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4.602 Modern Art and Mass Culture (MIT) 4.602 Modern Art and Mass Culture (MIT)

Description

This class provides an introduction to modern art and theories of modernism and postmodernism. It focuses on the way artists use the tension between fine art and mass culture to mobilize a critique of both. We will examine objects of visual art including painting, sculpture, architecture, photography, and video. These objects will be viewed in their interaction with advertising, caricature, comics, graffiti, television, fashion, folk art, and so-called "primitive" art. This class provides an introduction to modern art and theories of modernism and postmodernism. It focuses on the way artists use the tension between fine art and mass culture to mobilize a critique of both. We will examine objects of visual art including painting, sculpture, architecture, photography, and video. These objects will be viewed in their interaction with advertising, caricature, comics, graffiti, television, fashion, folk art, and so-called "primitive" art.

Subjects

modern art; high art; mass culture; modernist aesthetic; modernism; 19th Century Art; 20th Century Art; modernization; urbanization; globalization; photography; cinema; painting; sculpture; postmodernism; visual arts; multimedia; pop art; popular culture | modern art; high art; mass culture; modernist aesthetic; modernism; 19th Century Art; 20th Century Art; modernization; urbanization; globalization; photography; cinema; painting; sculpture; postmodernism; visual arts; multimedia; pop art; popular culture | modern art | modern art | high art | high art | mass culture | mass culture | modernist aesthetic | modernist aesthetic | modernism | modernism | 19th Century Art | 19th Century Art | 20th Century Art | 20th Century Art | modernization | modernization | urbanization | urbanization | globalization | globalization | photography | photography | cinema | cinema | painting | painting | sculpture | sculpture | postmodernism | postmodernism | visual arts | visual arts | multimedia | multimedia | pop art | pop art | popular culture | popular culture

License

Content within individual OCW courses is (c) by the individual authors unless otherwise noted. MIT OpenCourseWare materials are licensed by the Massachusetts Institute of Technology under a Creative Commons License (Attribution-NonCommercial-ShareAlike). For further information see http://ocw.mit.edu/terms/index.htm

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Painting the bow of 'Naess Crusader' Painting the bow of 'Naess Crusader'

Description

Subjects

sky | sky | people | people | cloud | cloud | abstract | abstract | blur | blur | industry | industry | buildings | buildings | river | river | painting | painting | daylight | daylight | interesting | interesting | wire | wire | workers | workers | construction | construction | industrial | industrial | scaffolding | scaffolding | ship | ship | unitedkingdom | unitedkingdom | crane | crane | painted | painted | debris | debris | grain | grain | platform | platform | bank | bank | rail | rail | vessel | vessel | rope | rope | calm | calm | structure | structure | historic | historic | riverwear | riverwear | cranes | cranes | deck | deck | pile | pile | maritime | maritime | bow | bow | porthole | porthole | unusual | unusual | launch | launch | shipyard | shipyard | passage | passage | shipping | shipping | majestic | majestic | plank | plank | carrier | carrier | newcastleupontyne | newcastleupontyne | fascinating | fascinating | digitalimage | digitalimage | sunderland | sunderland | observing | observing | shipbuilding | shipbuilding | industrialheritage | industrialheritage | 2015 | 2015 | wearside | wearside | northeastengland | northeastengland | blackandwhitephotograph | blackandwhitephotograph | shipbuildingheritage | shipbuildingheritage | maritimeheritage | maritimeheritage | december1972 | december1972 | keelline | keelline | obocarrier | obocarrier | northsandsshipyard | northsandsshipyard | sunderlandshipbuildersltd | sunderlandshipbuildersltd | northsandssunderland | northsandssunderland | nordicchieftain | nordicchieftain | naesscrusader | naesscrusader | turnersphotographyltd | turnersphotographyltd | sunderlandkeelline | sunderlandkeelline | 2917metreslong | 2917metreslong | naesscrusadersunderlandslargestship | naesscrusadersunderlandslargestship | angloeasternbulkshipsltd | angloeasternbulkshipsltd | obooilbulkore | obooilbulkore | largestships | largestships

License

No known copyright restrictions

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'Nicola' getting a coat of paint

Description

View of ?Nicola? shortly before launch from the Southwick yard of Austin & Pickersgill Ltd, mid December 1967 (TWAM ref. DT.TUR/2/52047B). She's getting a coat of paint and you can now see her name. This set celebrates the ?Nicola?, the first in a long line of standard ships designed by the Sunderland shipyard of Austin & Pickersgill Ltd. The images document her construction from October 1967 through to her completion in February 1968. The shipbuilders commissioned the Newcastle-based firm Turners (Photography) Ltd to take weekly progress shots of the ?Nicola? and these images have given us a unique view of her development. She was the first SD14 to be completed (the name stands for ?Shelter Deck 14,000 tons deadweight?) and was designed as a replacement for the surviving ?Liberty ships?, built by American yards during the Second World War. Those Liberty ships had played a vital role in the Allied victory but by the 1960s they were fast approaching the end of their working lives. The SD14 developed by Austin & Pickersgill met the demand for economic and reliable cargo ships. The simplicity of the design meant that it could be marketed by the shipbuilders at a very competitive price. It?s success is reflected by the fact that over the course of 20 years 211 ships were built to the SD14 design by Austin Pickersgill and its licensees. Sunderland can be very proud of its remarkable shipbuilding and engineering history and the SD14 is one the City?s finest achievements. (Copyright) We're happy for you to share these digital images within the spirit of The Commons. Please cite 'Tyne & Wear Archives & Museums' when reusing. Certain restrictions on high quality reproductions and commercial use of the original physical version apply though; if you're unsure please email archives@twmuseums.org.uk

Subjects

nicola | industry | austinpickersgillltd | sunderland | shipbuilding | sd14 | southwick | shipyard | riverwear | painting | maritimeheritage | industrial | blackandwhitephotograph | coatofpaint | launch | ship | structure | plank | frame | plate | parts | steel | metal | december1967 | name | signage | letters | word | standard | sunderlandshipyard | construction | october1967 | completion | february1968 | commission | newcastle | turners | development | shelterdeck14000tonsdeadweight | libertyships | replacement | cargo | engineering | river | bank | water | stairs | rail | crane | window | glass | buildings | sky | cloud | landscape | wire | hook | machine | deck | cabin | pole | porthole | vegetation | intriguing | paint | coat

License

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TALAT Lecture 5204: Organic Coating of Aluminium

Description

This lecture describes the different steps of the coating process and gives information about the test methods; it helps to select organic coatings for the protection of aluminium or to achieve specific surface properties. Some knowledge of corrosion protection and surface pretreatments of aluminium and familiarity with the subject matter covered in TALAT This lectures 5101, 5102, 5201, 5202 is assumed.

Subjects

aluminium | aluminum | european aluminium association | eaa | talat | training in aluminium application technologies | training | metallurgy | technology | lecture | surface treatment | organic coating | painting | methods of application | surface preparation | pretreatment | powder coatings | paints | lacquers | electrophoretic coatings | primer | finishing paints | quality control | test methods | corematerials | ukoer | Engineering | H000

License

Attribution-Noncommercial-Share Alike 2.0 UK: England & Wales Attribution-Noncommercial-Share Alike 2.0 UK: England & Wales http://creativecommons.org/licenses/by-nc-sa/2.0/uk/ http://creativecommons.org/licenses/by-nc-sa/2.0/uk/

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TALAT Lecture 5204: Organic Coating of Aluminium

Description

This lecture describes the different steps of the coating process and gives information about the test methods; it helps to select organic coatings for the protection of aluminium or to achieve specific surface properties. Some knowledge of corrosion protection and surface pretreatments of aluminium and familiarity with the subject matter covered in TALAT This lectures 5101, 5102, 5201, 5202 is assumed.

Subjects

aluminium | aluminum | european aluminium association | EAA | Training in Aluminium Application Technologies | training | metallurgy | technology | lecture | surface treatment | organic coating | painting | methods of application | surface preparation | pretreatment | powder coatings | paints | lacquers | electrophoretic coatings | primer | finishing paints | quality control | test methods | corematerials | ukoer

License

http://creativecommons.org/licenses/by-nc-sa/2.0/uk/

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4.602 Modern Art and Mass Culture (MIT) 4.602 Modern Art and Mass Culture (MIT)

Description

This class provides an introduction to modern art and theories of modernism and postmodernism. It focuses on the way artists use the tension between fine art and mass culture to mobilize a critique of both. We will examine objects of visual art, including painting, sculpture, architecture, photography, prints, performance and video. These objects will be viewed in their interaction with advertising, caricature, comics, graffiti, television, fashion, folk art, and "primitive" art. This class provides an introduction to modern art and theories of modernism and postmodernism. It focuses on the way artists use the tension between fine art and mass culture to mobilize a critique of both. We will examine objects of visual art, including painting, sculpture, architecture, photography, prints, performance and video. These objects will be viewed in their interaction with advertising, caricature, comics, graffiti, television, fashion, folk art, and "primitive" art.

Subjects

modern art | modern art | high art | high art | mass culture | mass culture | modernist aesthetic | modernist aesthetic | modernism | modernism | 19th Century Art | 19th Century Art | 20th Century Art | 20th Century Art | modernization | modernization | urbanization | urbanization | globalization | globalization | photography | photography | cinema | cinema | painting | painting | sculpture | sculpture | postmodernism | postmodernism | visual arts | visual arts | multimedia | multimedia | pop art | pop art | popular culture | popular culture

License

Content within individual OCW courses is (c) by the individual authors unless otherwise noted. MIT OpenCourseWare materials are licensed by the Massachusetts Institute of Technology under a Creative Commons License (Attribution-NonCommercial-ShareAlike). For further information see http://ocw.mit.edu/terms/index.htm

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4.651 Art Since 1940 (MIT) 4.651 Art Since 1940 (MIT)

Description

This subject focuses on the objects, history, context, and critical discussion surrounding art since World War II. Because of the burgeoning increase in art production, the course is necessarily selective. We will trace major developments and movements in art up to the present, primarily from the US; but we will also be looking at art from Europe, Asia, Africa, Latin America, and the Middle East, as well as art "on the margins" — art that has been overlooked by the mainstream critical press, but may have a broad cultural base in its own community. We will ask what function art serves in its various cultures of origin, and why art has been such a lightning rod for political issues around the world. This subject focuses on the objects, history, context, and critical discussion surrounding art since World War II. Because of the burgeoning increase in art production, the course is necessarily selective. We will trace major developments and movements in art up to the present, primarily from the US; but we will also be looking at art from Europe, Asia, Africa, Latin America, and the Middle East, as well as art "on the margins" — art that has been overlooked by the mainstream critical press, but may have a broad cultural base in its own community. We will ask what function art serves in its various cultures of origin, and why art has been such a lightning rod for political issues around the world.

Subjects

contemporary art | contemporary art | modernism | modernism | minimalist art | minimalist art | Warhol's factory | Warhol's factory | Jackson Pollock | Jackson Pollock | painting | painting | expression | expression | art and politics | art and politics | fluxus | fluxus

License

Content within individual OCW courses is (c) by the individual authors unless otherwise noted. MIT OpenCourseWare materials are licensed by the Massachusetts Institute of Technology under a Creative Commons License (Attribution-NonCommercial-ShareAlike). For further information see http://ocw.mit.edu/terms/index.htm

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21L.421 Comedy (MIT) 21L.421 Comedy (MIT)

Description

This class surveys a range of comic texts from different media, the cultures that produced them, and various theories of comedy. Authors and directors studied may include Aristophanes, Shakespeare, Moliere, Austen, Chaplin.This subject laughs and then wonders how and why and what's so funny. Sometimes it laughs out loud. Sometimes it spills into satire (and asks, what's the difference?). Sometimes it doesn't laugh at all, but some resolution seems affirmative or structurally functional, in some satisfying way (by what categoriy is Shakespeare's Romeo and Juliet a "comedy"? how can Dante call his vision of an organized universe a "Comedy"?). We read jokes, literary texts, tales, satirical paintings, and films, and we address a few theories about how comedy works (doe This class surveys a range of comic texts from different media, the cultures that produced them, and various theories of comedy. Authors and directors studied may include Aristophanes, Shakespeare, Moliere, Austen, Chaplin.This subject laughs and then wonders how and why and what's so funny. Sometimes it laughs out loud. Sometimes it spills into satire (and asks, what's the difference?). Sometimes it doesn't laugh at all, but some resolution seems affirmative or structurally functional, in some satisfying way (by what categoriy is Shakespeare's Romeo and Juliet a "comedy"? how can Dante call his vision of an organized universe a "Comedy"?). We read jokes, literary texts, tales, satirical paintings, and films, and we address a few theories about how comedy works (doe

Subjects

Comedy | Comedy | Drama | Drama | Writing | Writing | Shakespeare | Shakespeare | Twain | Twain | Wilde | Wilde | Brecht | Brecht | Nabokov | Nabokov | Heller | Heller | Chaucer | Chaucer | Milton | Milton | Allegory | Allegory | Satire | Satire | comic | comic | funny | funny | jokes | jokes | literature | literature | tales | tales | satirical paintnigs | satirical paintnigs | films | films | comedies | comedies

License

Content within individual OCW courses is (c) by the individual authors unless otherwise noted. MIT OpenCourseWare materials are licensed by the Massachusetts Institute of Technology under a Creative Commons License (Attribution-NonCommercial-ShareAlike). For further information see http://ocw.mit.edu/terms/index.htm

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Making micante sheets (1914 ? 18)

Description

These images belong to the Parsons? ?Women Labourers? photograph album, taken at Parsons? Works on Shields Road during the First World War. (TWAM ref: 2402) The factory was founded by engineer Charles Parsons, best known for his invention of the steam turbine. In 1914, with the outbreak of war, Parsons? daughter Rachel, one of the first three women to study engineering at Cambridge, replaced her brother on the board of directors, and took on a role in the training department of the Ministry of Munitions, supporting the increasing amount of women taking on jobs in industry to support the war effort. More information about Rachel Parsons and Parsons? Works can be found in Great North Greats a guest post by David Wright. (copyright) We?re happy for you to share these digital images within the spirit of The Commons. Please cite 'Tyne & Wear Archives & Museums' when reusing. Certain restrictions on high quality reproductions and commercial use of the original physical version apply though; if you're unsure please email archives@twmuseums.org.uk

Subjects

ww1 | firstworldwar | war | worlife1915 | parsons | munitions | women | female | labourers | work | factory | heaton | newcastle | industrialheritage | blackandwhitephotograph | womenlabourers | shieldsroad | production | micantesheets | 191418 | womenofthewar | charlesparsons | rachelparsons | wareffort | parsonsworks | digitalimage | paintbrush | dress | crease | hair | glasses | attentive | standing | table | button | blouse | hand | finger | pile | sheets | wall | wire | scratch | grain | beam | box | wood | painting | blur | workbench | smile | interesting

License

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21M.342 Composing for Jazz Orchestra (MIT) 21M.342 Composing for Jazz Orchestra (MIT)

Description

Includes audio/video content: AV selected lectures, AV special element audio. This class explores composition and arrangement for the large jazz ensemble from 1920s foundations to current postmodern practice. Consideration given to a variety of styles and to the interaction of improvisation and composition. Study of works by Basie, Ellington, Evans, Gillespie, Golson, Mingus, Morris, Nelson, Williams, and others. Open rehearsals, workshops, and performances of student compositions by the MIT Festival Jazz Ensemble and the Aardvark Jazz Orchestra.   Includes audio/video content: AV selected lectures, AV special element audio. This class explores composition and arrangement for the large jazz ensemble from 1920s foundations to current postmodern practice. Consideration given to a variety of styles and to the interaction of improvisation and composition. Study of works by Basie, Ellington, Evans, Gillespie, Golson, Mingus, Morris, Nelson, Williams, and others. Open rehearsals, workshops, and performances of student compositions by the MIT Festival Jazz Ensemble and the Aardvark Jazz Orchestra.  

Subjects

jazz band | jazz band | large ensemble jazz | large ensemble jazz | modern jazz | modern jazz | contemporary jazz | contemporary jazz | big band | big band | swing | swing | Duke Ellington | Duke Ellington | George Russell | George Russell | Bill Lowe | Bill Lowe | Mulatu Astatke | Mulatu Astatke | Ethiojazz | Ethiojazz | Ethio-jazz | Ethio-jazz | ethiopian jazz | ethiopian jazz | Ethiopiques | Ethiopiques | Either-Orchestra | Either-Orchestra | Russ Gershon | Russ Gershon | Aardvark Jazz Orchestra | Aardvark Jazz Orchestra | Gil Evans | Gil Evans | Miles Davis | Miles Davis | Birth of the Cool | Birth of the Cool | Steve Lajoie | Steve Lajoie | jazz arranging | jazz arranging | jazz composition | jazz composition | improvisation | improvisation | Walter Thompson | Walter Thompson | Soundpainting | Soundpainting

License

Content within individual OCW courses is (c) by the individual authors unless otherwise noted. MIT OpenCourseWare materials are licensed by the Massachusetts Institute of Technology under a Creative Commons License (Attribution-NonCommercial-ShareAlike). For further information see http://ocw.mit.edu/terms/index.htm

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A painter working on a Super Structure at Joseph L Thompson & Sons Ltd

Description

Reference: DS.JLT-5-3-4 This image has been taken from the Joseph L Thompson & Sons Ltd shipbuilders? collection. The photographs, taken at the Sunderland Based Shipyard were used in the publicity campaign 'The Art of Shipbuilding' published in 1946 to promote the firms of Joseph L. Thompson & Sons Ltd and Sir James Laing & Sons Ltd. Inspired by the upcoming Grayson Perry exhibition 'The Vanity in small differences' Tyne & Wear Archives have created this set in reaction to some of the themes surrounding Sunderland and its social make up that have been explored by Grayson Perry in his six large scale tapestries. This set features both Social and Landscape Photography of a nostalgic Sunderland; these consist of both Aerial views of the physical make up of Sunderland's landscape, mixed with social portraits of the working community and industrial scenes traditionally associated with Sunderland's Heritage. Both are relevant to Grayson Perry's upcoming collection of Tapestries exploring the story of class mobility and the influence social class has on our aesthetic taste. When recently interviewed on the subject Perry states "When I asked club singer Sean Foster-Conley what I should feature in my tapestries to show working-class taste, he said ?the mines and shipyards?. ?But they no longer exist,? I replied. In a very important way, however, he was right. The heavy industries that shaped the north of England also shaped the emotional lives of the generations of people who lived there. Winding towers and cranes can be torn down in a day, but the bonds, formed through shared hardship working under them, live on." These images of a community driven by industry, mixed with Aerial Views of the physical make up of Sunderland during this time reflect on Perry's view of the eternal relevance that Sunderland's social and industrial past has on its present community. More information on 'The Vanity of Small Differences' can be found here. (Copyright) We're happy for you to share these digital images within the spirit of The Commons. Please cite 'Tyne & Wear Archives & Museums' when reusing. Certain restrictions on high quality reproductions and commercial use of the original physical version apply though; if you're unsure please email archives@twmuseums.org.uk

Subjects

blackandwhitephotograph | nostalgic | painter | working | superstructure | josephlthompsonsonsltdshipbuilders | socialclass | workingclass | the | art | shipbuilding | graysonperryexhibition | thevanityinsmalldifferences | sunderland | shipbuildingheritage | society | communitylife | sixlargescaletapestries | socialandlandscape | physicalmakeup | portraits | mobility | workingataheight | classmobility | industrial | industrialscene | tradition | northofengland | shipyard | generations | workingforaliving | past | man | workclothes | hat | shoes | supports | metalbar | beams | crane | chain | cloud | tinofpaint | handle | pipe | rope | structure

License

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1. Introduction to the Elements of Drawing

Description

Stephen Farthing R.A. presents eight practical drawing classes using John Ruskin's teaching collections to explain the basic principles of drawing. Wales; http://creativecommons.org/licenses/by-nc-sa/2.0/uk/

Subjects

draw | art | artist | teach | how to | learn | teaching | ruskin | painting | drawing | draw | art | artist | teach | how to | learn | teaching | ruskin | painting | drawing

License

http://creativecommons.org/licenses/by-nc-sa/2.0/uk/

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2. The Tip of the Pencil

Description

Lesson 1. We use line to define spaces and things. It is not a question of magically getting the line right first time, but of first turning a contour into a line, and then systematically correcting that line until it looks right. Wales; http://creativecommons.org/licenses/by-nc-sa/2.0/uk/

Subjects

draw | art | artist | teach | how to | learn | teaching | ruskin | painting | drawing | draw | art | artist | teach | how to | learn | teaching | ruskin | painting | drawing

License

http://creativecommons.org/licenses/by-nc-sa/2.0/uk/

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3. The Edge of the Pencil

Description

Lesson 2. We use tone, light, dark and the shades in-between to create illusions of volume and depth. Wales; http://creativecommons.org/licenses/by-nc-sa/2.0/uk/

Subjects

draw | art | artist | teach | how to | learn | teaching | ruskin | painting | drawing | draw | art | artist | teach | how to | learn | teaching | ruskin | painting | drawing

License

http://creativecommons.org/licenses/by-nc-sa/2.0/uk/

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The Great Elector (LOC) The Great Elector (LOC)

Description

Subjects

libraryofcongress | libraryofcongress | georgvonderfflinger | georgvonderfflinger | prussia | prussia | friedrichwilhelm | friedrichwilhelm | frederickwilliam | frederickwilliam | elector | elector | brandenburg | brandenburg | derfflinger | derfflinger | dergrosekurfürst | dergrosekurfürst | grosekurfürst | grosekurfürst | painting | painting | fehrbellin | fehrbellin | battleoffehrbellin | battleoffehrbellin | wilhelmcamphausen | wilhelmcamphausen | camphausen | camphausen

License

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4. Toned Paper

Description

Lesson 3. How toned paper can be used to provide the mid-tone in a drawing, which records where light and shade fall as a means of picturing an object. Wales; http://creativecommons.org/licenses/by-nc-sa/2.0/uk/

Subjects

draw | art | artist | teach | how to | learn | teaching | ruskin | painting | drawing | draw | art | artist | teach | how to | learn | teaching | ruskin | painting | drawing

License

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5. Making a Livelier Drawing

Description

Lesson 4. Making a livelier drawing, where the line and tone have an energy because they have been applied at speed with a brush. Wales; http://creativecommons.org/licenses/by-nc-sa/2.0/uk/

Subjects

draw | art | artist | teach | how to | learn | teaching | ruskin | painting | drawing | draw | art | artist | teach | how to | learn | teaching | ruskin | painting | drawing

License

http://creativecommons.org/licenses/by-nc-sa/2.0/uk/

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6. Measured Drawing

Description

Lesson 5. Making a drawing that is dependent for its success on mathematical accuracy. Wales; http://creativecommons.org/licenses/by-nc-sa/2.0/uk/

Subjects

draw | art | artist | teach | how to | learn | teaching | ruskin | painting | drawing | draw | art | artist | teach | how to | learn | teaching | ruskin | painting | drawing

License

http://creativecommons.org/licenses/by-nc-sa/2.0/uk/

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7. With Colour

Description

Lesson 6. The most complex form of drawing. Starting with a pencil outline, the drawing is developed with a brush in clearly defined layers. Wales; http://creativecommons.org/licenses/by-nc-sa/2.0/uk/

Subjects

draw | art | artist | teach | how to | learn | teaching | ruskin | painting | drawing | draw | art | artist | teach | how to | learn | teaching | ruskin | painting | drawing

License

http://creativecommons.org/licenses/by-nc-sa/2.0/uk/

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8. Field Notes

Description

Lesson 7. Strategies for collecting information and recording ideas as an aid to memory. Wales; http://creativecommons.org/licenses/by-nc-sa/2.0/uk/

Subjects

draw | art | artist | teach | how to | learn | teaching | ruskin | painting | drawing | draw | art | artist | teach | how to | learn | teaching | ruskin | painting | drawing

License

http://creativecommons.org/licenses/by-nc-sa/2.0/uk/

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Painting the bow of 'Naess Crusader'

Description

View of 'Naess crusader' being painted shortly before launch from the North Sands shipyard, Sunderland, December 1972 (TWAM ref. DT.TUR/2/60960B). These photographs were taken by the Newcastle-based firm Turners (Photography) Ltd. They celebrate the construction of the OBO (oil/bulk/ore) carrier ?Naess Crusader?, covering the early stages in January 1972 through her launch on 21 December 1972 to her completion and sea trials in July 1973. ?Naess Crusader? and her sister ship ?Nordic Chieftain? were built by Sunderland Shipbuilders Ltd at the firm?s North Sands Shipyard for Anglo Eastern Bulkships Ltd. They were the largest ships ever built on the River Wear. The memory of ?Naess Crusader? is integral to the Sunderland Keel Line, a new public artwork, opened in 2015, which celebrates the City?s shipbuilding heritage. The Keel Line is 291.7 metres long and that distance was chosen because it represents the full length of ?Naess Crusader?. This album is a reminder of Sunderland?s proud industrial heritage and a tribute to the skill and dedication of her shipyard workers. (Copyright) We're happy for you to share this digital image within the spirit of The Commons. Please cite 'Tyne & Wear Archives & Museums' when reusing. Certain restrictions on high quality reproductions and commercial use of the original physical version apply though; if you're unsure please email archives@twmuseums.org.uk.

Subjects

sunderland | shipbuilding | riverwear | northsandssunderland | naesscrusader | cranes | maritimeheritage | blackandwhitephotograph | shipyard | industry | industrial | construction | obocarrier | shipping | historic | interesting | wearside | northeastengland | ship | vessel | bow | scaffolding | industrialheritage | maritime | abstract | naesscrusadersunderlandslargestship | structure | crane | wire | platform | unitedkingdom | painting | painted | launch | northsandsshipyard | bank | river | december1972 | fascinating | unusual | majestic | digitalimage | turnersphotographyltd | newcastleupontyne | obooilbulkore | carrier | nordicchieftain | sunderlandshipbuildersltd | angloeasternbulkshipsltd | largestships | sunderlandkeelline | 2015 | shipbuildingheritage | keelline | 2917metreslong | sky | cloud | grain | daylight | plank | workers | rope | deck | rail | blur | buildings | debris | pile | passage | porthole | people | observing | calm

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9. Creativity

Description

Lesson 8. Invention! Wales; http://creativecommons.org/licenses/by-nc-sa/2.0/uk/

Subjects

draw | art | artist | teach | how to | learn | teaching | ruskin | painting | drawing | draw | art | artist | teach | how to | learn | teaching | ruskin | painting | drawing

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http://creativecommons.org/licenses/by-nc-sa/2.0/uk/

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2001078_037_75_018_026ac 2001078_037_75_018_026ac

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liveoak | liveoak | bluebonnets | bluebonnets | indianpaintbrush | indianpaintbrush

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2001078_037_75_018_025ac 2001078_037_75_018_025ac

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field | field | liveoak | liveoak | bluebonnets | bluebonnets | indianpaintbrush | indianpaintbrush

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2001078_037_75_018_024ac 2001078_037_75_018_024ac

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field | field | fence | fence | liveoak | liveoak | bluebonnets | bluebonnets | indianpaintbrush | indianpaintbrush | countryhome | countryhome

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