from a lineout inside Donaghadee’s twenty two, Ryan Latimer made a charge towards the line. Although surrounded by several defenders, Latimer pressed forward, aided by his own forwards, until he crossed the line. Minutes later it was the backs turn to score, as Mike Aspley broke through the centre before unselfishly passing to Mike Weir who had a clear run to touch down under the posts. These scores pushed Bangor well in front by 36-13, with 23 minutes gone.
For most of the remainder of the game, the most difficult opponent was the weather. The combination of a slippery ball and cold hands led to many missed passes by both sides. But just as the game entered its final phase, the Bangor pack once again imposed their authority on the Donaghadee scrum, allowing Scott Irvine to pick up and drive over from short distance to score. This proved to be the final play of the game, resulting in a final score of 41-13 in Bangor’s favour.
While not without its faults, this was another complete team performance from Bangor that continues to build in confidence, and augers well for the challenge next week when they travel to Shaws Bridge to face an equally in-form Instonians in the quarter final of the Junior Cup.
Bangor side: S Irvine, A Jackson, P Whyte, G Irvine, J Henly, R Latimer, J Clegg (c), C Stewart, R Armstrong, J Morgan, M Widdowson, M Aspley, M Weir, D Charles, C Morgan
Subs: O McIlmurray, M Thompson
Bangor scores: C Morgan (2T), J Morgan (1T), D Charles (1T), R Latimer (1T), M Weir(1T), S Irvine (1T), M Widdowson (3C)
Carpenters building forms to pour cement for the foundation of a new building.
This set contains 39, 8x10 inch glass negatives of the construction of the Philadelphia, Frankford Street Elevated Railroad in 1913. There are also several enlargements of areas that I found interesting. They were packed in a box and separated with paper with notes recorded on them. The paper had disintegrated and stuck to the emulsion side of the negatives. You will find many of the photos with this paper still stuck to the plates because I did not try to remove it for fear of damaging the photos.
The newly formed Senior Wrestling League competition between Aspull Warriors and City of Manchester Wrestling Club, was held at the Aspull on Saturday Saturday 21 Jan 2023.
Following 10 exciting and tough matches City of Manchester gained the win.
Aspull Warriors 19 City of Manchester 26
This event is part of the two pilot leagues which were launching in September 22.
This could be a huge step for the development of wrestling in this country. If successful with our pilot season this could lead to the launch of a nationwide league launching in every region of the UK by the end of 2023.
The clubs competing in the inaugural Northern Seniors Wrestling League are:-
Manchester Y-Club Wrestling
@aspullwarriorswrestling
@bowcbears
@manchester_wrestling_club
@empower_wrestling
@bradfordwrestlingacademy
Fantastic book by Casey Reas, Chandler McWilliams, and the design/interactive shop LUST. Backdrop, Casey's Process Compendium 2004-2010.
This is compleatly natural. It just amazes me every time I see it. I challenge all the Gettysburg Battlefield geeks out there to tell me where this is at. It is on the Battlefield.
Forms of Resistance, a two-person exhibition featuring works on paper by Tim McFarlane and Washington, D.C.-based artist, Miguel Rodriguez. The show consists of 20 new works on paper by each artist, with all work produced in 2017.
Reception
Friday, May 5 at 6 - 9 PM
Exhibition Statement: When talking about the “why” behind this show, we made a list of some of the things which drew our interest. We spoke about survival, how it relates to cities, oppression, graffiti being put up, then erased, then put up again. Graffiti as protest art. How the traces of words and marks build up and form a sort of collective language over time. We touched on how that relates to evolutionary biology. How all organisms belong to the same tree of life and contain elements of each other, morphed into endless variety through long periods of adaptation and reproduction over time. How we are derived from microscopic meteor particles, our alien origins. How we dream of life beyond our planet, or wish that we would be rescued. Or how terms like “illegal” aliens take a whole group of people and make them the other. We found ourselves deep into the role of artists in societies, whose free speech and thinking goes against the grain of authoritarian ideologies, and how every mark we make, every painting we realize is a form of resistance.
Tim McFarlane and Miguel Rodriguez
Exhibition
May 5 - May 27
Gallery Hours
Saturdays 11 - 2 pm
ARTIST BIOS
Tim McFarlane is a painter based in Philadelphia, PA. McFarlane’s paintings and works on paper examine the fluid nature of memory, time and place, with an emphasis on color, multi-layered systems and process. A 1994 Temple University/Tyler School of Art graduate, McFarlane exhibited in various group exhibitions around the Philadelphia region before gaining representation with the Bridgette Mayer Gallery in 2002, where he has had several solo exhibitions.
Tim McFarlane has exhibited his work extensively in the U.S. in group exhibitions and featured at art fairs in New York, Miami, Dallas and San Francisco. He has been a visiting artist at several universities, participated in artist panels and has been a juror for exhibitions and grants. McFarlane’s paintings and works on paper reside in numerous private and public collections, including those of West Virginia University, Bucknell University, Temple University, the Hyatt Hotel at the Bellevue and more.
Miguel Rodriguez is a Washington D.C. based painter. He is a graduate of Tufts University/School of the Museum of Fine Arts, Boston, and has shown his work in Philadelphia, Trenton and Boston. He is part of the Earth Issue Artist's Collective, and was interviewed recently for Young Space, an online platform dedicated to emerging artists. His work is included in numerous private collections.
Images left to right:
Miguel Rodgriquez: Ange, 2017, acrylic and collage on paper, 15" x 11"
Tim McFarlane Uncharted (Blue Seas), 2017, acrylic on paper, 15" x 11"
Observar la relación entre la pantalla de pilotes ( aquí sólo se representa uno, pero esta previsto que se construyan en una longitud de 230 metros). Observar la cercanía física entre la pantalla de pilotes de 41 m de largo y 1,5m de diámetro (en rojo), y los cimientos de la Sagrada Familia (con el extremo de sus cimientos engrosado en rojo en forma de bulbo) En realidad estos cimientos de 16 m de longitud, tienen unos límites reales muy difíciles de precisar pues la técnica de construcción de pilotes no está tan avanzada como la de las tuneladoras. Y bien pudiera suceder que llegaran a tocarse con alguno de los pilotes de la pantalla "protectora" en el momento de la construcción. No hay más espacio para proceder de otra manera. Son problemas que se presentan al ir definiendo los detalles de los proyectos y que hay que re-estudiar atentamente.
Visita a las obras del Templo de la Sagrada Familia 2008.09.30
Drawing is a form of visual art in which a person uses various drawing instruments to mark paper or another two-dimensional medium. Instruments include graphite pencils, pen and ink, inked brushes, wax color pencils, crayons, charcoal, chalk, pastels, various kinds of erasers, markers, styluses, various metals (such as silverpoint), and electronic drawing.
An artist who practices or works in technical drawing may be called a drafter, draftsman, or draughtsman.[1]
A drawing instrument releases small amount of material onto a surface, leaving a visible mark. The most common support for drawing is paper, although other materials, such as cardboard, plastic, leather, canvas, and board, may be used. Temporary drawings may be made on a blackboard or whiteboard or indeed almost anything. The medium has been a popular and fundamental means of public expression throughout human history. It is one of the simplest and most efficient means of communicating visual ideas.[2] The wide availability of drawing instruments makes drawing one of the most common artistic activities.
Drawing is one of the major forms of expression within the visual arts. It is generally concerned with the marking of lines and areas of tone onto paper, where the accurate representation of the visual world is expressed upon a plane surface.[3] Traditional drawings were monochrome, or at least had little colour,[4] while modern colored-pencil drawings may approach or cross a boundary between drawing and painting. In Western terminology, drawing is distinct from painting, even though similar media often are employed in both tasks. Dry media, normally associated with drawing, such as chalk, may be used in pastel paintings. Drawing may be done with a liquid medium, applied with brushes or pens. Similar supports likewise can serve both: painting generally involves the application of liquid paint onto prepared canvas or panels, but sometimes an underdrawing is drawn first on that same support.
Drawing is often exploratory, with considerable emphasis on observation, problem-solving and composition. Drawing is also regularly used in preparation for a painting, further obfuscating their distinction. Drawings created for these purposes are called studies.
There are several categories of drawing, including figure drawing, cartooning, doodling and shading. There are also many drawing methods, such as line drawing, stippling, shading, the surrealist method of entopic graphomania (in which dots are made at the sites of impurities in a blank sheet of paper, and lines are then made between the dots), and tracing (drawing on a translucent paper, such as tracing paper, around the outline of preexisting shapes that show through the paper).
A quick, unrefined drawing may be called a sketch.
In fields outside art, technical drawings or plans of buildings, machinery, circuitry and other things are often called "drawings" even when they have been transferred to another medium by printing.
Drawing as a Form of Communication Drawing is one of the oldest forms of human expression, with evidence for its existence preceding that of written communication.[5] It is believed that drawing was used as a specialised form of communication before the invent of the written language,[5][6] demonstrated by the production of cave and rock paintings created by Homo sapiens sapiens around 30,000 years ago.[7] These drawings, known as pictograms, depicted objects and abstract concepts.[8] The sketches and paintings produced in prehistoric times were eventually stylised and simplified, leading to the development of the written language as we know it today.
Drawing in the Arts Drawing is used to express one's creativity, and therefore has been prominent in the world of art. Throughout much of history, drawing was regarded as the foundation for artistic practise.[9] Initially, artists used and reused wooden tablets for the production of their drawings.[10] Following the widespread availability of paper in the 14th century, the use of drawing in the arts increased. At this point, drawing was commonly used as a tool for thought and investigation, acting as a study medium whilst artists were preparing for their final pieces of work.[11][12] In a period of artistic flourish, the Renaissance brought about drawings exhibiting realistic representational qualities,[13] where there was a lot of influence from geometry and philosophy.[14]
The invention of the first widely available form of photography led to a shift in the use of drawing in the arts.[15] Photography took over from drawing as a more superior method for accurately representing visual phenomena, and artists began to abandon traditional drawing practises.[16] Modernism in the arts encouraged "imaginative originality"[17] and artists' approach to drawing became more abstract.
Drawing Outside of the Arts Although the use of drawing is extensive in the arts, its practice is not confined purely to this field. Before the widespread availability of paper, 12th century monks in European monasteries used intricate drawings to prepare illustrated, illuminated manuscripts on vellum and parchment. Drawing has also been used extensively in the field of science, as a method of discovery, understanding and explanation. In 1616, astronomer Galileo Galilei explained the changing phases of the moon through his observational telescopic drawings.[16] Additionally, in 1924, geophysicist Alfred Wegener used illustrations to visually demonstrate the origin of the continents.[16]
Notable draftsmen[edit]
Since the 14th century, each century has produced artists who have created great drawings.
Notable draftsmen of the 14th, 15th and 16th centuries include Leonardo da Vinci, Albrecht Dürer, Michelangelo and Raphael.
Notable draftsmen of the 17th century include Claude, Nicolas Poussin, Rembrandt, Guercino, and Peter Paul Rubens.
Notable draftsmen of the 18th century include Jean-Honoré Fragonard, Giovanni Battista Tiepolo, and Antoine Watteau.
Notable draftsmen of the 19th century include Paul Cézanne, Aubrey Beardsley, Jacques-Louis David, Pierre-Paul Prud'hon, Edgar Degas, Théodore Géricault, Francisco Goya, Jean Ingres, Odilon Redon, Henri de Toulouse-Lautrec, Honoré Daumier, and Vincent van Gogh.
Notable draftsmen of the 20th century include Käthe Kollwitz, Max Beckmann, Jean Dubuffet, George Grosz, Egon Schiele, Arshile Gorky, Paul Klee, Oscar Kokoschka, Alphonse Mucha, M. C. Escher, André Masson, Jules Pascin, and Pablo Picasso.
The medium is the means by which ink, pigment or color are delivered onto the drawing surface. Most drawing media are either dry (e.g. graphite, charcoal, pastels, Conté, silverpoint), or use a fluid solvent or carrier (marker, pen and ink). Watercolor pencils can be used dry like ordinary pencils, then moistened with a wet brush to get various painterly effects. Very rarely, artists have drawn with (usually decoded) invisible ink. Metalpoint drawing usually employs either of two metals: silver or lead.[18] More rarely used are gold, platinum, copper, brass, bronze, and tinpoint.
Paper comes in a variety of different sizes and qualities, ranging from newspaper grade up to high quality and relatively expensive paper sold as individual sheets.[19] Papers can vary in texture, hue, acidity, and strength when wet. Smooth paper is good for rendering fine detail, but a more "toothy" paper holds the drawing material better. Thus a coarser material is useful for producing deeper contrast.
Newsprint and typing paper may be useful for practice and rough sketches. Tracing paper is used to experiment over a half-finished drawing, and to transfer a design from one sheet to another. Cartridge paper is the basic type of drawing paper sold in pads. Bristol board and even heavier acid-free boards, frequently with smooth finishes, are used for drawing fine detail and do not distort when wet media (ink, washes) are applied. Vellum is extremely smooth and suitable for very fine detail. Coldpressed watercolor paper may be favored for ink drawing due to its texture.
Acid-free, archival quality paper keeps its color and texture far longer than wood pulp based paper such as newsprint, which turns yellow and become brittle much sooner.
The basic tools are a drawing board or table, pencil sharpener and eraser, and for ink drawing, blotting paper. Other tools used are circle compass, ruler, and set square. Fixative is used to prevent pencil and crayon marks from smudging. Drafting tape is used to secure paper to drawing surface, and also to mask an area to keep it free of accidental marks sprayed or spattered materials and washes. An easel or slanted table is used to keep the drawing surface in a suitable position, which is generally more horizontal than the position used in painting.
Almost all draftsmen use their hands and fingers to apply the media, with the exception of some handicapped individuals who draw with their mouth or feet.[20]
Prior to working on an image, the artist typically explores how various media work. They may try different drawing implements on practice sheets to determine value and texture, and how to apply the implement to produce various effects.
The artist's choice of drawing strokes affects the appearance of the image. Pen and ink drawings often use hatching—groups of parallel lines.[21] Cross-hatching uses hatching in two or more different directions to create a darker tone. Broken hatching, or lines with intermittent breaks, form lighter tones—and controlling the density of the breaks achieves a gradation of tone. Stippling, uses dots to produce tone, texture or shade. Different textures can be achieved depending on the method used to build tone.[22]
Drawings in dry media often use similar techniques, though pencils and drawing sticks can achieve continuous variations in tone. Typically a drawing is filled in based on which hand the artist favors. A right-handed artist draws from left to right to avoid smearing the image. Erasers can remove unwanted lines, lighten tones, and clean up stray marks. In a sketch or outline drawing, lines drawn often follow the contour of the subject, creating depth by looking like shadows cast from a light in the artist's position.
Sometimes the artist leaves a section of the image untouched while filling in the remainder. The shape of the area to preserve can be painted with masking fluid or cut out of a frisket and applied to the drawing surface, protecting the surface from stray marks until the mask is removed.
Another method to preserve a section of the image is to apply a spray-on fixative to the surface. This holds loose material more firmly to the sheet and prevents it from smearing. However the fixative spray typically uses chemicals that can harm the respiratory system, so it should be employed in a well-ventilated area such as outdoors.
Another technique is subtractive drawing in which the drawing surface is covered with graphite or charcoal and then erased to make the image.[23]
Shading is the technique of varying the tonal values on the paper to represent the shade of the material as well as the placement of the shadows. Careful attention to reflected light, shadows and highlights can result in a very realistic rendition of the image.
Blending uses an implement to soften or spread the original drawing strokes. Blending is most easily done with a medium that does not immediately fix itself, such as graphite, chalk, or charcoal, although freshly applied ink can be smudged, wet or dry, for some effects. For shading and blending, the artist can use a blending stump, tissue, a kneaded eraser, a fingertip, or any combination of them. A piece of chamois is useful for creating smooth textures, and for removing material to lighten the tone. Continuous tone can be achieved with graphite on a smooth surface without blending, but the technique is laborious, involving small circular or oval strokes with a somewhat blunt point.
Shading techniques that also introduce texture to the drawing include hatching and stippling. A number of other methods produce texture. In addition to the choice of paper, drawing material and technique affect texture. Texture can be made to appear more realistic when it is drawn next to a contrasting texture; a coarse texture is more obvious when placed next to a smoothly blended area. A similar effect can be achieved by drawing different tones close together. A light edge next to a dark background stands out to the eye, and almost appears to float above the surface.
Form and proportion[edit]Measuring the dimensions of a subject while blocking in the drawing is an important step in producing a realistic rendition of the subject. Tools such as a compass can be used to measure the angles of different sides. These angles can be reproduced on the drawing surface and then rechecked to make sure they are accurate. Another form of measurement is to compare the relative sizes of different parts of the subject with each other. A finger placed at a point along the drawing implement can be used to compare that dimension with other parts of the image. A ruler can be used both as a straightedge and a device to compute proportions.
When attempting to draw a complicated shape such as a human figure, it is helpful at first to represent the form with a set of primitive shapes. Almost any form can be represented by some combination of the cube, sphere, cylinder, and cone. Once these basic shapes have been assembled into a likeness, then the drawing can be refined into a more accurate and polished form. The lines of the primitive shapes are removed and replaced by the final likeness. Drawing the underlying construction is a fundamental skill for representational art, and is taught in many books and schools. Its correct application resolves most uncertainties about smaller details, and makes the final image look consistent.[24]
A more refined art of figure drawing relies upon the artist possessing a deep understanding of anatomy and the human proportions. A trained artist is familiar with the skeleton structure, joint location, muscle placement, tendon movement, and how the different parts work together during movement. This allows the artist to render more natural poses that do not appear artificially stiff. The artist is also familiar with how the proportions vary depending on the age of the subject, particularly when drawing a portrait.
Perspective[edit]
Linear perspective is a method of portraying objects on a flat surface so that the dimensions shrink with distance. Each set of parallel, straight edges of any object, whether a building or a table, follows lines that eventually converge at a vanishing point. Typically this convergence point is somewhere along the horizon, as buildings are built level with the flat surface. When multiple structures are aligned with each other, such as buildings along a street, the horizontal tops and bottoms of the structures typically converge at a vanishing point.When both the fronts and sides of a building are drawn, then the parallel lines forming a side converge at a second point along the horizon (which may be off the drawing paper.) This is a two-point perspective.[25] Converging the vertical lines to a third point above or below the horizon then produces a three-point perspective.
Depth can also be portrayed by several techniques in addition to the perspective approach above. Objects of similar size should appear ever smaller the further they are from the viewer. Thus the back wheel of a cart appears slightly smaller than the front wheel. Depth can be portrayed through the use of texture. As the texture of an object gets further away it becomes more compressed and busy, taking on an entirely different character than if it was close. Depth can also be portrayed by reducing the contrast in more distant objects, and by making their colors less saturated. This reproduces the effect of atmospheric haze, and cause the eye to focus primarily on objects drawn in the foreground.