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    <title>J's Online Drawing Lessons</title>
    <link>http://www.jayespace.com</link>
    <language>en-en</language>
    <pubDate>Wed, 22 Feb 2012 18:31:50 GMT</pubDate>

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 <title>Inclination Of Letters TechnicalDrawing</title>
 <description>among practical draughtsmen the waste of time, especially by novices, in obtaining anything like satisfactory results without such assistance, places this absolute freehand method outside practical consideration. A slavish copying, or entire reliance upon set squares and rulers is not here advocated, but judicious use of them as aids to the beginner is recommended. With letters of types No. 2 or No. 7, four guide lines may be used their object will be obvious upon inspection. Where capitals and...&lt;div class="feedflare"&gt;
&lt;a href="http://feeds.feedburner.com/~ff/drawinglessonsinfo?a=v1cl1O-tvTs:MbeC3-9Ao4M:yIl2AUoC8zA"&gt;&lt;img src="http://feeds.feedburner.com/~ff/drawinglessonsinfo?d=yIl2AUoC8zA" border="0"&gt;&lt;/img&gt;&lt;/a&gt; &lt;a href="http://feeds.feedburner.com/~ff/drawinglessonsinfo?a=v1cl1O-tvTs:MbeC3-9Ao4M:qj6IDK7rITs"&gt;&lt;img src="http://feeds.feedburner.com/~ff/drawinglessonsinfo?d=qj6IDK7rITs" border="0"&gt;&lt;/img&gt;&lt;/a&gt;
&lt;/div&gt;</description>
 <category>TechnicalDrawing</category>
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 <pubDate>Wed, 22 Feb 2012 18:31:50 GMT</pubDate>
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 <title>Drawing Anakin Skywalker Drawing Star Wars</title>
 <description>Ever wanted to draw Star Wars characters and vehicles just like the professional comic book artists In this step-by-step series, Star Wars artists and illustrators show you how to draw some of the most beloved characters in the saga, as well as new faces and creatures from Star Wars Episode III Revenge of the Sith available on DVD Nov. 1 . So get your pencils and paper ready In Episode III, fans see Anakin Skywalker at his darkest. Caught in the middle of his duty as a Jedi and his fear of...&lt;p&gt;&lt;a href="http://www.jayespace.com/star-wars/drawing-anakin-skywalker.html"&gt;&lt;img src="http://www.jayespace.com/star-wars/images/1806_125_112.jpg" style="width: 151pt; height: 204pt;"/&gt;&lt;/a&gt;&lt;/p&gt;&lt;div class="feedflare"&gt;
&lt;a href="http://feeds.feedburner.com/~ff/drawinglessonsinfo?a=qzNvsDc4-3o:ypNTxdJDhSI:yIl2AUoC8zA"&gt;&lt;img src="http://feeds.feedburner.com/~ff/drawinglessonsinfo?d=yIl2AUoC8zA" border="0"&gt;&lt;/img&gt;&lt;/a&gt; &lt;a href="http://feeds.feedburner.com/~ff/drawinglessonsinfo?a=qzNvsDc4-3o:ypNTxdJDhSI:qj6IDK7rITs"&gt;&lt;img src="http://feeds.feedburner.com/~ff/drawinglessonsinfo?d=qj6IDK7rITs" border="0"&gt;&lt;/img&gt;&lt;/a&gt;
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 <pubDate>Wed, 22 Feb 2012 15:22:14 GMT</pubDate>
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 <title>Side View DrawAnime</title>
 <description>The sicte view works the same asthe froritv iew. AII the bas ic rule s st ill app ty. A Ithou gh th e ch arac ter is facin g sid e wa y, h er bo cfy tu m a bit to mak e it more re siist ic as in th e fro rt view Nevertheless, when drawing side view make sure that the body is not drawn straight down but is drawn asasnak ' curve . Anotherwords, the chest bow outward and the back bow inward. &lt;p&gt;&lt;a href="http://www.jayespace.com/anime/side-view.html"&gt;&lt;img src="http://www.jayespace.com/anime/images/1827_54_143-how-draw-anime-backside-view.jpg" style="width: 405pt; height: 726pt;" alt="How Draw Anime Backside View"/&gt;&lt;/a&gt;&lt;/p&gt;&lt;div class="feedflare"&gt;
&lt;a href="http://feeds.feedburner.com/~ff/drawinglessonsinfo?a=swdDlR41UP0:WmqAuXMvQ-U:yIl2AUoC8zA"&gt;&lt;img src="http://feeds.feedburner.com/~ff/drawinglessonsinfo?d=yIl2AUoC8zA" border="0"&gt;&lt;/img&gt;&lt;/a&gt; &lt;a href="http://feeds.feedburner.com/~ff/drawinglessonsinfo?a=swdDlR41UP0:WmqAuXMvQ-U:qj6IDK7rITs"&gt;&lt;img src="http://feeds.feedburner.com/~ff/drawinglessonsinfo?d=qj6IDK7rITs" border="0"&gt;&lt;/img&gt;&lt;/a&gt;
&lt;/div&gt;</description>
 <category>DrawAnime</category>
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 <media:title>How Draw Anime Backside View</media:title>
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 <pubDate>Wed, 22 Feb 2012 14:44:12 GMT</pubDate>
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 <title>Clothing Male DrawAnime</title>
 <description>H ere you h a e a typ ical male cha racte r, he is wearin g a I ong c oat. Lon g co at is relati vety easy todravvforany anirre character because it vull co ermostof the character. It's very e asy to dr aw a nd it dees n't h ave m uch fold s. Concentrate on the face especially the hair. No need to worry about the body because the long coat will cover it. &lt;p&gt;&lt;a href="http://www.jayespace.com/anime/clothing-male.html"&gt;&lt;img src="http://www.jayespace.com/anime/images/1827_49_136-male-clothing-images.jpg" style="width: 318pt; height: 690pt;" alt="Male Clothing Images"/&gt;&lt;/a&gt;&lt;/p&gt;&lt;div class="feedflare"&gt;
&lt;a href="http://feeds.feedburner.com/~ff/drawinglessonsinfo?a=-j3qJNGe4xY:lXhz7pxhaG0:yIl2AUoC8zA"&gt;&lt;img src="http://feeds.feedburner.com/~ff/drawinglessonsinfo?d=yIl2AUoC8zA" border="0"&gt;&lt;/img&gt;&lt;/a&gt; &lt;a href="http://feeds.feedburner.com/~ff/drawinglessonsinfo?a=-j3qJNGe4xY:lXhz7pxhaG0:qj6IDK7rITs"&gt;&lt;img src="http://feeds.feedburner.com/~ff/drawinglessonsinfo?d=qj6IDK7rITs" border="0"&gt;&lt;/img&gt;&lt;/a&gt;
&lt;/div&gt;</description>
 <category>DrawAnime</category>
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 <media:title>Male Clothing Images</media:title>
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 <pubDate>Wed, 22 Feb 2012 13:53:31 GMT</pubDate>
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 <title>Urheberrechtlich geschDUIes Material GeometricDrawing</title>
 <description>2. Fig. 2 hows the front elevation and plan of an ink bottle stand. Make e full size isometric drawing of the stand with corner A nearest to you. Hidden details should not be shown. West Midlends Examinations Board 3. Fig. 3 shows the development of a hexagonal box. Draw, in isometric projection, the assembled box standing on its base. Ignore the thickness of the material and omit hidden detail. North Western Secondary School Examinations Board See Ch. 14 for information not in Ch. 3 . 4. Three...&lt;p&gt;&lt;a href="http://www.jayespace.com/geometric/urheberrechtlich-geschduies-material.html"&gt;&lt;img src="http://www.jayespace.com/geometric/images/1823_12_55.jpg" style="width: 71pt; height: 74pt;" title="DSCNSCNS Wmm"/&gt;&lt;/a&gt;&lt;/p&gt;&lt;div class="feedflare"&gt;
&lt;a href="http://feeds.feedburner.com/~ff/drawinglessonsinfo?a=gE4Ukdz4-aI:bfW3hbrLoJ0:yIl2AUoC8zA"&gt;&lt;img src="http://feeds.feedburner.com/~ff/drawinglessonsinfo?d=yIl2AUoC8zA" border="0"&gt;&lt;/img&gt;&lt;/a&gt; &lt;a href="http://feeds.feedburner.com/~ff/drawinglessonsinfo?a=gE4Ukdz4-aI:bfW3hbrLoJ0:qj6IDK7rITs"&gt;&lt;img src="http://feeds.feedburner.com/~ff/drawinglessonsinfo?d=qj6IDK7rITs" border="0"&gt;&lt;/img&gt;&lt;/a&gt;
&lt;/div&gt;</description>
 <category>GeometricDrawing</category>
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 <media:description type="html">DSCNSCNS Wmm</media:description>
 <pubDate>Wed, 22 Feb 2012 12:57:41 GMT</pubDate>
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 <title>The Vilppu DRAWING MANUAL BASIC FIGURE DRAWING Kfw FigureDrawing</title>
 <description>details or becoming preoccupied with specific contours unless they somehow assist in communicating the overall gesture. A fundamental truth that seems to get forgotten is that the lines that you draw are what the viewer looks at. This may seem obvious and simplistic but is true. What is important, at this point, is that you concentrate on communicating the action in its totality and not get sidetracked into copying details or becoming preoccupied with specific contours unless they somehow...&lt;p&gt;&lt;a href="http://www.jayespace.com/figure-3/the-vilppu-drawing-manual-basic-figure-drawing-kfw.html"&gt;&lt;img src="http://www.jayespace.com/figure-3/images/1890_15_148.jpg" style="width: 619pt; height: 659pt;"/&gt;&lt;/a&gt;&lt;/p&gt;&lt;div class="feedflare"&gt;
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&lt;/div&gt;</description>
 <category>FigureDrawing</category>
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 <pubDate>Wed, 22 Feb 2012 11:49:57 GMT</pubDate>
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 <title>Tonal Techniques PencilDrawing</title>
 <description>In the sense that graphite pencils work best with the linear form of expression, colored pencils work best with the tonal Tonal drawing refers to the effect produced by pencil strokes applied so closely together and so compactly that they appear to merge. This is done without smudging or rubbing, and the tones achieved in this way lose almost all suggestion of line. HOW TONE IS ACHIEVED WITH COLORED PENCILS Tones are made with a colored pencils point sharp, dull, or blunt or with its shaft the...&lt;p&gt;&lt;a href="http://www.jayespace.com/pencil/tonal-techniques.html"&gt;&lt;img src="http://www.jayespace.com/pencil/images/1849_55_190.jpg" style="width: 503pt; height: 212pt;"/&gt;&lt;/a&gt;&lt;/p&gt;&lt;div class="feedflare"&gt;
&lt;a href="http://feeds.feedburner.com/~ff/drawinglessonsinfo?a=hVFI_ew30WM:R1roJRU_mZ4:yIl2AUoC8zA"&gt;&lt;img src="http://feeds.feedburner.com/~ff/drawinglessonsinfo?d=yIl2AUoC8zA" border="0"&gt;&lt;/img&gt;&lt;/a&gt; &lt;a href="http://feeds.feedburner.com/~ff/drawinglessonsinfo?a=hVFI_ew30WM:R1roJRU_mZ4:qj6IDK7rITs"&gt;&lt;img src="http://feeds.feedburner.com/~ff/drawinglessonsinfo?d=qj6IDK7rITs" border="0"&gt;&lt;/img&gt;&lt;/a&gt;
&lt;/div&gt;</description>
 <category>PencilDrawing</category>
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 <pubDate>Wed, 22 Feb 2012 11:41:13 GMT</pubDate>
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 <title>Info Spp AircraftDrawing</title>
 <description>Fabric Cove reo Ru oder De-Icing 5trip s Rear Entrance I Navigation Light Vfrg Tank Covers Oe CIHO Strip Exhaust Passage Cowl Flaps raojusta le WlNO deflector slichng Hatch r. 50 Cal . Machine 6 un Raoio An tehna Rcmcvhble Rcce Panels Alternate Oun Position - emeegency exit - Navigators Lighting Plasvc Nose Flat 6lass Panel Remote Control Chi Twin 50 Cal.mach. whs Vail Ounners Entrance - Z ' Dia. Ta l Wheel Control Houskig p ur ombBay Poor Toewe Links AIR AGE INC., 551 FIFTH AVE., NEW YORK 17,...&lt;div class="feedflare"&gt;
&lt;a href="http://feeds.feedburner.com/~ff/drawinglessonsinfo?a=KISCpY9-2N4:9i-okAqhIDo:yIl2AUoC8zA"&gt;&lt;img src="http://feeds.feedburner.com/~ff/drawinglessonsinfo?d=yIl2AUoC8zA" border="0"&gt;&lt;/img&gt;&lt;/a&gt; &lt;a href="http://feeds.feedburner.com/~ff/drawinglessonsinfo?a=KISCpY9-2N4:9i-okAqhIDo:qj6IDK7rITs"&gt;&lt;img src="http://feeds.feedburner.com/~ff/drawinglessonsinfo?d=qj6IDK7rITs" border="0"&gt;&lt;/img&gt;&lt;/a&gt;
&lt;/div&gt;</description>
 <category>AircraftDrawing</category>
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 <pubDate>Wed, 22 Feb 2012 11:40:06 GMT</pubDate>
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 <title>Development of patterns from sheet materials EngineeringDrawing</title>
 <description>Many articles such as cans, pipes, elbows, boxes, ducting, hoppers, etc. are manufactured from thin sheet materials. Generally a template is produced from an orthographic drawing when small quantities are required larger quantities may justify the use of press tools , and the template will include allowances for bending and seams, bearing in mind the thickness of material used. Exposed edges which may be dangerous can be wired or folded, and these processes also give added strength, e.g....&lt;p&gt;&lt;a href="http://www.jayespace.com/engineering-3/development-of-patterns-from-sheet-materials.html"&gt;&lt;img src="http://www.jayespace.com/engineering-3/images/1843_107_216.jpg" style="width: 303pt; height: 138pt;" title="Development"/&gt;&lt;/a&gt;&lt;/p&gt;&lt;div class="feedflare"&gt;
&lt;a href="http://feeds.feedburner.com/~ff/drawinglessonsinfo?a=6OPI57WvHvQ:anHmANCZC-I:yIl2AUoC8zA"&gt;&lt;img src="http://feeds.feedburner.com/~ff/drawinglessonsinfo?d=yIl2AUoC8zA" border="0"&gt;&lt;/img&gt;&lt;/a&gt; &lt;a href="http://feeds.feedburner.com/~ff/drawinglessonsinfo?a=6OPI57WvHvQ:anHmANCZC-I:qj6IDK7rITs"&gt;&lt;img src="http://feeds.feedburner.com/~ff/drawinglessonsinfo?d=qj6IDK7rITs" border="0"&gt;&lt;/img&gt;&lt;/a&gt;
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 <category>EngineeringDrawing</category>
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 <media:description type="html">Development</media:description>
 <pubDate>Wed, 22 Feb 2012 11:25:57 GMT</pubDate>
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 <title>Info Iot MangaDrawing</title>
 <description>Taking action by adding effect lines for light also works. Classifying your note books into volumes like nature settings, buildings and various effects is When you find skillfully managed backgrounds in manga magaanes and the like.it is a good idea to collect them in a saapbook for your own reference when you draw. Taking action by adding effect lines for light also works. First, give some shape to the main buildings. Draw the surroundings paying attention to the perspective lines using the...&lt;p&gt;&lt;a href="http://www.jayespace.com/manga-3/info-iot.html"&gt;&lt;img src="http://www.jayespace.com/manga-3/images/1832_46_68.jpg" style="width: 409pt; height: 316pt;" title="nsh the work attaching tones Try not think too much about all the details and handle frework giving the things just enough resemblance make them look real enough"/&gt;&lt;/a&gt;&lt;/p&gt;&lt;div class="feedflare"&gt;
&lt;a href="http://feeds.feedburner.com/~ff/drawinglessonsinfo?a=TW4YttVOyBk:65YyUj2x698:yIl2AUoC8zA"&gt;&lt;img src="http://feeds.feedburner.com/~ff/drawinglessonsinfo?d=yIl2AUoC8zA" border="0"&gt;&lt;/img&gt;&lt;/a&gt; &lt;a href="http://feeds.feedburner.com/~ff/drawinglessonsinfo?a=TW4YttVOyBk:65YyUj2x698:qj6IDK7rITs"&gt;&lt;img src="http://feeds.feedburner.com/~ff/drawinglessonsinfo?d=qj6IDK7rITs" border="0"&gt;&lt;/img&gt;&lt;/a&gt;
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 <category>MangaDrawing</category>
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 <media:description type="html">nsh the work attaching tones Try not think too much about all the details and handle frework giving the things just enough resemblance make them look real enough</media:description>
 <pubDate>Wed, 22 Feb 2012 11:19:36 GMT</pubDate>
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 <title>And Performance AircraftDrawing</title>
 <description>303 caL twin machine guns in all powered-turrets j -trim tab fabric covered elevators mass balance all metal stabilizer de-icing strips flame damper computing sight Green-haze and sandy-brown camouflage on top surface only. Dull-black on side and lower surfaces flame damping exhaust muff carburetor air intake glycol cooler hinged leading edge cabin air intake Rolls-Royce Merlin XX -1.260 h.p. engines -flap panel fairing panel molding strap navigation light observation blister direction finder...&lt;div class="feedflare"&gt;
&lt;a href="http://feeds.feedburner.com/~ff/drawinglessonsinfo?a=nVlRS8aYjU4:XLwxX-uVr5U:yIl2AUoC8zA"&gt;&lt;img src="http://feeds.feedburner.com/~ff/drawinglessonsinfo?d=yIl2AUoC8zA" border="0"&gt;&lt;/img&gt;&lt;/a&gt; &lt;a href="http://feeds.feedburner.com/~ff/drawinglessonsinfo?a=nVlRS8aYjU4:XLwxX-uVr5U:qj6IDK7rITs"&gt;&lt;img src="http://feeds.feedburner.com/~ff/drawinglessonsinfo?d=qj6IDK7rITs" border="0"&gt;&lt;/img&gt;&lt;/a&gt;
&lt;/div&gt;</description>
 <category>AircraftDrawing</category>
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 <pubDate>Wed, 22 Feb 2012 06:41:21 GMT</pubDate>
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 <title>Product development and computer aided design EngineeringDrawing</title>
 <description>Work undertaken by a drawing office will vary considerably with different branches of industry. Generally, work of a 'design and make' nature will follow a plan which sets out stages in development from the time a potential client makes an enquiry until the completed product is delivered. The function of the product will dictate many of the associated activities. A vehicle manufacturer will not design and make all of the parts used but subcontract components from specialists. The engine...&lt;div class="feedflare"&gt;
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 <category>EngineeringDrawing</category>
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 <pubDate>Wed, 22 Feb 2012 04:33:00 GMT</pubDate>
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 <title>lit VI I MixingColors</title>
 <description>Fig. 7-2. The three primary colors and all complementary colors cancel color when mixed together in about equal quantities. Recall that any two complements contain all three primaries. mixture seems a little orange yellow plus red , add its complement, blue. Continue to adjust the mixture by adding small amounts of the complement of any hue you can still perceive in the mixture, until no color is discernible. Paint a swatch of your no color on a scrap of paper Figure 7-2 . Next, add your...&lt;p&gt;&lt;a href="http://www.jayespace.com/mixing-colors/lit-vi-i.html"&gt;&lt;img src="http://www.jayespace.com/mixing-colors/images/1787_59_65.jpg" style="width: 243pt; height: 379pt;" title="Fig Turkey Cock 1612 gouache paper Indian painting Mughal courtesy the Trustees the Victoria and Albert Museum"/&gt;&lt;/a&gt;&lt;/p&gt;&lt;div class="feedflare"&gt;
&lt;a href="http://feeds.feedburner.com/~ff/drawinglessonsinfo?a=Adr91Xkaz10:R7eZYQ3RjDs:yIl2AUoC8zA"&gt;&lt;img src="http://feeds.feedburner.com/~ff/drawinglessonsinfo?d=yIl2AUoC8zA" border="0"&gt;&lt;/img&gt;&lt;/a&gt; &lt;a href="http://feeds.feedburner.com/~ff/drawinglessonsinfo?a=Adr91Xkaz10:R7eZYQ3RjDs:qj6IDK7rITs"&gt;&lt;img src="http://feeds.feedburner.com/~ff/drawinglessonsinfo?d=qj6IDK7rITs" border="0"&gt;&lt;/img&gt;&lt;/a&gt;
&lt;/div&gt;</description>
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 <media:description type="html">Fig Turkey Cock 1612 gouache paper Indian painting Mughal courtesy the Trustees the Victoria and Albert Museum</media:description>
 <pubDate>Wed, 22 Feb 2012 01:33:07 GMT</pubDate>
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 <title>Love And Death By Gf Watts Science of Drawing</title>
 <description>A noble composition, founded on the power of the right angle in the figure of Death, in contrast with the curved lines in the figure of In the diagram accompanying the reproduction of this picture I have tried to indicate in diagrammatical form some of the chief lines of its anatomy. In these diagrams of the anatomy of compositions the lines selected are not always very obvious in the originals and are justly much broken into by truths of natural appearance. But an emotional significance...&lt;p&gt;&lt;a href="http://www.jayespace.com/science/love-and-death-by-gf-watts.html"&gt;&lt;img src="http://www.jayespace.com/science/images/1888_184_52.jpg" style="width: 328pt; height: 240pt;"/&gt;&lt;/a&gt;&lt;/p&gt;&lt;div class="feedflare"&gt;
&lt;a href="http://feeds.feedburner.com/~ff/drawinglessonsinfo?a=kLW-qIpNiTs:GuM-ZGZVWDQ:yIl2AUoC8zA"&gt;&lt;img src="http://feeds.feedburner.com/~ff/drawinglessonsinfo?d=yIl2AUoC8zA" border="0"&gt;&lt;/img&gt;&lt;/a&gt; &lt;a href="http://feeds.feedburner.com/~ff/drawinglessonsinfo?a=kLW-qIpNiTs:GuM-ZGZVWDQ:qj6IDK7rITs"&gt;&lt;img src="http://feeds.feedburner.com/~ff/drawinglessonsinfo?d=qj6IDK7rITs" border="0"&gt;&lt;/img&gt;&lt;/a&gt;
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 <pubDate>Wed, 22 Feb 2012 01:10:34 GMT</pubDate>
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 <title>PLATE Establish the construction of cach head Drawing the Head and Hands</title>
 <description>It is almost impossible to draw a beautiful woman unless the construction and placement of features are accurate. Keep the nostrils small and watch carefully the placement of the jaw and ears. The eyes and mouth must be in perfect placement and drawing to avoid some very strange and unpleasant results. Just now the brows are left fairly thick. A few years back they were just a thin line. Personally, I like natural-looking brows, but brows and lips, since they arc so often made up. follow the...&lt;p&gt;&lt;a href="http://www.jayespace.com/head-hands/plate-establish-the-construction-of-cach-head.html"&gt;&lt;img src="http://www.jayespace.com/head-hands/images/1807_207_129-drawing-disney-style.jpg" style="width: 485pt; height: 571pt;" alt="Drawing Disney Style"/&gt;&lt;/a&gt;&lt;/p&gt;&lt;div class="feedflare"&gt;
&lt;a href="http://feeds.feedburner.com/~ff/drawinglessonsinfo?a=RjT7nC1a6j4:Ak8oixlKTqs:yIl2AUoC8zA"&gt;&lt;img src="http://feeds.feedburner.com/~ff/drawinglessonsinfo?d=yIl2AUoC8zA" border="0"&gt;&lt;/img&gt;&lt;/a&gt; &lt;a href="http://feeds.feedburner.com/~ff/drawinglessonsinfo?a=RjT7nC1a6j4:Ak8oixlKTqs:qj6IDK7rITs"&gt;&lt;img src="http://feeds.feedburner.com/~ff/drawinglessonsinfo?d=qj6IDK7rITs" border="0"&gt;&lt;/img&gt;&lt;/a&gt;
&lt;/div&gt;</description>
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 <media:title>Drawing Disney Style</media:title>
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 <pubDate>Tue, 21 Feb 2012 23:20:23 GMT</pubDate>
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 <title>Seeing Values DrawingNature</title>
 <description>Values play a dominant role in the harmony and design of your composition. A large, dark area in the foreground can be balanced by a properly placed, small, dark area in the distance. Value contrasts can create your center of interest simply by having a light area surrounded by a dark area, or vice versa. Seeing values correctly will help you to interpret the atmosphere and the colors of nature the greens and blues, etc. into black, grays and white in order to render a believable drawing in...&lt;p&gt;&lt;a href="http://www.jayespace.com/nature/seeing-values.html"&gt;&lt;img src="http://www.jayespace.com/nature/images/1794_43_82.jpg" style="width: 375pt; height: 278pt;"/&gt;&lt;/a&gt;&lt;/p&gt;&lt;div class="feedflare"&gt;
&lt;a href="http://feeds.feedburner.com/~ff/drawinglessonsinfo?a=HGoZwiEpnBk:IAxlzyMO6m0:yIl2AUoC8zA"&gt;&lt;img src="http://feeds.feedburner.com/~ff/drawinglessonsinfo?d=yIl2AUoC8zA" border="0"&gt;&lt;/img&gt;&lt;/a&gt; &lt;a href="http://feeds.feedburner.com/~ff/drawinglessonsinfo?a=HGoZwiEpnBk:IAxlzyMO6m0:qj6IDK7rITs"&gt;&lt;img src="http://feeds.feedburner.com/~ff/drawinglessonsinfo?d=qj6IDK7rITs" border="0"&gt;&lt;/img&gt;&lt;/a&gt;
&lt;/div&gt;</description>
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 <pubDate>Tue, 21 Feb 2012 21:21:36 GMT</pubDate>
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 <title>The shaft basisand the hole basissystem of fits EngineeringDrawing</title>
 <description>In all the examples given above, the discussion has been concerning 'shafts' and 'holes'. It should be remembered that this does not necessarily apply to shafts and holes. These are just generic terms that mean anything that fits inside anything else. However, whatever the case, it is often the case that either the shaft or the hole is the easier to produce. For example, if they are cylindrical, the shaft will be the more easily produced in that one turning tool can produce an infinite number...&lt;p&gt;&lt;a href="http://www.jayespace.com/engineering/the-shaft-basisand-the-hole-basissystem-of-fits.html"&gt;&lt;img src="http://www.jayespace.com/engineering/images/1812_68_73.png" style="width: 313pt; height: 121pt;" title="Figure Typical clearance transition and interference fits for shaft hole"/&gt;&lt;/a&gt;&lt;/p&gt;&lt;div class="feedflare"&gt;
&lt;a href="http://feeds.feedburner.com/~ff/drawinglessonsinfo?a=_JMc2taL-iY:ldeuaOLcVuE:yIl2AUoC8zA"&gt;&lt;img src="http://feeds.feedburner.com/~ff/drawinglessonsinfo?d=yIl2AUoC8zA" border="0"&gt;&lt;/img&gt;&lt;/a&gt; &lt;a href="http://feeds.feedburner.com/~ff/drawinglessonsinfo?a=_JMc2taL-iY:ldeuaOLcVuE:qj6IDK7rITs"&gt;&lt;img src="http://feeds.feedburner.com/~ff/drawinglessonsinfo?d=qj6IDK7rITs" border="0"&gt;&lt;/img&gt;&lt;/a&gt;
&lt;/div&gt;</description>
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 <media:description type="html">Figure Typical clearance transition and interference fits for shaft hole</media:description>
 <pubDate>Tue, 21 Feb 2012 21:14:09 GMT</pubDate>
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 <title>A further complication Drawing on Memories</title>
 <description>One further complication of seeing needs mentioning. The eyes gather visual information by constantly scanning the environment. But visual data from out there, gathered by sight, is not the end of the story. At least part, and perhaps much of what we see is changed, interpreted, or conceptualized in ways that depend on a person's training, mind-set, and past experiences. We tend to see what we expect to see or what we decide we have seen. This expectation or decision, however, often is not a...&lt;p&gt;&lt;a href="http://www.jayespace.com/memories/a-further-complication.html"&gt;&lt;img src="http://www.jayespace.com/memories/images/1887_11_12.jpg" style="width: 134pt; height: 287pt;" title="quot The artist the confidant nature Flowers carry dialogues with him through the graceful bending their stems and the harmoniously tinted nuances their blossoms Every flower has cordial word which nature directs towards him quot"/&gt;&lt;/a&gt;&lt;/p&gt;&lt;div class="feedflare"&gt;
&lt;a href="http://feeds.feedburner.com/~ff/drawinglessonsinfo?a=Gf9oU6mOZK8:T1Hi6uTKNFQ:yIl2AUoC8zA"&gt;&lt;img src="http://feeds.feedburner.com/~ff/drawinglessonsinfo?d=yIl2AUoC8zA" border="0"&gt;&lt;/img&gt;&lt;/a&gt; &lt;a href="http://feeds.feedburner.com/~ff/drawinglessonsinfo?a=Gf9oU6mOZK8:T1Hi6uTKNFQ:qj6IDK7rITs"&gt;&lt;img src="http://feeds.feedburner.com/~ff/drawinglessonsinfo?d=qj6IDK7rITs" border="0"&gt;&lt;/img&gt;&lt;/a&gt;
&lt;/div&gt;</description>
 <link>http://www.jayespace.com/memories/a-further-complication.html</link>
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 <media:title />
 <media:description type="html">quot The artist the confidant nature Flowers carry dialogues with him through the graceful bending their stems and the harmoniously tinted nuances their blossoms Every flower has cordial word which nature directs towards him quot</media:description>
 <pubDate>Tue, 21 Feb 2012 17:09:17 GMT</pubDate>
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 <title>Toothbrush technique FantasyArt</title>
 <description>Coarse gradations and textures similar to spray work can be achieved using an old toothbrush and a small stick rubbed across the inked bristles. Before applying paint or ink, mask areas you don't want it applied to. 3 The dark background areas were sprayed. 4 Next, he removed the central mask and cut a new mask to protect the background areas while working on the central design. 5 Bob cut a series of masks within the central area to enable him to spray different areas with a variety of...&lt;p&gt;&lt;a href="http://www.jayespace.com/fantasy-art/toothbrush-technique.html"&gt;&lt;img src="http://www.jayespace.com/fantasy-art/images/1865_138_194.jpg" style="width: 486pt; height: 191pt;"/&gt;&lt;/a&gt;&lt;/p&gt;&lt;div class="feedflare"&gt;
&lt;a href="http://feeds.feedburner.com/~ff/drawinglessonsinfo?a=MrvvjoTwE_o:ozsio29YQHM:yIl2AUoC8zA"&gt;&lt;img src="http://feeds.feedburner.com/~ff/drawinglessonsinfo?d=yIl2AUoC8zA" border="0"&gt;&lt;/img&gt;&lt;/a&gt; &lt;a href="http://feeds.feedburner.com/~ff/drawinglessonsinfo?a=MrvvjoTwE_o:ozsio29YQHM:qj6IDK7rITs"&gt;&lt;img src="http://feeds.feedburner.com/~ff/drawinglessonsinfo?d=qj6IDK7rITs" border="0"&gt;&lt;/img&gt;&lt;/a&gt;
&lt;/div&gt;</description>
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 <pubDate>Tue, 21 Feb 2012 15:50:14 GMT</pubDate>
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 <title>Center Line 1 MangaCharacters</title>
 <description>Place a center line on the visible side for a simple standing posture. Pay close attention to the movement of the waistline Place a center line on the visible side for a simple standing posture. Imagine a center line that goes with the flow of movement as sometimes the center line on visible side may be shrunk because of the back being bent and so on. Clirued line Of Using curved movement lines enables mouement y u to draw s000' posture and flow It will stabilize the drawing if you draw frontal...&lt;p&gt;&lt;a href="http://www.jayespace.com/manga-characters/center-line-1.html"&gt;&lt;img src="http://www.jayespace.com/manga-characters/images/1830_68_156.jpg" style="width: 244pt; height: 251pt;" title="Curved line movement"/&gt;&lt;/a&gt;&lt;/p&gt;&lt;div class="feedflare"&gt;
&lt;a href="http://feeds.feedburner.com/~ff/drawinglessonsinfo?a=LBA6BnR3xCE:4jwfU1CzU2U:yIl2AUoC8zA"&gt;&lt;img src="http://feeds.feedburner.com/~ff/drawinglessonsinfo?d=yIl2AUoC8zA" border="0"&gt;&lt;/img&gt;&lt;/a&gt; &lt;a href="http://feeds.feedburner.com/~ff/drawinglessonsinfo?a=LBA6BnR3xCE:4jwfU1CzU2U:qj6IDK7rITs"&gt;&lt;img src="http://feeds.feedburner.com/~ff/drawinglessonsinfo?d=qj6IDK7rITs" border="0"&gt;&lt;/img&gt;&lt;/a&gt;
&lt;/div&gt;</description>
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 <media:description type="html">Curved line movement</media:description>
 <pubDate>Tue, 21 Feb 2012 15:17:02 GMT</pubDate>
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 <title>Info Nsf DimensioningTolerancing</title>
 <description>Each longitudinal element of the surlace must lie between two parallel lines 0.02 apart where the two lines and the nominal axis of the part share a common plane. The feature must be within the specified limits of size and the boundary of perfect form at MMC 16.00 . Each longitudinal element of the surlace must lie between two parallel lines 0.02 apart where the two lines and the nominal axis of the part share a common plane. The feature must be within the specified limits of size and the...&lt;p&gt;&lt;a href="http://www.jayespace.com/dimensioning-tolerancing/info-nsf.html"&gt;&lt;img src="http://www.jayespace.com/dimensioning-tolerancing/images/1810_1732_300.jpg" style="width: 192pt; height: 198pt;" title="Each longitudinal element the surlace must lie between two parallel lines apart where the two lines and the nominal axis the part share common plane The feature must within the specified limits size and the boundary perfect form MMC "/&gt;&lt;/a&gt;&lt;/p&gt;&lt;div class="feedflare"&gt;
&lt;a href="http://feeds.feedburner.com/~ff/drawinglessonsinfo?a=gbH6aKPpslw:VQPUmIoGK-A:yIl2AUoC8zA"&gt;&lt;img src="http://feeds.feedburner.com/~ff/drawinglessonsinfo?d=yIl2AUoC8zA" border="0"&gt;&lt;/img&gt;&lt;/a&gt; &lt;a href="http://feeds.feedburner.com/~ff/drawinglessonsinfo?a=gbH6aKPpslw:VQPUmIoGK-A:qj6IDK7rITs"&gt;&lt;img src="http://feeds.feedburner.com/~ff/drawinglessonsinfo?d=qj6IDK7rITs" border="0"&gt;&lt;/img&gt;&lt;/a&gt;
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 <media:description type="html">Each longitudinal element the surlace must lie between two parallel lines apart where the two lines and the nominal axis the part share common plane The feature must within the specified limits size and the boundary perfect form MMC </media:description>
 <pubDate>Tue, 21 Feb 2012 11:32:33 GMT</pubDate>
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 <title>Blending With Stomps And Tortillions DrawingNature</title>
 <description>These cigar-shaped blending tools are great to work with. I have salvaged quite a few drawings with their help. The drawings on these two pages demonstrate some of the numerous ways to work with stomps and tortillions. The drawing at top was executed mostly with a chamois stomp. I put some charcoal powder on a separate piece of paper I save the powder from charcoal pencil sharpenings , then rolled part of the point of the stomp in the powder, and rubbed it lightly on a piece of scrap paper so...&lt;p&gt;&lt;a href="http://www.jayespace.com/nature/blending-with-stomps-and-tortillions.html"&gt;&lt;img src="http://www.jayespace.com/nature/images/1794_35_63.jpg" style="width: 505pt; height: 599pt;"/&gt;&lt;/a&gt;&lt;/p&gt;&lt;div class="feedflare"&gt;
&lt;a href="http://feeds.feedburner.com/~ff/drawinglessonsinfo?a=Fi1m70-Gy9s:2Mw6HWKmBxc:yIl2AUoC8zA"&gt;&lt;img src="http://feeds.feedburner.com/~ff/drawinglessonsinfo?d=yIl2AUoC8zA" border="0"&gt;&lt;/img&gt;&lt;/a&gt; &lt;a href="http://feeds.feedburner.com/~ff/drawinglessonsinfo?a=Fi1m70-Gy9s:2Mw6HWKmBxc:qj6IDK7rITs"&gt;&lt;img src="http://feeds.feedburner.com/~ff/drawinglessonsinfo?d=qj6IDK7rITs" border="0"&gt;&lt;/img&gt;&lt;/a&gt;
&lt;/div&gt;</description>
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 <pubDate>Tue, 21 Feb 2012 09:49:34 GMT</pubDate>
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 <title>Vases and faces An exercise for the double brain Drawing on Memories</title>
 <description>A puzzle If one picture is worth a thousand words, can a thousand words explicate one picture A Transformational Theory of Aesthetics, London Routledge, 1990 The exercises that follow are specifically designed to help you understand the shift from dominant left-hemisphere mode to subdominant R-mode. I could go on describing the process over and over in words, but only you can experience for yourself this cognitive shift, this slight change in subjective state. As Fats Waller once said, If you...&lt;p&gt;&lt;a href="http://www.jayespace.com/memories/vases-and-faces-an-exercise-for-the-double-brain.html"&gt;&lt;img src="http://www.jayespace.com/memories/images/1887_40_46.jpg" style="width: 144pt; height: 348pt;"/&gt;&lt;/a&gt;&lt;/p&gt;&lt;div class="feedflare"&gt;
&lt;a href="http://feeds.feedburner.com/~ff/drawinglessonsinfo?a=rre1i8PoSj4:3Og1LrHGwXA:yIl2AUoC8zA"&gt;&lt;img src="http://feeds.feedburner.com/~ff/drawinglessonsinfo?d=yIl2AUoC8zA" border="0"&gt;&lt;/img&gt;&lt;/a&gt; &lt;a href="http://feeds.feedburner.com/~ff/drawinglessonsinfo?a=rre1i8PoSj4:3Og1LrHGwXA:qj6IDK7rITs"&gt;&lt;img src="http://feeds.feedburner.com/~ff/drawinglessonsinfo?d=qj6IDK7rITs" border="0"&gt;&lt;/img&gt;&lt;/a&gt;
&lt;/div&gt;</description>
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 <pubDate>Tue, 21 Feb 2012 08:46:01 GMT</pubDate>
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 <title>Common Errors In Perspective DrawingFundamentals</title>
 <description>Distortion results from having both vanishing points within the field of vision, or too close to the object. If the object has a right angle at the near comer, the base lines must make an angle greater than a right angle on the drawing, since a right angle can not be represented by anything less than a right angle. The drawing below shows tills common error. I'tutwA inffce jm ftc ffoifti a , tej amp nte Aotixotc. Too few artists follow the simple plan of project- to scale any vertical unit or...&lt;p&gt;&lt;a href="http://www.jayespace.com/fundamentals/common-errors-in-perspective.html"&gt;&lt;img src="http://www.jayespace.com/fundamentals/images/1863_27_85.jpg" style="width: 563pt; height: 607pt;"/&gt;&lt;/a&gt;&lt;/p&gt;&lt;div class="feedflare"&gt;
&lt;a href="http://feeds.feedburner.com/~ff/drawinglessonsinfo?a=ZaZ6t0CRSF8:3ZL-L1594s4:yIl2AUoC8zA"&gt;&lt;img src="http://feeds.feedburner.com/~ff/drawinglessonsinfo?d=yIl2AUoC8zA" border="0"&gt;&lt;/img&gt;&lt;/a&gt; &lt;a href="http://feeds.feedburner.com/~ff/drawinglessonsinfo?a=ZaZ6t0CRSF8:3ZL-L1594s4:qj6IDK7rITs"&gt;&lt;img src="http://feeds.feedburner.com/~ff/drawinglessonsinfo?d=qj6IDK7rITs" border="0"&gt;&lt;/img&gt;&lt;/a&gt;
&lt;/div&gt;</description>
 <category>DrawingFundamentals</category>
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 <pubDate>Tue, 21 Feb 2012 04:12:15 GMT</pubDate>
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 <title>Striking with the Palm of the Hand IllustratingBattles</title>
 <description>The pros draw the wrist twisting over like this. The pros draw the wrist twisting over like this. Draw a slightly low-angle facing the chin upward Draw a slightly low-angle facing the chin upward 1 Right before impact - The line of sight looks towards the hand. 3 While being hit -To make it look like a slap, don't raise the shoulder of the attacked-character. 2 Moment of impact - One of the eyes gets pressed closed. You can draw both eyes closed too. 3 While being hit -To make it look like a...&lt;p&gt;&lt;a href="http://www.jayespace.com/illustrating-battles/striking-with-the-palm-of-the-hand.html"&gt;&lt;img src="http://www.jayespace.com/illustrating-battles/images/1833_16_153.jpg" style="width: 422pt; height: 453pt;" title=" express multiple slaps use hit points and text"/&gt;&lt;/a&gt;&lt;/p&gt;&lt;div class="feedflare"&gt;
&lt;a href="http://feeds.feedburner.com/~ff/drawinglessonsinfo?a=GzxyEKGf71Q:Nrq4VBn_P8U:yIl2AUoC8zA"&gt;&lt;img src="http://feeds.feedburner.com/~ff/drawinglessonsinfo?d=yIl2AUoC8zA" border="0"&gt;&lt;/img&gt;&lt;/a&gt; &lt;a href="http://feeds.feedburner.com/~ff/drawinglessonsinfo?a=GzxyEKGf71Q:Nrq4VBn_P8U:qj6IDK7rITs"&gt;&lt;img src="http://feeds.feedburner.com/~ff/drawinglessonsinfo?d=qj6IDK7rITs" border="0"&gt;&lt;/img&gt;&lt;/a&gt;
&lt;/div&gt;</description>
 <category>IllustratingBattles</category>
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 <media:description type="html"> express multiple slaps use hit points and text</media:description>
 <pubDate>Tue, 21 Feb 2012 03:38:19 GMT</pubDate>
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 <title>braiding Backgrounds MangaStudio</title>
 <description>Resource Perspective For Comic Book Artists How to Achieve a Professional Look in Your Art, by David Chelsea Watson-Guptill It's amazing to see comics from new artists where character drawings are spot-on but the backgrounds are either extremely sloppy, off kilter, or worse yet, not done at all. It's hard to get a feel for a scene when there's no scene to look at. It's understandable, actually. Most of the time when you're reading a comic, you're obviously going to focus your attention on the...&lt;div class="feedflare"&gt;
&lt;a href="http://feeds.feedburner.com/~ff/drawinglessonsinfo?a=6jiBmWfR1Nw:qIWIu33XU-E:yIl2AUoC8zA"&gt;&lt;img src="http://feeds.feedburner.com/~ff/drawinglessonsinfo?d=yIl2AUoC8zA" border="0"&gt;&lt;/img&gt;&lt;/a&gt; &lt;a href="http://feeds.feedburner.com/~ff/drawinglessonsinfo?a=6jiBmWfR1Nw:qIWIu33XU-E:qj6IDK7rITs"&gt;&lt;img src="http://feeds.feedburner.com/~ff/drawinglessonsinfo?d=qj6IDK7rITs" border="0"&gt;&lt;/img&gt;&lt;/a&gt;
&lt;/div&gt;</description>
 <category>MangaStudio</category>
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 <pubDate>Tue, 21 Feb 2012 02:53:43 GMT</pubDate>
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 <title>The Chromaticity Diagram Analysis of Paintings</title>
 <description>The sensation of color depends primarily on the composition of light, which is a mixture of white light and colored light which in itself can be a mixture of wavelengths as in the case of purple . The colored light may have a dominant wavelength, or hue, and the extent to which the hue dominates is known as saturation or chroma . The saturation decreases as the hue is diluted with white light. There are three types of receptors in the eye that respond to different wavelengths Chapter 4 . This...&lt;p&gt;&lt;a href="http://www.jayespace.com/analysis-of-paintings/the-chromaticity-diagram.html"&gt;&lt;img src="http://www.jayespace.com/analysis-of-paintings/images/1889_67_107.png" style="width: 354pt; height: 211pt;"/&gt;&lt;/a&gt;&lt;/p&gt;&lt;div class="feedflare"&gt;
&lt;a href="http://feeds.feedburner.com/~ff/drawinglessonsinfo?a=qaSjkAndoYE:8EFfYjOoeNg:yIl2AUoC8zA"&gt;&lt;img src="http://feeds.feedburner.com/~ff/drawinglessonsinfo?d=yIl2AUoC8zA" border="0"&gt;&lt;/img&gt;&lt;/a&gt; &lt;a href="http://feeds.feedburner.com/~ff/drawinglessonsinfo?a=qaSjkAndoYE:8EFfYjOoeNg:qj6IDK7rITs"&gt;&lt;img src="http://feeds.feedburner.com/~ff/drawinglessonsinfo?d=qj6IDK7rITs" border="0"&gt;&lt;/img&gt;&lt;/a&gt;
&lt;/div&gt;</description>
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 <pubDate>Mon, 20 Feb 2012 19:58:52 GMT</pubDate>
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 <title>Cam followers EngineeringDrawing</title>
 <description>Various types of cam followers are shown in Fig. 24.1. Knife-edge followers are restricted to use with slow-moving mechanisms, due to their rapid rates of wear. Improved stability can be obtained from the roller follower, and increased surface area in contact with the cam can be obtained from the flat and mushroom types of follower. The roller follower is the most expensive type, but is ideally suited to high speeds and applications where heat and wear are factors. Fig. 24.1 Plate cams a Plate...&lt;p&gt;&lt;a href="http://www.jayespace.com/engineering-3/cam-followers.html"&gt;&lt;img src="http://www.jayespace.com/engineering-3/images/1843_293_541.jpg" style="width: 77pt; height: 85pt;"/&gt;&lt;/a&gt;&lt;/p&gt;&lt;div class="feedflare"&gt;
&lt;a href="http://feeds.feedburner.com/~ff/drawinglessonsinfo?a=fk_04GRnmaU:N1_TouuN39s:yIl2AUoC8zA"&gt;&lt;img src="http://feeds.feedburner.com/~ff/drawinglessonsinfo?d=yIl2AUoC8zA" border="0"&gt;&lt;/img&gt;&lt;/a&gt; &lt;a href="http://feeds.feedburner.com/~ff/drawinglessonsinfo?a=fk_04GRnmaU:N1_TouuN39s:qj6IDK7rITs"&gt;&lt;img src="http://feeds.feedburner.com/~ff/drawinglessonsinfo?d=qj6IDK7rITs" border="0"&gt;&lt;/img&gt;&lt;/a&gt;
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 <pubDate>Mon, 20 Feb 2012 18:34:01 GMT</pubDate>
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 <title>Machine drawing EngineeringDrawing</title>
 <description>The draughtsman must be able to appreciate the significance of every line on a machine drawing. He must also understand the basic terminology and vocabulary used in conjunction with machine drawings. Machine drawings of components can involve any of the geometrical principles and constructions described in this book and in addition the accepted drawing standards covered by BS 8888. Figure 7.15 illustrates many features found on machine drawings and the notes which follow give additional...&lt;p&gt;&lt;a href="http://www.jayespace.com/engineering-3/machine-drawing.html"&gt;&lt;img src="http://www.jayespace.com/engineering-3/images/1843_71_119.jpg" style="width: 476pt; height: 413pt;"/&gt;&lt;/a&gt;&lt;/p&gt;&lt;div class="feedflare"&gt;
&lt;a href="http://feeds.feedburner.com/~ff/drawinglessonsinfo?a=enVI9i5Au6E:p0ac_uJDjyE:yIl2AUoC8zA"&gt;&lt;img src="http://feeds.feedburner.com/~ff/drawinglessonsinfo?d=yIl2AUoC8zA" border="0"&gt;&lt;/img&gt;&lt;/a&gt; &lt;a href="http://feeds.feedburner.com/~ff/drawinglessonsinfo?a=enVI9i5Au6E:p0ac_uJDjyE:qj6IDK7rITs"&gt;&lt;img src="http://feeds.feedburner.com/~ff/drawinglessonsinfo?d=qj6IDK7rITs" border="0"&gt;&lt;/img&gt;&lt;/a&gt;
&lt;/div&gt;</description>
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 <pubDate>Mon, 20 Feb 2012 16:36:05 GMT</pubDate>
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 <title>Creating Textures with Lines and Strokes PencilDrawing</title>
 <description>As you start to draw from nature, you will want to indicate textures such as stone, wood, grass, shingles, etc. Not only will this give your drawings authenticity, but it will also add liveliness and interest. Remember, however, that you are not copying an object, but indicating it this means that you do not want to strive for a photographic copy, but, you do want to combine values and strokes to simulate the quality of the object's texture. When lines and tones are combined, you achieve the...&lt;p&gt;&lt;a href="http://www.jayespace.com/pencil/creating-textures-with-lines-and-strokes.html"&gt;&lt;img src="http://www.jayespace.com/pencil/images/1849_22_59-pencil-drawing-texture.jpg" style="width: 504pt; height: 389pt;" alt="Pencil Drawing Texture"/&gt;&lt;/a&gt;&lt;/p&gt;&lt;div class="feedflare"&gt;
&lt;a href="http://feeds.feedburner.com/~ff/drawinglessonsinfo?a=MIFiLD8ngmw:pgpXpyStf9I:yIl2AUoC8zA"&gt;&lt;img src="http://feeds.feedburner.com/~ff/drawinglessonsinfo?d=yIl2AUoC8zA" border="0"&gt;&lt;/img&gt;&lt;/a&gt; &lt;a href="http://feeds.feedburner.com/~ff/drawinglessonsinfo?a=MIFiLD8ngmw:pgpXpyStf9I:qj6IDK7rITs"&gt;&lt;img src="http://feeds.feedburner.com/~ff/drawinglessonsinfo?d=qj6IDK7rITs" border="0"&gt;&lt;/img&gt;&lt;/a&gt;
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 <media:title>Pencil Drawing Texture</media:title>
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 <pubDate>Mon, 20 Feb 2012 16:11:43 GMT</pubDate>
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 <title>Diminished Oblique Projection TechnicalDrawing</title>
 <description>these the same length as the first then slide the set square forward until it reaches the ends of the vertical sides, and lines drawn therefrom will complete the hexagon. The oblique projectors are at an angle of 450. A Trussed Partition, such as is used to divide large and lofty buildings into apartments, is shown in oblique projection on page 104, and a portion of the head of an opening in a similar partition is shown below. The former is projected from the elevation at an angle of 30 the...&lt;p&gt;&lt;a href="http://www.jayespace.com/technical/diminished-oblique-projection.html"&gt;&lt;img src="http://www.jayespace.com/technical/images/1844_110_43.jpg" style="width: 236pt; height: 159pt;" title="Method constructing Oblique Scale"/&gt;&lt;/a&gt;&lt;/p&gt;&lt;div class="feedflare"&gt;
&lt;a href="http://feeds.feedburner.com/~ff/drawinglessonsinfo?a=BeiIZEBsypQ:k1uLDLl__Qs:yIl2AUoC8zA"&gt;&lt;img src="http://feeds.feedburner.com/~ff/drawinglessonsinfo?d=yIl2AUoC8zA" border="0"&gt;&lt;/img&gt;&lt;/a&gt; &lt;a href="http://feeds.feedburner.com/~ff/drawinglessonsinfo?a=BeiIZEBsypQ:k1uLDLl__Qs:qj6IDK7rITs"&gt;&lt;img src="http://feeds.feedburner.com/~ff/drawinglessonsinfo?d=qj6IDK7rITs" border="0"&gt;&lt;/img&gt;&lt;/a&gt;
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 <category>TechnicalDrawing</category>
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 <media:description type="html">Method constructing Oblique Scale</media:description>
 <pubDate>Mon, 20 Feb 2012 15:10:43 GMT</pubDate>
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 <title>Markmaking With Graphite 1 DrawingTechniques</title>
 <description>Stabbing with the end of the graphite. Stabbing with the end of the graphite. Using a twisting movement with the graphite on its side. &lt;p&gt;&lt;a href="http://www.jayespace.com/techniques-2/markmaking-with-graphite-1.html"&gt;&lt;img src="http://www.jayespace.com/techniques-2/images/1874_28_31.jpg" style="width: 199pt; height: 75pt;" title="Stabbing with the end the graphite"/&gt;&lt;/a&gt;&lt;/p&gt;&lt;div class="feedflare"&gt;
&lt;a href="http://feeds.feedburner.com/~ff/drawinglessonsinfo?a=HiFv9FCvshQ:lzDCGkekL60:yIl2AUoC8zA"&gt;&lt;img src="http://feeds.feedburner.com/~ff/drawinglessonsinfo?d=yIl2AUoC8zA" border="0"&gt;&lt;/img&gt;&lt;/a&gt; &lt;a href="http://feeds.feedburner.com/~ff/drawinglessonsinfo?a=HiFv9FCvshQ:lzDCGkekL60:qj6IDK7rITs"&gt;&lt;img src="http://feeds.feedburner.com/~ff/drawinglessonsinfo?d=qj6IDK7rITs" border="0"&gt;&lt;/img&gt;&lt;/a&gt;
&lt;/div&gt;</description>
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 <media:description type="html">Stabbing with the end the graphite</media:description>
 <pubDate>Mon, 20 Feb 2012 14:46:23 GMT</pubDate>
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 <title>Some more problems solved by drawing GeometricDrawing</title>
 <description>This chapter introduces the student to some more drawing techniques It should be emphasized that the topics are only introduced all of them can be studied in much greater depth and any solutions offered in this chepter will apply to simple probleme only. AREAS OF IRREGULAR SHAPES It is possible to find, by drawing, the area of an irregular shape. The technique does not give an exact answer but. carefully used can provide a reasonable answer. Look at Fig. 17 1. The shape is trapezoidal with...&lt;p&gt;&lt;a href="http://www.jayespace.com/geometric/some-more-problems-solved-by-drawing.html"&gt;&lt;img src="http://www.jayespace.com/geometric/images/1823_40_307.jpg" style="width: 157pt; height: 153pt;" title="Fig Three types cam followers"/&gt;&lt;/a&gt;&lt;/p&gt;&lt;div class="feedflare"&gt;
&lt;a href="http://feeds.feedburner.com/~ff/drawinglessonsinfo?a=AcE4956h6h8:NpQX_75gXV8:yIl2AUoC8zA"&gt;&lt;img src="http://feeds.feedburner.com/~ff/drawinglessonsinfo?d=yIl2AUoC8zA" border="0"&gt;&lt;/img&gt;&lt;/a&gt; &lt;a href="http://feeds.feedburner.com/~ff/drawinglessonsinfo?a=AcE4956h6h8:NpQX_75gXV8:qj6IDK7rITs"&gt;&lt;img src="http://feeds.feedburner.com/~ff/drawinglessonsinfo?d=qj6IDK7rITs" border="0"&gt;&lt;/img&gt;&lt;/a&gt;
&lt;/div&gt;</description>
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 <media:description type="html">Fig Three types cam followers</media:description>
 <pubDate>Mon, 20 Feb 2012 14:37:17 GMT</pubDate>
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 <title>b Artists Pigments Materials and Methods Analysis of Paintings</title>
 <description>B-1 R.L. Feller, Ed. , Artists' Pigments National Gallery Art, Washington, 1986 6th edition. B-2 A.P. Laurie, The Painter's Methods and Materials Dover Publications, New York, 1967 . B-3 A. Roy, The Materials of Van Gogh's Cornfield with Cypresses, National Gallery, Technical Bulletin, Vol. 11, pp 50-58, 1987. B-4 D.V. Thompson, The Materials and Techniques of Medieval Paintings Dover Publications, New York, 1959 . B-5 R.H. Harley, Artists' Pigments, c. 1600-1835 Butterworth Scientific, London,...&lt;div class="feedflare"&gt;
&lt;a href="http://feeds.feedburner.com/~ff/drawinglessonsinfo?a=RKVLxt1W1sM:CZdYvzr3wrE:yIl2AUoC8zA"&gt;&lt;img src="http://feeds.feedburner.com/~ff/drawinglessonsinfo?d=yIl2AUoC8zA" border="0"&gt;&lt;/img&gt;&lt;/a&gt; &lt;a href="http://feeds.feedburner.com/~ff/drawinglessonsinfo?a=RKVLxt1W1sM:CZdYvzr3wrE:qj6IDK7rITs"&gt;&lt;img src="http://feeds.feedburner.com/~ff/drawinglessonsinfo?d=qj6IDK7rITs" border="0"&gt;&lt;/img&gt;&lt;/a&gt;
&lt;/div&gt;</description>
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 <pubDate>Mon, 20 Feb 2012 14:17:15 GMT</pubDate>
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 <title>Differentiating Body Types Female Manga Characters</title>
 <description>If you understand how the differences in bone structure and body type affect their proportions, you'll be able to draw a wide variety of female figures. The shoulders, arms, and legs are all somewhat fleshy even when the legs and arms are long, they have a fullness to them The sides of the chest and hips form a shapely curve. The shoulders, arms, and legs are all somewhat fleshy even when the legs and arms are long, they have a fullness to them The sides of the chest and hips form a shapely...&lt;p&gt;&lt;a href="http://www.jayespace.com/female-manga-characters/differentiating-body-types.html"&gt;&lt;img src="http://www.jayespace.com/female-manga-characters/images/1828_4_15.jpg" style="width: 474pt; height: 631pt;" title="The Athletic Figure"/&gt;&lt;/a&gt;&lt;/p&gt;&lt;div class="feedflare"&gt;
&lt;a href="http://feeds.feedburner.com/~ff/drawinglessonsinfo?a=emiPhvarzMg:7hsw7ilSBW0:yIl2AUoC8zA"&gt;&lt;img src="http://feeds.feedburner.com/~ff/drawinglessonsinfo?d=yIl2AUoC8zA" border="0"&gt;&lt;/img&gt;&lt;/a&gt; &lt;a href="http://feeds.feedburner.com/~ff/drawinglessonsinfo?a=emiPhvarzMg:7hsw7ilSBW0:qj6IDK7rITs"&gt;&lt;img src="http://feeds.feedburner.com/~ff/drawinglessonsinfo?d=qj6IDK7rITs" border="0"&gt;&lt;/img&gt;&lt;/a&gt;
&lt;/div&gt;</description>
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 <media:description type="html">The Athletic Figure</media:description>
 <pubDate>Mon, 20 Feb 2012 12:51:37 GMT</pubDate>
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 <title>Eye Level The Foundation of Perspective PencilDrawing</title>
 <description>Many students fail in their attempts at drawing because they're unaware of eye level. Actually, it's such a simple concept, so seemingly obvious, that perhaps it's this very quality that causes it to be overlooked. Eye level refers to the height at which your eyes observe an object. You may want to write this sentence and place it where you can see it often, so that it becomes part of you. It's that important to your development as an artist. To actually demonstrate what is meant by eye level,...&lt;p&gt;&lt;a href="http://www.jayespace.com/pencil/eye-level-the-foundation-of-perspective.html"&gt;&lt;img src="http://www.jayespace.com/pencil/images/1849_12_25.jpg" style="width: 509pt; height: 530pt;"/&gt;&lt;/a&gt;&lt;/p&gt;&lt;div class="feedflare"&gt;
&lt;a href="http://feeds.feedburner.com/~ff/drawinglessonsinfo?a=XVrLNq5PRYU:7UCaJOSVfoo:yIl2AUoC8zA"&gt;&lt;img src="http://feeds.feedburner.com/~ff/drawinglessonsinfo?d=yIl2AUoC8zA" border="0"&gt;&lt;/img&gt;&lt;/a&gt; &lt;a href="http://feeds.feedburner.com/~ff/drawinglessonsinfo?a=XVrLNq5PRYU:7UCaJOSVfoo:qj6IDK7rITs"&gt;&lt;img src="http://feeds.feedburner.com/~ff/drawinglessonsinfo?d=qj6IDK7rITs" border="0"&gt;&lt;/img&gt;&lt;/a&gt;
&lt;/div&gt;</description>
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 <pubDate>Mon, 20 Feb 2012 09:34:40 GMT</pubDate>
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 <title>Study On Tissuepaper In Red Chalk For Figure Of Boreas Science of Drawing</title>
 <description>The purest form of this rhythmic expression of feeling is music. And as Walter Pater shows us in his essay on The School of Giorgione, music is the type of art. The others are more artistic as they approach its conditions. Poetry, the most musical form of literature, is its most artistic form. And in the greatest pictures form, colour, and idea are united to thrill us with harmonies analogous to music. The painter expresses his feelings through the representation of the visible world of Nature,...&lt;div class="feedflare"&gt;
&lt;a href="http://feeds.feedburner.com/~ff/drawinglessonsinfo?a=bdMhvlBzLr8:Kv9pvhWvGFA:yIl2AUoC8zA"&gt;&lt;img src="http://feeds.feedburner.com/~ff/drawinglessonsinfo?d=yIl2AUoC8zA" border="0"&gt;&lt;/img&gt;&lt;/a&gt; &lt;a href="http://feeds.feedburner.com/~ff/drawinglessonsinfo?a=bdMhvlBzLr8:Kv9pvhWvGFA:qj6IDK7rITs"&gt;&lt;img src="http://feeds.feedburner.com/~ff/drawinglessonsinfo?d=qj6IDK7rITs" border="0"&gt;&lt;/img&gt;&lt;/a&gt;
&lt;/div&gt;</description>
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 <pubDate>Mon, 20 Feb 2012 07:42:54 GMT</pubDate>
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 <title>Your Preferred Colors and What They Mean MixingColors</title>
 <description>During the course of this book, you have previously painted twelve exercises. Now, gather all of your paintings and spread them out on a table alongside your Human Emotions painting, the thirteenth exercise. Since the colors for your color wheel Exercise 4 and your value wheel Exercise 5 were specified, set those paintings aside. The color choices for each of the other exercises were your own, including choices of colored papers for the still life setups, and the flower color. Therefore, this...&lt;div class="feedflare"&gt;
&lt;a href="http://feeds.feedburner.com/~ff/drawinglessonsinfo?a=ZK7NjA26MXc:VWqubK5cTgU:yIl2AUoC8zA"&gt;&lt;img src="http://feeds.feedburner.com/~ff/drawinglessonsinfo?d=yIl2AUoC8zA" border="0"&gt;&lt;/img&gt;&lt;/a&gt; &lt;a href="http://feeds.feedburner.com/~ff/drawinglessonsinfo?a=ZK7NjA26MXc:VWqubK5cTgU:qj6IDK7rITs"&gt;&lt;img src="http://feeds.feedburner.com/~ff/drawinglessonsinfo?d=qj6IDK7rITs" border="0"&gt;&lt;/img&gt;&lt;/a&gt;
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 <pubDate>Mon, 20 Feb 2012 05:23:13 GMT</pubDate>
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 <title>The mystery of the choppedoff skull Drawing on Memories</title>
 <description>Most people find it quite difficult to perceive the relative proportions of the features and the skull. In this introduction to profile-portrait drawing, I'll concentrate on two critical relationships that are persistently difficult for beginning drawing students to correctly perceive the location of eye level in relation to the length of the whole head and the location of the ear in the profile view. I believe these are two examples of perceptual errors caused by the brain's propensity to...&lt;p&gt;&lt;a href="http://www.jayespace.com/memories/the-mystery-of-the-choppedoff-skull.html"&gt;&lt;img src="http://www.jayespace.com/memories/images/1887_80_181.jpg" style="width: 168pt; height: 552pt;" title="Fig The same facial features traced from the student drawing with two corrections the size the skull and placement the eye the right hand side the draw ing"/&gt;&lt;/a&gt;&lt;/p&gt;&lt;div class="feedflare"&gt;
&lt;a href="http://feeds.feedburner.com/~ff/drawinglessonsinfo?a=1ltfgoq6vgs:7giCRKebAtQ:yIl2AUoC8zA"&gt;&lt;img src="http://feeds.feedburner.com/~ff/drawinglessonsinfo?d=yIl2AUoC8zA" border="0"&gt;&lt;/img&gt;&lt;/a&gt; &lt;a href="http://feeds.feedburner.com/~ff/drawinglessonsinfo?a=1ltfgoq6vgs:7giCRKebAtQ:qj6IDK7rITs"&gt;&lt;img src="http://feeds.feedburner.com/~ff/drawinglessonsinfo?d=qj6IDK7rITs" border="0"&gt;&lt;/img&gt;&lt;/a&gt;
&lt;/div&gt;</description>
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 <media:title />
 <media:description type="html">Fig The same facial features traced from the student drawing with two corrections the size the skull and placement the eye the right hand side the draw ing</media:description>
 <pubDate>Mon, 20 Feb 2012 04:36:15 GMT</pubDate>
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 <title>Info Vms The Location Drawing</title>
 <description>16-18 Vicarage Rd. Kingsto n-u pon -T hames gt Surrey, KT I I QB Tel. 01 549 5722 4.16 Recommended method of folding 'A' size sheets always keeps the title panel visible 84 4.17 Left Example of drawing title panel We come now to the methods for producing the information which will ultimately be printed in negative form for final reproduction into multiple copies. There are two main methods in use, of differing degrees of sophistication, which may be categorised This is the traditional method,...&lt;div class="feedflare"&gt;
&lt;a href="http://feeds.feedburner.com/~ff/drawinglessonsinfo?a=vDRSu29nn4I:tZW1opp2Ijc:yIl2AUoC8zA"&gt;&lt;img src="http://feeds.feedburner.com/~ff/drawinglessonsinfo?d=yIl2AUoC8zA" border="0"&gt;&lt;/img&gt;&lt;/a&gt; &lt;a href="http://feeds.feedburner.com/~ff/drawinglessonsinfo?a=vDRSu29nn4I:tZW1opp2Ijc:qj6IDK7rITs"&gt;&lt;img src="http://feeds.feedburner.com/~ff/drawinglessonsinfo?d=qj6IDK7rITs" border="0"&gt;&lt;/img&gt;&lt;/a&gt;
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 <pubDate>Mon, 20 Feb 2012 04:21:22 GMT</pubDate>
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 <title>Sacral Triangle DrawingMethods</title>
 <description>back view anatomical figure is standing on its left leg the pelvis, which supports the weight of the torso, is in turn only Fig. 51. Diagram of masses Fig. 52. Diagram of masses of Fig. 54. Fig. 51. Diagram of masses Fig. 52. Diagram of masses of Fig. 54. Fig. 53. Diagram of certain constructional facts noticed in Fig. 57. h marks the head of the humerus. Fig. 53. Diagram of certain constructional facts noticed in Fig. 57. h marks the head of the humerus. held up on the left, consequently it...&lt;p&gt;&lt;a href="http://www.jayespace.com/methods/sacral-triangle.html"&gt;&lt;img src="http://www.jayespace.com/methods/images/1868_331_58.png" style="width: 151pt; height: 160pt;" title="Fig Diagram certain constructional facts noticed Fig marks the head the humerus"/&gt;&lt;/a&gt;&lt;/p&gt;&lt;div class="feedflare"&gt;
&lt;a href="http://feeds.feedburner.com/~ff/drawinglessonsinfo?a=kYpsiTlxyiM:GC7RPMJ4Kmw:yIl2AUoC8zA"&gt;&lt;img src="http://feeds.feedburner.com/~ff/drawinglessonsinfo?d=yIl2AUoC8zA" border="0"&gt;&lt;/img&gt;&lt;/a&gt; &lt;a href="http://feeds.feedburner.com/~ff/drawinglessonsinfo?a=kYpsiTlxyiM:GC7RPMJ4Kmw:qj6IDK7rITs"&gt;&lt;img src="http://feeds.feedburner.com/~ff/drawinglessonsinfo?d=qj6IDK7rITs" border="0"&gt;&lt;/img&gt;&lt;/a&gt;
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 <media:title />
 <media:description type="html">Fig Diagram certain constructional facts noticed Fig marks the head the humerus</media:description>
 <pubDate>Mon, 20 Feb 2012 03:49:47 GMT</pubDate>
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 <title>The Fairy Gathering James Browne opposite DrawingFairies</title>
 <description>This painting, with a fair family playing among plants found in many ordinary suburban gardens, gives impression that there really are fairies at the bottom of the garden. Who knows what you might find if you mere to look under tkc rose bushes in your yard right now The real delight stems from the many painstaking details such as the little fell ow with a belled collar and hoop, and the flower-hatted fairy child reaching for an insect. You would probably discover something nem every time you...&lt;p&gt;&lt;a href="http://www.jayespace.com/fairies/the-fairy-gathering-james-browne-opposite.html"&gt;&lt;img src="http://www.jayespace.com/fairies/images/1893_54_212.jpg" style="width: 627pt; height: 270pt;"/&gt;&lt;/a&gt;&lt;/p&gt;&lt;div class="feedflare"&gt;
&lt;a href="http://feeds.feedburner.com/~ff/drawinglessonsinfo?a=8ymE6nYGL3A:Myl4iB2KWyY:yIl2AUoC8zA"&gt;&lt;img src="http://feeds.feedburner.com/~ff/drawinglessonsinfo?d=yIl2AUoC8zA" border="0"&gt;&lt;/img&gt;&lt;/a&gt; &lt;a href="http://feeds.feedburner.com/~ff/drawinglessonsinfo?a=8ymE6nYGL3A:Myl4iB2KWyY:qj6IDK7rITs"&gt;&lt;img src="http://feeds.feedburner.com/~ff/drawinglessonsinfo?d=qj6IDK7rITs" border="0"&gt;&lt;/img&gt;&lt;/a&gt;
&lt;/div&gt;</description>
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 <pubDate>Mon, 20 Feb 2012 03:41:13 GMT</pubDate>
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 <title>Colors in Nature Differ from Colors of HumanMade Objects MixingColors</title>
 <description>In the exercise that follows, painting a still life flower, you will be challenged and stimulated by a subject that provides the best possible practice for seeing and mixing beautiful, natural, harmonious colors. This exercise is challenging because, compared with the sheer brilliance and profusion of nature's colors, the pigments we must work with are quite limited and inadequate. A plant's colors come from such organic substances as chlorophyll, anthocyanins, carotenoids, and flavonoids,...&lt;div class="feedflare"&gt;
&lt;a href="http://feeds.feedburner.com/~ff/drawinglessonsinfo?a=VCf_xttGNhc:N875CSftuF8:yIl2AUoC8zA"&gt;&lt;img src="http://feeds.feedburner.com/~ff/drawinglessonsinfo?d=yIl2AUoC8zA" border="0"&gt;&lt;/img&gt;&lt;/a&gt; &lt;a href="http://feeds.feedburner.com/~ff/drawinglessonsinfo?a=VCf_xttGNhc:N875CSftuF8:qj6IDK7rITs"&gt;&lt;img src="http://feeds.feedburner.com/~ff/drawinglessonsinfo?d=qj6IDK7rITs" border="0"&gt;&lt;/img&gt;&lt;/a&gt;
&lt;/div&gt;</description>
 <category>MixingColors</category>
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 <pubDate>Mon, 20 Feb 2012 01:13:43 GMT</pubDate>
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 <title>Foreshortening and Perspective Drawing the Female Figure</title>
 <description>THE drawing opposite by Jean-Baptiste Greuze is a good example of fore-shortening and on page 43 I have posed a model somewhat similarly, but in about as difficult a pose as you could imagine. Almost every part of her is foreshortened or distorted in some way. This is done to show you one of those occasions when your brain and your eye have a head-on clash. Your mind, with its knowledge of what happens when the model stands up and the foreshortening disappears, confuses your eye, which is only...&lt;p&gt;&lt;a href="http://www.jayespace.com/female-figure/foreshortening-and-perspective.html"&gt;&lt;img src="http://www.jayespace.com/female-figure/images/1796_7_39.png" style="width: 291pt; height: 349pt;" title="Opposite drawing pen and brush Rembrandt made 300 years ago and now the Koenigs Collection Rotterdam"/&gt;&lt;/a&gt;&lt;/p&gt;&lt;div class="feedflare"&gt;
&lt;a href="http://feeds.feedburner.com/~ff/drawinglessonsinfo?a=-fzDGydYPQg:EYPEEzy9lbo:yIl2AUoC8zA"&gt;&lt;img src="http://feeds.feedburner.com/~ff/drawinglessonsinfo?d=yIl2AUoC8zA" border="0"&gt;&lt;/img&gt;&lt;/a&gt; &lt;a href="http://feeds.feedburner.com/~ff/drawinglessonsinfo?a=-fzDGydYPQg:EYPEEzy9lbo:qj6IDK7rITs"&gt;&lt;img src="http://feeds.feedburner.com/~ff/drawinglessonsinfo?d=qj6IDK7rITs" border="0"&gt;&lt;/img&gt;&lt;/a&gt;
&lt;/div&gt;</description>
 <link>http://www.jayespace.com/female-figure/foreshortening-and-perspective.html</link>
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 <media:title />
 <media:description type="html">Opposite drawing pen and brush Rembrandt made 300 years ago and now the Koenigs Collection Rotterdam</media:description>
 <pubDate>Sun, 19 Feb 2012 21:25:42 GMT</pubDate>
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 <title>Vii Polyhedrons M. C. Escher</title>
 <description>57. DOUBLE PLANETOID, wood-engraving, printed from 4 blocks, 1949, diameter 37.5 cm Two regular tetrahedrons, piercing each other, float through space as a planetoid. The light-coloured one is inhabited by human beings who have completely transformed their region into a complex of houses, bridges and roads. The darker tetrahedron has remained in its natural state, with rocks, on which plants and prehistoric animals live. The two bodies fit together to make a whole but they have no knowledge of...&lt;div class="feedflare"&gt;
&lt;a href="http://feeds.feedburner.com/~ff/drawinglessonsinfo?a=ehvXqGbPg_o:XPzQMCwZHgc:yIl2AUoC8zA"&gt;&lt;img src="http://feeds.feedburner.com/~ff/drawinglessonsinfo?d=yIl2AUoC8zA" border="0"&gt;&lt;/img&gt;&lt;/a&gt; &lt;a href="http://feeds.feedburner.com/~ff/drawinglessonsinfo?a=ehvXqGbPg_o:XPzQMCwZHgc:qj6IDK7rITs"&gt;&lt;img src="http://feeds.feedburner.com/~ff/drawinglessonsinfo?d=qj6IDK7rITs" border="0"&gt;&lt;/img&gt;&lt;/a&gt;
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 <pubDate>Sun, 19 Feb 2012 19:29:36 GMT</pubDate>
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 <title>Section The Study of Drapery ArtStudy</title>
 <description>The Hub. The advisability of studying drapery is obvious. The student will spend much more time drawing the costumed figure when he is out of school than he will drawing the nude, yet I have found that most students leave school with little or no conception of how to draw clothes. Aside from this obvious practical reason, the precise study of a piece of drapery makes all other forms more clear. There is only one important principle to remember. Wherever the drapery is held, either against the...&lt;p&gt;&lt;a href="http://www.jayespace.com/art-study/section-the-study-of-drapery.html"&gt;&lt;img src="http://www.jayespace.com/art-study/images/1886_25_75.jpg" style="width: 305pt; height: 294pt;" title=" model used this Schedule"/&gt;&lt;/a&gt;&lt;/p&gt;&lt;div class="feedflare"&gt;
&lt;a href="http://feeds.feedburner.com/~ff/drawinglessonsinfo?a=JzLoLN9LfOg:bt0g6_r8Sl4:yIl2AUoC8zA"&gt;&lt;img src="http://feeds.feedburner.com/~ff/drawinglessonsinfo?d=yIl2AUoC8zA" border="0"&gt;&lt;/img&gt;&lt;/a&gt; &lt;a href="http://feeds.feedburner.com/~ff/drawinglessonsinfo?a=JzLoLN9LfOg:bt0g6_r8Sl4:qj6IDK7rITs"&gt;&lt;img src="http://feeds.feedburner.com/~ff/drawinglessonsinfo?d=qj6IDK7rITs" border="0"&gt;&lt;/img&gt;&lt;/a&gt;
&lt;/div&gt;</description>
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 <media:title />
 <media:description type="html"> model used this Schedule</media:description>
 <pubDate>Sun, 19 Feb 2012 18:23:18 GMT</pubDate>
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 <title>Showing of profile portraits Drawing on Memories</title>
 <description>Study the drawings on the following pages. Notice the variations in styles of drawing. Check the proportions by measuring with your pencil. In the next chapter, you will learn the fourth skill of drawing, the perception of lights and shadows. The main exercise will be a fully modeled, tonal, volumetric self-portrait and will bring us full-circle to your Before Instruction self-portrait for comparison. Your After Instruction self-portrait will be either a three-quarter view or a full-face view....&lt;p&gt;&lt;a href="http://www.jayespace.com/memories/showing-of-profile-portraits.html"&gt;&lt;img src="http://www.jayespace.com/memories/images/1887_87_213.jpg" style="width: 169pt; height: 251pt;" title="Demonstration drawing the author nbsp Demonstration drawing instructor Brian Bomeisler"/&gt;&lt;/a&gt;&lt;/p&gt;&lt;div class="feedflare"&gt;
&lt;a href="http://feeds.feedburner.com/~ff/drawinglessonsinfo?a=s91GYMVwUW4:X6cKItF277A:yIl2AUoC8zA"&gt;&lt;img src="http://feeds.feedburner.com/~ff/drawinglessonsinfo?d=yIl2AUoC8zA" border="0"&gt;&lt;/img&gt;&lt;/a&gt; &lt;a href="http://feeds.feedburner.com/~ff/drawinglessonsinfo?a=s91GYMVwUW4:X6cKItF277A:qj6IDK7rITs"&gt;&lt;img src="http://feeds.feedburner.com/~ff/drawinglessonsinfo?d=qj6IDK7rITs" border="0"&gt;&lt;/img&gt;&lt;/a&gt;
&lt;/div&gt;</description>
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 <media:title />
 <media:description type="html">Demonstration drawing the author nbsp Demonstration drawing instructor Brian Bomeisler</media:description>
 <pubDate>Sun, 19 Feb 2012 17:36:36 GMT</pubDate>
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<item>
 <title>Stratocumulus DrawingNature</title>
 <description>Stratocumulus clouds cruise in the lower atmosphere. These globular masses or rolls of clouds are layered one over the other. They resemble chunks of soft cotton but are gray with dark bottoms. The clouds may be arranged in groups, lines or wave-like masses the layers may be thick or thin. A thick layer will be made up of rolls of large, dark clouds or rounded masses that resemble waves. After trying numerous thumbnails, this is the composition that I developed. I used a 6B pencil for the cloud...&lt;p&gt;&lt;a href="http://www.jayespace.com/nature/stratocumulus.html"&gt;&lt;img src="http://www.jayespace.com/nature/images/1794_63_138.jpg" style="width: 405pt; height: 115pt;"/&gt;&lt;/a&gt;&lt;/p&gt;&lt;div class="feedflare"&gt;
&lt;a href="http://feeds.feedburner.com/~ff/drawinglessonsinfo?a=IW0vrkRDdQs:B2GNYIP1oQo:yIl2AUoC8zA"&gt;&lt;img src="http://feeds.feedburner.com/~ff/drawinglessonsinfo?d=yIl2AUoC8zA" border="0"&gt;&lt;/img&gt;&lt;/a&gt; &lt;a href="http://feeds.feedburner.com/~ff/drawinglessonsinfo?a=IW0vrkRDdQs:B2GNYIP1oQo:qj6IDK7rITs"&gt;&lt;img src="http://feeds.feedburner.com/~ff/drawinglessonsinfo?d=qj6IDK7rITs" border="0"&gt;&lt;/img&gt;&lt;/a&gt;
&lt;/div&gt;</description>
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 <pubDate>Sun, 19 Feb 2012 17:30:49 GMT</pubDate>
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 <title>Reading engineering drawings EngineeringDrawing</title>
 <description>The following notes and illustrations are intended to assist in reading and understanding simple drawings. In all orthographic drawings, it is necessary to project at least two views of a three dimensional object - or one view and an adequate description in some simple cases, a typical example being the drawing of a ball for a bearing. A drawing of a circle on its own could be interpreted as the end elevation of a cylinder or a sphere. A drawing of a rectangle could be understood as part of a...&lt;p&gt;&lt;a href="http://www.jayespace.com/engineering-3/reading-engineering-drawings.html"&gt;&lt;img src="http://www.jayespace.com/engineering-3/images/1843_36_39.jpg" style="width: 492pt; height: 206pt;"/&gt;&lt;/a&gt;&lt;/p&gt;&lt;div class="feedflare"&gt;
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&lt;/div&gt;</description>
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 <pubDate>Sun, 19 Feb 2012 14:34:14 GMT</pubDate>
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 <title>Ww Ii Scale Aircraft Drawings AircraftDrawing</title>
 <description>There were also F6F-5E night intruders and F6F-5P photoplanes. Britain received 925 F6F-5S. It should be noted that by 1944, Britain had begun to use prefix letters to identify special-purpose variants of basic models. The 849 plain F6F-5s became Hellcat II, but the 76 F6F-5NS became Hellcat N.F.II N.F. for Night Fighters . The last of 12,275 Hellcats, all built at Bethpage, was delivered on November 21, 1944. After the war, some F6F-5s were converted to F6F-5K drones, while others became...&lt;div class="feedflare"&gt;
&lt;a href="http://feeds.feedburner.com/~ff/drawinglessonsinfo?a=fGuvGx20KGY:rumhtmjNSY8:yIl2AUoC8zA"&gt;&lt;img src="http://feeds.feedburner.com/~ff/drawinglessonsinfo?d=yIl2AUoC8zA" border="0"&gt;&lt;/img&gt;&lt;/a&gt; &lt;a href="http://feeds.feedburner.com/~ff/drawinglessonsinfo?a=fGuvGx20KGY:rumhtmjNSY8:qj6IDK7rITs"&gt;&lt;img src="http://feeds.feedburner.com/~ff/drawinglessonsinfo?d=qj6IDK7rITs" border="0"&gt;&lt;/img&gt;&lt;/a&gt;
&lt;/div&gt;</description>
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 <pubDate>Sun, 19 Feb 2012 12:55:19 GMT</pubDate>
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<item>
 <title>Light and Shade AnatomicalDrawings</title>
 <description>Shade with the idea that light and shade are to aid the outline you have drawn in giving the impression of solidity, breadth and depth. Keep before you the conception of a solid body of four sides composed of a few great masses, and avoid all elaborate and unnecessary tones which take away from the thought that the masses or planes on the sides must appear to be on the sides while those on the front must appear to be on the front of the body. No two tones of equal size or intensity should...&lt;p&gt;&lt;a href="http://www.jayespace.com/anatomical/light-and-shade.html"&gt;&lt;img src="http://www.jayespace.com/anatomical/images/1778_12_62.jpg" style="width: 364pt; height: 568pt;"/&gt;&lt;/a&gt;&lt;/p&gt;&lt;div class="feedflare"&gt;
&lt;a href="http://feeds.feedburner.com/~ff/drawinglessonsinfo?a=Wx9ZA_Haf3k:F-Xp7An9BIw:yIl2AUoC8zA"&gt;&lt;img src="http://feeds.feedburner.com/~ff/drawinglessonsinfo?d=yIl2AUoC8zA" border="0"&gt;&lt;/img&gt;&lt;/a&gt; &lt;a href="http://feeds.feedburner.com/~ff/drawinglessonsinfo?a=Wx9ZA_Haf3k:F-Xp7An9BIw:qj6IDK7rITs"&gt;&lt;img src="http://feeds.feedburner.com/~ff/drawinglessonsinfo?d=qj6IDK7rITs" border="0"&gt;&lt;/img&gt;&lt;/a&gt;
&lt;/div&gt;</description>
 <category>AnatomicalDrawings</category>
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 <pubDate>Sun, 19 Feb 2012 10:38:35 GMT</pubDate>
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 <title>Shop Fittings TechnicalDrawing</title>
 <description>the joint watertight. The side lights are shown as fixed the small groove is a precaution to check any water that may gain access through the shrinkage of the rnullion. An outward-opening casement is shown in Fig 6. This frame has a metal water bar, in addition to the weathering and throating of the sill, to prevent snow drifting in. As French casements are used also as doorways it is advisable to have metal upon the sills to prevent wear of the parts. The transom in this case is made flush...&lt;p&gt;&lt;a href="http://www.jayespace.com/technical/shop-fittings.html"&gt;&lt;img src="http://www.jayespace.com/technical/images/1844_87_26.jpg" style="width: 377pt; height: 266pt;" title="Fig Sectional Plan Fig Back Elevation Fig Front Elevation Fig Enlarged Section Fig Section Return Fig Section Division and Runners Fig Section through Door"/&gt;&lt;/a&gt;&lt;/p&gt;&lt;div class="feedflare"&gt;
&lt;a href="http://feeds.feedburner.com/~ff/drawinglessonsinfo?a=V-WjrIoghZY:lyuDWsIhryU:yIl2AUoC8zA"&gt;&lt;img src="http://feeds.feedburner.com/~ff/drawinglessonsinfo?d=yIl2AUoC8zA" border="0"&gt;&lt;/img&gt;&lt;/a&gt; &lt;a href="http://feeds.feedburner.com/~ff/drawinglessonsinfo?a=V-WjrIoghZY:lyuDWsIhryU:qj6IDK7rITs"&gt;&lt;img src="http://feeds.feedburner.com/~ff/drawinglessonsinfo?d=qj6IDK7rITs" border="0"&gt;&lt;/img&gt;&lt;/a&gt;
&lt;/div&gt;</description>
 <category>TechnicalDrawing</category>
 <link>http://www.jayespace.com/technical/shop-fittings.html</link>
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 <media:description type="html">Fig Sectional Plan Fig Back Elevation Fig Front Elevation Fig Enlarged Section Fig Section Return Fig Section Division and Runners Fig Section through Door</media:description>
 <pubDate>Sun, 19 Feb 2012 09:11:07 GMT</pubDate>
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 <title>ANGER THE FACE OF RAGE Akq FacialExpressions</title>
 <description>Though the eyes vary little in rage, the mouth takes a variety of positions. In every case, the upper lip is lifted in a sneer, exposing the upper teeth. The lower teeth show as well, either by the dropping of the lower lip or by the sideways stretching of the lower lip. The net effect is always the same a squarish mouth, bristling with teeth and with a strong sense of a snarl, framed by continuous nose-to-chin folds. This man is putting a lot of energy into whatever he's saying. In ordinary...&lt;p&gt;&lt;a href="http://www.jayespace.com/facial-expressions/anger-the-face-of-rage-akq.html"&gt;&lt;img src="http://www.jayespace.com/facial-expressions/images/1871_112_353.jpg" style="width: 475pt; height: 424pt;"/&gt;&lt;/a&gt;&lt;/p&gt;&lt;div class="feedflare"&gt;
&lt;a href="http://feeds.feedburner.com/~ff/drawinglessonsinfo?a=1nAJzTHPAok:l5ArahS9F0w:yIl2AUoC8zA"&gt;&lt;img src="http://feeds.feedburner.com/~ff/drawinglessonsinfo?d=yIl2AUoC8zA" border="0"&gt;&lt;/img&gt;&lt;/a&gt; &lt;a href="http://feeds.feedburner.com/~ff/drawinglessonsinfo?a=1nAJzTHPAok:l5ArahS9F0w:qj6IDK7rITs"&gt;&lt;img src="http://feeds.feedburner.com/~ff/drawinglessonsinfo?d=qj6IDK7rITs" border="0"&gt;&lt;/img&gt;&lt;/a&gt;
&lt;/div&gt;</description>
 <category>FacialExpressions</category>
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 <pubDate>Sun, 19 Feb 2012 04:37:22 GMT</pubDate>
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 <title>The First Expression The Babys Cry FacialExpressions</title>
 <description>It all begins with the baby's cry. The first expression we make is a statement of pure need, designed to get noticed. The square-mouth shape produces a shrill sound more penetrating than that of a relaxed, open mouth. As the lower half of the face opens up, the top half closes down the reflexive squinting of the eyes in crying is also instinctive in other expressions where quantities of air are expelled laughing, sneezing, coughing. You can't cry with your eyes wide open, nor can you sneeze....&lt;div class="feedflare"&gt;
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 <category>FacialExpressions</category>
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 <pubDate>Sun, 19 Feb 2012 04:27:37 GMT</pubDate>
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 <title>John Copeland Observation</title>
 <description>More than midway through a project to photograph everything he eats for a year, Tucker Shaw says he can now see a story in a bagel. What began as pure documentation has taken on a deeper meaning for Shaw, who carries a digital camera with him at all times so he can snap a snack or a four-course meal before indulging. The process has become more important than the product, he says of the photographs he began taking in January 2004. I never expected to find so much to consider in my food, such as...&lt;p&gt;&lt;a href="http://www.jayespace.com/observation/john-copeland.html"&gt;&lt;img src="http://www.jayespace.com/observation/images/1792_2279_89.jpg" style="width: 305pt; height: 545pt;"/&gt;&lt;/a&gt;&lt;/p&gt;&lt;div class="feedflare"&gt;
&lt;a href="http://feeds.feedburner.com/~ff/drawinglessonsinfo?a=uqeeUfzjaos:1u0WcuTnfco:yIl2AUoC8zA"&gt;&lt;img src="http://feeds.feedburner.com/~ff/drawinglessonsinfo?d=yIl2AUoC8zA" border="0"&gt;&lt;/img&gt;&lt;/a&gt; &lt;a href="http://feeds.feedburner.com/~ff/drawinglessonsinfo?a=uqeeUfzjaos:1u0WcuTnfco:qj6IDK7rITs"&gt;&lt;img src="http://feeds.feedburner.com/~ff/drawinglessonsinfo?d=qj6IDK7rITs" border="0"&gt;&lt;/img&gt;&lt;/a&gt;
&lt;/div&gt;</description>
 <category>Observation</category>
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 <pubDate>Sat, 18 Feb 2012 21:04:10 GMT</pubDate>
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 <title>Boeing B Flying Fortress AircraftDrawing</title>
 <description>A Boeing B-29A-5-BN in flight with both sets of bomb-bay doors open. Note the four powered, remote-control gun turrets above and below the fuselage, and the 20mm cannon supplementing two .50-caliber machine guns in the tail turret. A Boeing B-29A-5-BN in flight with both sets of bomb-bay doors open. Note the four powered, remote-control gun turrets above and below the fuselage, and the 20mm cannon supplementing two .50-caliber machine guns in the tail turret. WHEN it entered service in June...&lt;p&gt;&lt;a href="http://www.jayespace.com/aircraft/boeing-b-flying-fortress.html"&gt;&lt;img src="http://www.jayespace.com/aircraft/images/1856_86_70.jpg" style="width: 496pt; height: 81pt;" title=" Boeing 29A flight with both sets bomb bay doors open Note the four powered remote control gun turrets above and below the fuselage and the 20mm cannon supplementing two caliber machine guns the tail turret"/&gt;&lt;/a&gt;&lt;/p&gt;&lt;div class="feedflare"&gt;
&lt;a href="http://feeds.feedburner.com/~ff/drawinglessonsinfo?a=qBBbk8LUCUQ:Lc8DiwvdhVM:yIl2AUoC8zA"&gt;&lt;img src="http://feeds.feedburner.com/~ff/drawinglessonsinfo?d=yIl2AUoC8zA" border="0"&gt;&lt;/img&gt;&lt;/a&gt; &lt;a href="http://feeds.feedburner.com/~ff/drawinglessonsinfo?a=qBBbk8LUCUQ:Lc8DiwvdhVM:qj6IDK7rITs"&gt;&lt;img src="http://feeds.feedburner.com/~ff/drawinglessonsinfo?d=qj6IDK7rITs" border="0"&gt;&lt;/img&gt;&lt;/a&gt;
&lt;/div&gt;</description>
 <category>AircraftDrawing</category>
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 <media:description type="html"> Boeing 29A flight with both sets bomb bay doors open Note the four powered remote control gun turrets above and below the fuselage and the 20mm cannon supplementing two caliber machine guns the tail turret</media:description>
 <pubDate>Sat, 18 Feb 2012 20:43:46 GMT</pubDate>
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 <title>Tutorial Rendering in Photoshop by Cor Steenstra CarDrawing</title>
 <description>During sketch development I find that I understand what I would like to 'sculpture' in my design from the section lines I draw as a base, as well as from 'leaving out' areas. However, if you want this to come across to the people making the decisions, you need something that stands out and jumps off the wall in a presentation. Traditionally I would create presentation sketches by using the base sketch as an underlay, over which I would then draw the clean lines, and would put some marker and...&lt;p&gt;&lt;a href="http://www.jayespace.com/car/tutorial-rendering-in-photoshop-by-cor-steenstra.html"&gt;&lt;img src="http://www.jayespace.com/car/images/1779_4_21-cor-steenstra-sketches.jpg" style="width: 442pt; height: 182pt;" title="Start scanning sketch that you want use The scanner should generally set give image size pixels 1024x768 1600x1200 larger depending your working screen size and planned print size" alt="Cor Steenstra Sketches"/&gt;&lt;/a&gt;&lt;/p&gt;&lt;div class="feedflare"&gt;
&lt;a href="http://feeds.feedburner.com/~ff/drawinglessonsinfo?a=kl6LcBdms5s:GsiXUe1s7jI:yIl2AUoC8zA"&gt;&lt;img src="http://feeds.feedburner.com/~ff/drawinglessonsinfo?d=yIl2AUoC8zA" border="0"&gt;&lt;/img&gt;&lt;/a&gt; &lt;a href="http://feeds.feedburner.com/~ff/drawinglessonsinfo?a=kl6LcBdms5s:GsiXUe1s7jI:qj6IDK7rITs"&gt;&lt;img src="http://feeds.feedburner.com/~ff/drawinglessonsinfo?d=qj6IDK7rITs" border="0"&gt;&lt;/img&gt;&lt;/a&gt;
&lt;/div&gt;</description>
 <category>CarDrawing</category>
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 <media:title>Cor Steenstra Sketches</media:title>
 <media:description type="html">Start scanning sketch that you want use The scanner should generally set give image size pixels 1024x768 1600x1200 larger depending your working screen size and planned print size</media:description>
 <pubDate>Sat, 18 Feb 2012 20:00:03 GMT</pubDate>
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 <title>Urheberrechtlich geschtztes Material GeometricDrawing</title>
 <description>1. Draw the given circumference AB. 3. With centre C, and radius CA, drew a semi circle. 4. With centre B. end radius BC. drew en arc to cut the semi-circle in D. 5. From 0 draw a perpendicular to AB. to cut AB m E. 6. With centre E and radius ED draw an arc to cut AB in F. AF is the required diameter. The rest of this chapter shows some of the constructions for finding circles drawn to satisfy certain given conditions To find the centre of any circle Fig. 4 4 2. Construct perpendicular...&lt;p&gt;&lt;a href="http://www.jayespace.com/geometric/urheberrechtlich-geschtztes-material.html"&gt;&lt;img src="http://www.jayespace.com/geometric/images/1823_15_67.jpg" style="width: 236pt; height: 113pt;" title=" With compass point the centre the given circle and radius set dtaw arc cut the parallel line "/&gt;&lt;/a&gt;&lt;/p&gt;&lt;div class="feedflare"&gt;
&lt;a href="http://feeds.feedburner.com/~ff/drawinglessonsinfo?a=1_8kaTIao5U:XRsRduSs4Ug:yIl2AUoC8zA"&gt;&lt;img src="http://feeds.feedburner.com/~ff/drawinglessonsinfo?d=yIl2AUoC8zA" border="0"&gt;&lt;/img&gt;&lt;/a&gt; &lt;a href="http://feeds.feedburner.com/~ff/drawinglessonsinfo?a=1_8kaTIao5U:XRsRduSs4Ug:qj6IDK7rITs"&gt;&lt;img src="http://feeds.feedburner.com/~ff/drawinglessonsinfo?d=qj6IDK7rITs" border="0"&gt;&lt;/img&gt;&lt;/a&gt;
&lt;/div&gt;</description>
 <category>GeometricDrawing</category>
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 <media:title />
 <media:description type="html"> With compass point the centre the given circle and radius set dtaw arc cut the parallel line </media:description>
 <pubDate>Sat, 18 Feb 2012 18:34:34 GMT</pubDate>
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 <title>Gradually Changing the Values Drawing Realistic Textures</title>
 <description>Most subjects have areas that gradually move in and out of the light. So, you need smooth transitions from dark to light in your drawing. One method is to systematically apply more of the drawing medium in shadow areas and less in areas that receive more light. Use progressively longer and lighter strokes leading from the shadow to the light to do this. The most important thing to remember is to make sure all the strokes begin in the darkest area of the subject. I Lightly outline the shape....&lt;p&gt;&lt;a href="http://www.jayespace.com/realistic-textures/gradually-changing-the-values.html"&gt;&lt;img src="http://www.jayespace.com/realistic-textures/images/1805_19_33.jpg" style="width: 314pt; height: 212pt;"/&gt;&lt;/a&gt;&lt;/p&gt;&lt;div class="feedflare"&gt;
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 <pubDate>Sat, 18 Feb 2012 18:09:15 GMT</pubDate>
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 <title>Chain dimensioning and auxiliary dimensioning EngineeringDrawing</title>
 <description>Chains of dimensions should only be used where the possible accumulation of tolerances does not endanger the function of the part. A plan view of a twist drill stand is given in Fig. 14.5 to illustrate chain dimensioning. Now each of the dimensions in the chain would be subject to a manufacturing tolerance since it is not possible to mark out and drill each of the centre distances exactly. As a test of drawing accuracy, start at the left hand side and mark out the dimensions shown in turn....&lt;p&gt;&lt;a href="http://www.jayespace.com/engineering-3/chain-dimensioning-and-auxiliary-dimensioning.html"&gt;&lt;img src="http://www.jayespace.com/engineering-3/images/1843_111_239.jpg" style="width: 228pt; height: 85pt;"/&gt;&lt;/a&gt;&lt;/p&gt;&lt;div class="feedflare"&gt;
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 <category>EngineeringDrawing</category>
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 <pubDate>Sat, 18 Feb 2012 18:02:09 GMT</pubDate>
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 <title>Adding facial hair CartoonsComics</title>
 <description>Facial hair is an element that can be character-specific and help define a character in a certain stereotype. Facial hair can come in many styles and shapes, ranging from full beards to goatees to sideburns. A mustache is another element that can change the entire look of a character. To draw a mustache or other dominating facial hair, determine how it will affect the character's look. To draw a mustache, begin at the corners of the outer nose, about level with each left and right nostril. Draw...&lt;p&gt;&lt;a href="http://www.jayespace.com/cartoons-comics/adding-facial-hair.html"&gt;&lt;img src="http://www.jayespace.com/cartoons-comics/images/1786_75_81.jpg" style="width: 362pt; height: 210pt;"/&gt;&lt;/a&gt;&lt;/p&gt;&lt;div class="feedflare"&gt;
&lt;a href="http://feeds.feedburner.com/~ff/drawinglessonsinfo?a=jlrPmcg1hoY:rSmD6n5NpQs:yIl2AUoC8zA"&gt;&lt;img src="http://feeds.feedburner.com/~ff/drawinglessonsinfo?d=yIl2AUoC8zA" border="0"&gt;&lt;/img&gt;&lt;/a&gt; &lt;a href="http://feeds.feedburner.com/~ff/drawinglessonsinfo?a=jlrPmcg1hoY:rSmD6n5NpQs:qj6IDK7rITs"&gt;&lt;img src="http://feeds.feedburner.com/~ff/drawinglessonsinfo?d=qj6IDK7rITs" border="0"&gt;&lt;/img&gt;&lt;/a&gt;
&lt;/div&gt;</description>
 <category>CartoonsComics</category>
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 <pubDate>Sat, 18 Feb 2012 17:31:25 GMT</pubDate>
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 <title>Felt Tip Pens DrawingTechniques</title>
 <description>Felt tip pens come in all different sizes and shaped tips like the fibre tip pens. These pens are best used for quick drawings and sketches and as with the other pens mentioned so far it is difficult to correct your mistakes. They also come in many different colours, and are often used as calligraphy pens for signs. There is an example of a felt tip drawing on page 185. Here we have a drawing that reflects the use of the different thickness of felt tip pens, and notice the openness and the...&lt;div class="feedflare"&gt;
&lt;a href="http://feeds.feedburner.com/~ff/drawinglessonsinfo?a=aqhq56YXN2E:GKv0xtxDNyI:yIl2AUoC8zA"&gt;&lt;img src="http://feeds.feedburner.com/~ff/drawinglessonsinfo?d=yIl2AUoC8zA" border="0"&gt;&lt;/img&gt;&lt;/a&gt; &lt;a href="http://feeds.feedburner.com/~ff/drawinglessonsinfo?a=aqhq56YXN2E:GKv0xtxDNyI:qj6IDK7rITs"&gt;&lt;img src="http://feeds.feedburner.com/~ff/drawinglessonsinfo?d=qj6IDK7rITs" border="0"&gt;&lt;/img&gt;&lt;/a&gt;
&lt;/div&gt;</description>
 <category>DrawingTechniques</category>
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 <pubDate>Sat, 18 Feb 2012 14:39:36 GMT</pubDate>
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 <title>Using the negative spaces of handwriting Drawing on Memories</title>
 <description>In Japanese as well as in European American calligraphy, the negative spaces of the letters are as important as the lines we generally think of as constituting the letters. Examine the alphabets, first for enclosed, rounded negative spaces a, b, d, 1. Practice these rounded negative spaces. Try not to think that you are drawing the letter o, for example. Think decide that you are drawing the space inside and that it is a beautiful shape, embraced by the line with its precise closure. Write your...&lt;p&gt;&lt;a href="http://www.jayespace.com/memories/using-the-negative-spaces-of-handwriting.html"&gt;&lt;img src="http://www.jayespace.com/memories/images/1887_114_296.jpg" style="width: 228pt; height: 195pt;" title="Decide slant then use sighting keep the slant consistent"/&gt;&lt;/a&gt;&lt;/p&gt;&lt;div class="feedflare"&gt;
&lt;a href="http://feeds.feedburner.com/~ff/drawinglessonsinfo?a=cHdxY6edf1s:dA7Tj6hN9dY:yIl2AUoC8zA"&gt;&lt;img src="http://feeds.feedburner.com/~ff/drawinglessonsinfo?d=yIl2AUoC8zA" border="0"&gt;&lt;/img&gt;&lt;/a&gt; &lt;a href="http://feeds.feedburner.com/~ff/drawinglessonsinfo?a=cHdxY6edf1s:dA7Tj6hN9dY:qj6IDK7rITs"&gt;&lt;img src="http://feeds.feedburner.com/~ff/drawinglessonsinfo?d=qj6IDK7rITs" border="0"&gt;&lt;/img&gt;&lt;/a&gt;
&lt;/div&gt;</description>
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 <media:description type="html">Decide slant then use sighting keep the slant consistent</media:description>
 <pubDate>Sat, 18 Feb 2012 10:43:52 GMT</pubDate>
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 <title>Geometrical constructions and tangency EngineeringDrawing</title>
 <description>Students will often experience difficulty in handling problems involving two and three dimensional geometrical constructions. The examples in Chapters 9 to 13 are included in order to provide a background in solving engineering problems connected with lines, planes and space. The separate chapters are grouped around applications having similar principles. Copying a selection of these examples on the drawing board or on CAD equipment will certainly enable the reader to gain confidence. It will...&lt;p&gt;&lt;a href="http://www.jayespace.com/engineering-3/geometrical-constructions-and-tangency.html"&gt;&lt;img src="http://www.jayespace.com/engineering-3/images/1843_85_148.jpg" style="width: 178pt; height: 134pt;" title=" set square"/&gt;&lt;/a&gt;&lt;/p&gt;&lt;div class="feedflare"&gt;
&lt;a href="http://feeds.feedburner.com/~ff/drawinglessonsinfo?a=6by9jqDKO2M:e7gD3jhw8cI:yIl2AUoC8zA"&gt;&lt;img src="http://feeds.feedburner.com/~ff/drawinglessonsinfo?d=yIl2AUoC8zA" border="0"&gt;&lt;/img&gt;&lt;/a&gt; &lt;a href="http://feeds.feedburner.com/~ff/drawinglessonsinfo?a=6by9jqDKO2M:e7gD3jhw8cI:qj6IDK7rITs"&gt;&lt;img src="http://feeds.feedburner.com/~ff/drawinglessonsinfo?d=qj6IDK7rITs" border="0"&gt;&lt;/img&gt;&lt;/a&gt;
&lt;/div&gt;</description>
 <category>EngineeringDrawing</category>
 <link>http://www.jayespace.com/engineering-3/geometrical-constructions-and-tangency.html</link>
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 <media:description type="html"> set square</media:description>
 <pubDate>Sat, 18 Feb 2012 10:02:57 GMT</pubDate>
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 <title>Wash Is One Of Thh Best Mediums Tor Reproduction CreativeIllustration</title>
 <description>WG KtnCT PROCEDURE FOI WA H DP iWlNC I P15J DPnn JV i pftV Yfrnr- Tvp- Ml f. lij iMi nOtit-. VC.i.' . WHTfR -TLiUTACE P V. FAjCH Jifi. I, -HCJi-ti nqdCAi-l WCAVDDir i Rtry. r ir nj ocrc c -fEKT-, K ij1 DlJ. K WAVl1 fi. CO Ij J . . thf ct ir worthy fiUtT t ro f d out nsw t fro it, l lM IJlDtL jvhu.E 11 if I LL rtllT rjlil.uH NEArt.LT M,T-'pn - RvijH F R fK gt f rrecr wt 1 -ftan i lt -1 j i WA-fH DHAv MtJ i J THE HO f - FOKfAWLOij ANO LlGfECT HEPJOM OF ALL. IT 1 THERE FO R f HE MO T DIFFICU...&lt;p&gt;&lt;a href="http://www.jayespace.com/creative-illustration/wash-is-one-of-thh-best-mediums-tor-reproduction.html"&gt;&lt;img src="http://www.jayespace.com/creative-illustration/images/1783_25_131.jpg" style="width: 60pt; height: 60pt;"/&gt;&lt;/a&gt;&lt;/p&gt;&lt;div class="feedflare"&gt;
&lt;a href="http://feeds.feedburner.com/~ff/drawinglessonsinfo?a=GZ4bCuNBbak:PRgXNpmhh4A:yIl2AUoC8zA"&gt;&lt;img src="http://feeds.feedburner.com/~ff/drawinglessonsinfo?d=yIl2AUoC8zA" border="0"&gt;&lt;/img&gt;&lt;/a&gt; &lt;a href="http://feeds.feedburner.com/~ff/drawinglessonsinfo?a=GZ4bCuNBbak:PRgXNpmhh4A:qj6IDK7rITs"&gt;&lt;img src="http://feeds.feedburner.com/~ff/drawinglessonsinfo?d=qj6IDK7rITs" border="0"&gt;&lt;/img&gt;&lt;/a&gt;
&lt;/div&gt;</description>
 <category>CreativeIllustration</category>
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 <pubDate>Sat, 18 Feb 2012 06:06:54 GMT</pubDate>
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 <title>Foreground Middle Ground Background DrawingNature</title>
 <description>In the previous pages, we have discussed seeing values and translating values from nature to your drawing. Now I would like to introduce you to the three Gs foreground, middle ground and background. Most landscapes have all of these in their composition, and they may vary in any imaginable combination. In the examples below, the hay bales and grass are the foreground, the trees and mountain are the middle ground, and the sky is the background. Look them over and see if you can pick out the...&lt;p&gt;&lt;a href="http://www.jayespace.com/nature/foreground-middle-ground-background.html"&gt;&lt;img src="http://www.jayespace.com/nature/images/1794_45_89-sketches-background-and-foreground.jpg" style="width: 560pt; height: 285pt;" alt="Sketches Background And Foreground"/&gt;&lt;/a&gt;&lt;/p&gt;&lt;div class="feedflare"&gt;
&lt;a href="http://feeds.feedburner.com/~ff/drawinglessonsinfo?a=eBsKn18HsqA:vi4nu-VmHPc:yIl2AUoC8zA"&gt;&lt;img src="http://feeds.feedburner.com/~ff/drawinglessonsinfo?d=yIl2AUoC8zA" border="0"&gt;&lt;/img&gt;&lt;/a&gt; &lt;a href="http://feeds.feedburner.com/~ff/drawinglessonsinfo?a=eBsKn18HsqA:vi4nu-VmHPc:qj6IDK7rITs"&gt;&lt;img src="http://feeds.feedburner.com/~ff/drawinglessonsinfo?d=qj6IDK7rITs" border="0"&gt;&lt;/img&gt;&lt;/a&gt;
&lt;/div&gt;</description>
 <category>DrawingNature</category>
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 <media:title>Sketches Background And Foreground</media:title>
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 <pubDate>Sat, 18 Feb 2012 04:09:43 GMT</pubDate>
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 <title>Info Vag DrawingMethods</title>
 <description>of artistic decadence. Whether at some subsequent date as was often his wont he contradicted this statement, I know not. At any rate so great was his confusion of thought, that at the same date of writing, he, on the one hand, praised devout study of hill-form or of flower by Turner or by Giotto, eulogized their minute knowledge of natural things, and the while condemned anatomical study, which is naught, after all, but more perfect knowledge and understanding of one part of natural...&lt;p&gt;&lt;a href="http://www.jayespace.com/methods/info-vag.html"&gt;&lt;img src="http://www.jayespace.com/methods/images/1868_48_7.png" style="width: 292pt; height: 341pt;"/&gt;&lt;/a&gt;&lt;/p&gt;&lt;div class="feedflare"&gt;
&lt;a href="http://feeds.feedburner.com/~ff/drawinglessonsinfo?a=hgqZqOzvQyw:KohICg2m-v8:yIl2AUoC8zA"&gt;&lt;img src="http://feeds.feedburner.com/~ff/drawinglessonsinfo?d=yIl2AUoC8zA" border="0"&gt;&lt;/img&gt;&lt;/a&gt; &lt;a href="http://feeds.feedburner.com/~ff/drawinglessonsinfo?a=hgqZqOzvQyw:KohICg2m-v8:qj6IDK7rITs"&gt;&lt;img src="http://feeds.feedburner.com/~ff/drawinglessonsinfo?d=qj6IDK7rITs" border="0"&gt;&lt;/img&gt;&lt;/a&gt;
&lt;/div&gt;</description>
 <category>DrawingMethods</category>
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 <pubDate>Fri, 17 Feb 2012 21:16:55 GMT</pubDate>
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 <title>May Be Applied As A Means Of Preventing An Abrupt Surface Variation Within A Relatively Short Length Of The Feature DimensioningTolerancing</title>
 <description>0.1 diameter tolerance zone in each 25 mm of length The derived median line of the feature's actual local size must lie within a cylindrical tolerance zone of 0.4 diameter for the total 100 mm of length and within a 0.1 cylindrical tolerance zone for any 25 mm length, regardless of feature size. Each circular element of the surface must be within the specified limits of size. The derived median line of the feature's actual local size must lie within a cylindrical tolerance zone of 0.4 diameter...&lt;p&gt;&lt;a href="http://www.jayespace.com/dimensioning-tolerancing/info-pbc.html"&gt;&lt;img src="http://www.jayespace.com/dimensioning-tolerancing/images/1810_1774_305.jpg" style="width: 233pt; height: 223pt;" title="FIG POSSIBLE RESULTS SPECIFYING STRAIGHTNESS PER UNIT LENGTH RFS WITH SPECIFIED TOTAL"/&gt;&lt;/a&gt;&lt;/p&gt;&lt;div class="feedflare"&gt;
&lt;a href="http://feeds.feedburner.com/~ff/drawinglessonsinfo?a=5SKMpE78mN4:YplmYhJ09GY:yIl2AUoC8zA"&gt;&lt;img src="http://feeds.feedburner.com/~ff/drawinglessonsinfo?d=yIl2AUoC8zA" border="0"&gt;&lt;/img&gt;&lt;/a&gt; &lt;a href="http://feeds.feedburner.com/~ff/drawinglessonsinfo?a=5SKMpE78mN4:YplmYhJ09GY:qj6IDK7rITs"&gt;&lt;img src="http://feeds.feedburner.com/~ff/drawinglessonsinfo?d=qj6IDK7rITs" border="0"&gt;&lt;/img&gt;&lt;/a&gt;
&lt;/div&gt;</description>
 <category>DimensioningTolerancing</category>
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 <media:title />
 <media:description type="html">FIG POSSIBLE RESULTS SPECIFYING STRAIGHTNESS PER UNIT LENGTH RFS WITH SPECIFIED TOTAL</media:description>
 <pubDate>Fri, 17 Feb 2012 20:57:03 GMT</pubDate>
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 <title>Chapter Nah DrawManga</title>
 <description>Proposal draft - 'neemu' in Japanese Proposal draft - 'neemu' in Japanese Some people like to roughly outline the characters and dialogue balloons while dividing up Divide the frames on all of the pages. Divide the frames on all of the pages. And some choose to ink all the outlines and then do the frames and balloons. Roughly outline the characters and dialogue balloons. Other artists prefer to ink the frames and balloons first and then move on to the characters. Roughly outline the characters...&lt;p&gt;&lt;a href="http://www.jayespace.com/manga-2/chapter-nah.html"&gt;&lt;img src="http://www.jayespace.com/manga-2/images/1829_49_350.jpg" style="width: 116pt; height: 421pt;" title="After making simple rough outline pencil ink the effect lines and sound effects"/&gt;&lt;/a&gt;&lt;/p&gt;&lt;div class="feedflare"&gt;
&lt;a href="http://feeds.feedburner.com/~ff/drawinglessonsinfo?a=-_LMLnXDVJc:-CufUtVKU-Q:yIl2AUoC8zA"&gt;&lt;img src="http://feeds.feedburner.com/~ff/drawinglessonsinfo?d=yIl2AUoC8zA" border="0"&gt;&lt;/img&gt;&lt;/a&gt; &lt;a href="http://feeds.feedburner.com/~ff/drawinglessonsinfo?a=-_LMLnXDVJc:-CufUtVKU-Q:qj6IDK7rITs"&gt;&lt;img src="http://feeds.feedburner.com/~ff/drawinglessonsinfo?d=qj6IDK7rITs" border="0"&gt;&lt;/img&gt;&lt;/a&gt;
&lt;/div&gt;</description>
 <category>DrawManga</category>
 <link>http://www.jayespace.com/manga-2/chapter-nah.html</link>
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 <media:description type="html">After making simple rough outline pencil ink the effect lines and sound effects</media:description>
 <pubDate>Fri, 17 Feb 2012 20:49:52 GMT</pubDate>
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 <title>Drawing Clone Wars Animated Yoda Drawing Star Wars</title>
 <description>Ever wanted to draw Star Wars characters and vehicles just like the professional comic book artists In this step-by-step series, Star Wars artists and illustrators show you how to draw some of the most beloved characters in the saga. Though Yoda was more widely known as a sage instructor who stayed mostly within the Jedi Temple, he saw frontline combat action during the Clone Wars. He led troops into the field atop a loyal kybuck steed, leading the charge against the Separatists. Star Wars...&lt;p&gt;&lt;a href="http://www.jayespace.com/star-wars/drawing-clone-wars-animated-yoda.html"&gt;&lt;img src="http://www.jayespace.com/star-wars/images/1806_312_273.jpg" style="width: 378pt; height: 288pt;"/&gt;&lt;/a&gt;&lt;/p&gt;&lt;div class="feedflare"&gt;
&lt;a href="http://feeds.feedburner.com/~ff/drawinglessonsinfo?a=A1cTD4imnWU:FVG0LmHO48Y:yIl2AUoC8zA"&gt;&lt;img src="http://feeds.feedburner.com/~ff/drawinglessonsinfo?d=yIl2AUoC8zA" border="0"&gt;&lt;/img&gt;&lt;/a&gt; &lt;a href="http://feeds.feedburner.com/~ff/drawinglessonsinfo?a=A1cTD4imnWU:FVG0LmHO48Y:qj6IDK7rITs"&gt;&lt;img src="http://feeds.feedburner.com/~ff/drawinglessonsinfo?d=qj6IDK7rITs" border="0"&gt;&lt;/img&gt;&lt;/a&gt;
&lt;/div&gt;</description>
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 <pubDate>Fri, 17 Feb 2012 19:43:25 GMT</pubDate>
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 <title>Anger The Face Of Rage FacialExpressions</title>
 <description>In the expression of rage, fierce, glaring eyes are almost always accompanied by a mouth shaped for shouting lips tensed, teeth bared, aw dropped. Even the nose contributes to the angry look. Not only is it distorted into a sneer by the sneering muscle, but its nostrils have flared. B. Orbicularis oculi eyelid portion . C. Levator palpebrae superioris. E Orbicularis oris lip portion only .&lt;div class="feedflare"&gt;
&lt;a href="http://feeds.feedburner.com/~ff/drawinglessonsinfo?a=7nU_sYPGcCw:6vLJJiRBkt0:yIl2AUoC8zA"&gt;&lt;img src="http://feeds.feedburner.com/~ff/drawinglessonsinfo?d=yIl2AUoC8zA" border="0"&gt;&lt;/img&gt;&lt;/a&gt; &lt;a href="http://feeds.feedburner.com/~ff/drawinglessonsinfo?a=7nU_sYPGcCw:6vLJJiRBkt0:qj6IDK7rITs"&gt;&lt;img src="http://feeds.feedburner.com/~ff/drawinglessonsinfo?d=qj6IDK7rITs" border="0"&gt;&lt;/img&gt;&lt;/a&gt;
&lt;/div&gt;</description>
 <category>FacialExpressions</category>
 <link>http://www.jayespace.com/facial-expressions/anger-the-face-of-rage.html</link>
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 <pubDate>Fri, 17 Feb 2012 19:20:49 GMT</pubDate>
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 <title>The Planes of the Torso FigureDrawing</title>
 <description>These simple drawings were done as preliminary sketches to determine the large planes of the torso from the front, back, and three-quarter's views. Consider what portions of the various parts of the figure you are looking at in this drawing. Do you see the top front, side, or all of these These are the planes of a form. Disregarding details for a moment, think of the torso as a large block created by the front plane A and the side plane B , The side planes of the torso are at a slight obtuse...&lt;p&gt;&lt;a href="http://www.jayespace.com/figure-2/the-planes-of-the-torso.html"&gt;&lt;img src="http://www.jayespace.com/figure-2/images/1840_24_91-planes-the-torso.jpg" style="width: 321pt; height: 620pt;" alt="Planes The Torso"/&gt;&lt;/a&gt;&lt;/p&gt;&lt;div class="feedflare"&gt;
&lt;a href="http://feeds.feedburner.com/~ff/drawinglessonsinfo?a=plL4BJq6xfo:vqrVpoVgJZU:yIl2AUoC8zA"&gt;&lt;img src="http://feeds.feedburner.com/~ff/drawinglessonsinfo?d=yIl2AUoC8zA" border="0"&gt;&lt;/img&gt;&lt;/a&gt; &lt;a href="http://feeds.feedburner.com/~ff/drawinglessonsinfo?a=plL4BJq6xfo:vqrVpoVgJZU:qj6IDK7rITs"&gt;&lt;img src="http://feeds.feedburner.com/~ff/drawinglessonsinfo?d=qj6IDK7rITs" border="0"&gt;&lt;/img&gt;&lt;/a&gt;
&lt;/div&gt;</description>
 <category>FigureDrawing</category>
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 <media:title>Planes The Torso</media:title>
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 <pubDate>Fri, 17 Feb 2012 17:25:12 GMT</pubDate>
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 <title>Info Qtd Drawing In Colored Pencil</title>
 <description>It is important to understand the traits of warm and cool colors. Warm colors are often used to reflect light off of subjects and appear to come forward. Cool colors are often used in shadows and appear to recede. Study finished art and note how the artist uses warm and cool colors to create the piece's light source and center of interest. Not only can the use of color change the way something looks, color can actually bounce around and attach itself to objects. This Baltimore Oriole likes to...&lt;p&gt;&lt;a href="http://www.jayespace.com/colored-pencil/info-qtd.html"&gt;&lt;img src="http://www.jayespace.com/colored-pencil/images/1841_47_152.jpg" style="width: 238pt; height: 126pt;" title="The Surface Can Affect Your Tones"/&gt;&lt;/a&gt;&lt;/p&gt;&lt;div class="feedflare"&gt;
&lt;a href="http://feeds.feedburner.com/~ff/drawinglessonsinfo?a=0vaq790y6q8:20-NbdfeS3k:yIl2AUoC8zA"&gt;&lt;img src="http://feeds.feedburner.com/~ff/drawinglessonsinfo?d=yIl2AUoC8zA" border="0"&gt;&lt;/img&gt;&lt;/a&gt; &lt;a href="http://feeds.feedburner.com/~ff/drawinglessonsinfo?a=0vaq790y6q8:20-NbdfeS3k:qj6IDK7rITs"&gt;&lt;img src="http://feeds.feedburner.com/~ff/drawinglessonsinfo?d=qj6IDK7rITs" border="0"&gt;&lt;/img&gt;&lt;/a&gt;
&lt;/div&gt;</description>
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 <media:title />
 <media:description type="html">The Surface Can Affect Your Tones</media:description>
 <pubDate>Fri, 17 Feb 2012 15:39:47 GMT</pubDate>
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 <title>Risoriusplatysma The Lower Lip Stretchers FacialExpressions</title>
 <description>Actions of risorius platysma. When the risorius platysma contract, the mouth corners are drawn sideways. The action has much more effect on the lower lip than the upper. The pull is primarily at lower lip level. The lower lip is stretched into a taut, even band, with straight-line upper and lower edges. The lip becomes slightly more recessed and as a result is surrounded with a soft fold, stretched between mouth corners the signature wrinkle. The entire front row of lower teeth are bared. In...&lt;p&gt;&lt;a href="http://www.jayespace.com/facial-expressions/risoriusplatysma-the-lower-lip-stretchers.html"&gt;&lt;img src="http://www.jayespace.com/facial-expressions/images/1871_76_276.jpg" style="width: 232pt; height: 85pt;"/&gt;&lt;/a&gt;&lt;/p&gt;&lt;div class="feedflare"&gt;
&lt;a href="http://feeds.feedburner.com/~ff/drawinglessonsinfo?a=ePubH6IMZV0:kDcAwSsgr8g:yIl2AUoC8zA"&gt;&lt;img src="http://feeds.feedburner.com/~ff/drawinglessonsinfo?d=yIl2AUoC8zA" border="0"&gt;&lt;/img&gt;&lt;/a&gt; &lt;a href="http://feeds.feedburner.com/~ff/drawinglessonsinfo?a=ePubH6IMZV0:kDcAwSsgr8g:qj6IDK7rITs"&gt;&lt;img src="http://feeds.feedburner.com/~ff/drawinglessonsinfo?d=qj6IDK7rITs" border="0"&gt;&lt;/img&gt;&lt;/a&gt;
&lt;/div&gt;</description>
 <category>FacialExpressions</category>
 <link>http://www.jayespace.com/facial-expressions/risoriusplatysma-the-lower-lip-stretchers.html</link>
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 <pubDate>Fri, 17 Feb 2012 12:55:38 GMT</pubDate>
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 <title>Back V Drawing the Human Body</title>
 <description>If you analyze a frontal view of the torso you will find that this part of the body comprises the pectoral muscles, a set of thick, wide, pentagonal muscles set in pairs, which expand or contract when the arms are raised or lowered. Notice the distribution of volumes, the profile and expansion of the thorax, from the front and the back, and how the shoulders insert themselves into the thorax in different positions depending on the view.The neck gives the torso a great expressive quality, and...&lt;p&gt;&lt;a href="http://www.jayespace.com/human-body/back-v.html"&gt;&lt;img src="http://www.jayespace.com/human-body/images/1776_21_52-human-positions-drawing.jpg" style="width: 846pt; height: 663pt;" alt="Human Positions Drawing"/&gt;&lt;/a&gt;&lt;/p&gt;&lt;div class="feedflare"&gt;
&lt;a href="http://feeds.feedburner.com/~ff/drawinglessonsinfo?a=pgqcMBcJJ2k:ufu_rOU9uBA:yIl2AUoC8zA"&gt;&lt;img src="http://feeds.feedburner.com/~ff/drawinglessonsinfo?d=yIl2AUoC8zA" border="0"&gt;&lt;/img&gt;&lt;/a&gt; &lt;a href="http://feeds.feedburner.com/~ff/drawinglessonsinfo?a=pgqcMBcJJ2k:ufu_rOU9uBA:qj6IDK7rITs"&gt;&lt;img src="http://feeds.feedburner.com/~ff/drawinglessonsinfo?d=qj6IDK7rITs" border="0"&gt;&lt;/img&gt;&lt;/a&gt;
&lt;/div&gt;</description>
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 <media:title>Human Positions Drawing</media:title>
 <media:description type="html" />
 <pubDate>Fri, 17 Feb 2012 12:16:43 GMT</pubDate>
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 <title>Definitions DimensioningTolerancing</title>
 <description>The following terms are defined as their use applies in this Standard. Additionally, definitions throughout the Standard of italicized terms are given in sections describing their application. Their location may be identified by referring to the index. 1.3.1 Boundary, Innar. A worst case boundary that is, locus generated by the smallest feature MMC for an internal feature and LMC for an external feature minus the stated geometric tolerance and any additional geometric tolerance if applicable...&lt;div class="feedflare"&gt;
&lt;a href="http://feeds.feedburner.com/~ff/drawinglessonsinfo?a=u-i0qqm1cyM:JISlpcTHFik:yIl2AUoC8zA"&gt;&lt;img src="http://feeds.feedburner.com/~ff/drawinglessonsinfo?d=yIl2AUoC8zA" border="0"&gt;&lt;/img&gt;&lt;/a&gt; &lt;a href="http://feeds.feedburner.com/~ff/drawinglessonsinfo?a=u-i0qqm1cyM:JISlpcTHFik:qj6IDK7rITs"&gt;&lt;img src="http://feeds.feedburner.com/~ff/drawinglessonsinfo?d=qj6IDK7rITs" border="0"&gt;&lt;/img&gt;&lt;/a&gt;
&lt;/div&gt;</description>
 <category>DimensioningTolerancing</category>
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 <pubDate>Fri, 17 Feb 2012 10:17:49 GMT</pubDate>
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 <title>Drawn By C AircraftDrawing</title>
 <description>An F4F-3 Wildcat with the oversize star insignia and the rudder stripes that were used early in 1942 for positive identification. The fuselage legend 41-F-8 identifies Airplane No. 8 of the first of two fighter squadrons aboard Ranger CV-4 , identified by the figure 4. At that time, carrier-based squadrons used the hull number of their parent carrier. delivered its last F4B-4, until 1939, the Grumman Aircraft Company of Bethpage, Long Island, NY, was the sole supplier of single-seat fighters to...&lt;p&gt;&lt;a href="http://www.jayespace.com/aircraft/drawn-by-c.html"&gt;&lt;img src="http://www.jayespace.com/aircraft/images/1856_316_197.jpg" style="width: 1042pt; height: 374pt;"/&gt;&lt;/a&gt;&lt;/p&gt;&lt;div class="feedflare"&gt;
&lt;a href="http://feeds.feedburner.com/~ff/drawinglessonsinfo?a=UmOlAfr5UK8:YdwdXouh3h4:yIl2AUoC8zA"&gt;&lt;img src="http://feeds.feedburner.com/~ff/drawinglessonsinfo?d=yIl2AUoC8zA" border="0"&gt;&lt;/img&gt;&lt;/a&gt; &lt;a href="http://feeds.feedburner.com/~ff/drawinglessonsinfo?a=UmOlAfr5UK8:YdwdXouh3h4:qj6IDK7rITs"&gt;&lt;img src="http://feeds.feedburner.com/~ff/drawinglessonsinfo?d=qj6IDK7rITs" border="0"&gt;&lt;/img&gt;&lt;/a&gt;
&lt;/div&gt;</description>
 <category>AircraftDrawing</category>
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 <pubDate>Fri, 17 Feb 2012 09:46:21 GMT</pubDate>
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 <title>The Three Attributes of Color Hue Value and Intensity MixingColors</title>
 <description>To be able to mix any color he or she sees, the artist must first learn how to see into a perceived color in order to identify i the hue, 2 the value, and 3 the intensity. The perceived color is then mixed based on that guiding recipe. Every color existing in our world can be identified by this three-part description. To name a color, we first name the hue by identifying the basic source of the color one of the twelve color wheel hues . Next, we determine the value the color's lightness or...&lt;p&gt;&lt;a href="http://www.jayespace.com/mixing-colors/the-three-attributes-of-color-hue-value-and-intensity.html"&gt;&lt;img src="http://www.jayespace.com/mixing-colors/images/1787_25_35.jpg" style="width: 91pt; height: 208pt;"/&gt;&lt;/a&gt;&lt;/p&gt;&lt;div class="feedflare"&gt;
&lt;a href="http://feeds.feedburner.com/~ff/drawinglessonsinfo?a=shJE7c47sn4:dqNi_x9JpWg:yIl2AUoC8zA"&gt;&lt;img src="http://feeds.feedburner.com/~ff/drawinglessonsinfo?d=yIl2AUoC8zA" border="0"&gt;&lt;/img&gt;&lt;/a&gt; &lt;a href="http://feeds.feedburner.com/~ff/drawinglessonsinfo?a=shJE7c47sn4:dqNi_x9JpWg:qj6IDK7rITs"&gt;&lt;img src="http://feeds.feedburner.com/~ff/drawinglessonsinfo?d=qj6IDK7rITs" border="0"&gt;&lt;/img&gt;&lt;/a&gt;
&lt;/div&gt;</description>
 <category>MixingColors</category>
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 <pubDate>Fri, 17 Feb 2012 04:46:58 GMT</pubDate>
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 <title>Telling the story in shadow CartoonsComics</title>
 <description>A four-panel comic layout can be boring and repetitive if each panel looks the same. One way to add a little variety is to have the images or characters in one of the panels appear in shadow or silhouette. Using shadows and silhouettes in the course of comic storytelling can be a powerful way to communicate mood or tone. For example, if the first two panels of your cartoon are action-oriented and then you pull back to show the characters in shadow or silhouette in panel three, the art and punch...&lt;p&gt;&lt;a href="http://www.jayespace.com/cartoons-comics/telling-the-story-in-shadow.html"&gt;&lt;img src="http://www.jayespace.com/cartoons-comics/images/1786_192_276.jpg" style="width: 336pt; height: 112pt;"/&gt;&lt;/a&gt;&lt;/p&gt;&lt;div class="feedflare"&gt;
&lt;a href="http://feeds.feedburner.com/~ff/drawinglessonsinfo?a=DOWiF3IJBNg:QopLQJjfcjk:yIl2AUoC8zA"&gt;&lt;img src="http://feeds.feedburner.com/~ff/drawinglessonsinfo?d=yIl2AUoC8zA" border="0"&gt;&lt;/img&gt;&lt;/a&gt; &lt;a href="http://feeds.feedburner.com/~ff/drawinglessonsinfo?a=DOWiF3IJBNg:QopLQJjfcjk:qj6IDK7rITs"&gt;&lt;img src="http://feeds.feedburner.com/~ff/drawinglessonsinfo?d=qj6IDK7rITs" border="0"&gt;&lt;/img&gt;&lt;/a&gt;
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 <category>CartoonsComics</category>
 <link>http://www.jayespace.com/cartoons-comics/telling-the-story-in-shadow.html</link>
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 <pubDate>Fri, 17 Feb 2012 02:35:02 GMT</pubDate>
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 <title>Zygomatic Minor Third Branch Of Sneering Muscle FacialExpressions</title>
 <description>The action of the zygomatic minor is involuntary it appears only when we're sad, not otherwise the other two branches of the sneering muscle are under our conscious control . When it contracts, pulling from B , it creates its own signature wrinkle, the little floating crease in the middle of the cheek A . This crease marks the insertion of the muscle into the skin. The zygomatic minor also squares off the lip which is also stretched by the risorius and pushed up by the mentalis here and bunches...&lt;p&gt;&lt;a href="http://www.jayespace.com/facial-expressions/zygomatic-minor-third-branch-of-sneering-muscle.html"&gt;&lt;img src="http://www.jayespace.com/facial-expressions/images/1871_58_228-where-the-zygomatic-major.jpg" style="width: 542pt; height: 515pt;" alt="Where The Zygomatic Major"/&gt;&lt;/a&gt;&lt;/p&gt;&lt;div class="feedflare"&gt;
&lt;a href="http://feeds.feedburner.com/~ff/drawinglessonsinfo?a=fqAHQRYPiu0:c3H4gIR_yWE:yIl2AUoC8zA"&gt;&lt;img src="http://feeds.feedburner.com/~ff/drawinglessonsinfo?d=yIl2AUoC8zA" border="0"&gt;&lt;/img&gt;&lt;/a&gt; &lt;a href="http://feeds.feedburner.com/~ff/drawinglessonsinfo?a=fqAHQRYPiu0:c3H4gIR_yWE:qj6IDK7rITs"&gt;&lt;img src="http://feeds.feedburner.com/~ff/drawinglessonsinfo?d=qj6IDK7rITs" border="0"&gt;&lt;/img&gt;&lt;/a&gt;
&lt;/div&gt;</description>
 <category>FacialExpressions</category>
 <link>http://www.jayespace.com/facial-expressions/zygomatic-minor-third-branch-of-sneering-muscle.html</link>
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 <media:title>Where The Zygomatic Major</media:title>
 <media:description type="html" />
 <pubDate>Fri, 17 Feb 2012 00:58:00 GMT</pubDate>
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 <title>a Palm Frond How To Draw</title>
 <description>In this section, you can see four different approaches to drawing a portion of the palm frond. These are only a few of the many ways that you can approach this subject using line drawing. Notice how each of the examples creates an entirely different effect from the others. This drawing was made with a thin, black ball-point pen. There was a conscious effort to keep the pen on the paper, with one unbroken uniform line, while drawing each individual palm frond. The pattern of positive and...&lt;p&gt;&lt;a href="http://www.jayespace.com/how-to-draw/a-palm-frond.html"&gt;&lt;img src="http://www.jayespace.com/how-to-draw/images/1864_53_313.jpg" style="width: 575pt; height: 44pt;" title="Bottles and Vases Constance LaPalombara courtesy the artist"/&gt;&lt;/a&gt;&lt;/p&gt;&lt;div class="feedflare"&gt;
&lt;a href="http://feeds.feedburner.com/~ff/drawinglessonsinfo?a=kK1Vt-11hi8:pnEGLYlX-Zo:yIl2AUoC8zA"&gt;&lt;img src="http://feeds.feedburner.com/~ff/drawinglessonsinfo?d=yIl2AUoC8zA" border="0"&gt;&lt;/img&gt;&lt;/a&gt; &lt;a href="http://feeds.feedburner.com/~ff/drawinglessonsinfo?a=kK1Vt-11hi8:pnEGLYlX-Zo:qj6IDK7rITs"&gt;&lt;img src="http://feeds.feedburner.com/~ff/drawinglessonsinfo?d=qj6IDK7rITs" border="0"&gt;&lt;/img&gt;&lt;/a&gt;
&lt;/div&gt;</description>
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 <media:description type="html">Bottles and Vases Constance LaPalombara courtesy the artist</media:description>
 <pubDate>Thu, 16 Feb 2012 20:01:39 GMT</pubDate>
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 <title>M Fqc The Location Drawing</title>
 <description>consider what elemental plans should spring from them. The CI SfB project manual offers a sensible method for identifying these. The complete range of elements in CI SfB table I is available, and offers a useful check list see chapter 1 . Generally speaking, however, few projects and then only those containing problems of a specialised nature will need to go beyond the much more limited range shown in table IV. Other location drawings Site plan, elevations and basic sections complete the set of...&lt;div class="feedflare"&gt;
&lt;a href="http://feeds.feedburner.com/~ff/drawinglessonsinfo?a=L9f7-dwgE3k:OH-4jDtHqN4:yIl2AUoC8zA"&gt;&lt;img src="http://feeds.feedburner.com/~ff/drawinglessonsinfo?d=yIl2AUoC8zA" border="0"&gt;&lt;/img&gt;&lt;/a&gt; &lt;a href="http://feeds.feedburner.com/~ff/drawinglessonsinfo?a=L9f7-dwgE3k:OH-4jDtHqN4:qj6IDK7rITs"&gt;&lt;img src="http://feeds.feedburner.com/~ff/drawinglessonsinfo?d=qj6IDK7rITs" border="0"&gt;&lt;/img&gt;&lt;/a&gt;
&lt;/div&gt;</description>
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 <pubDate>Thu, 16 Feb 2012 18:49:24 GMT</pubDate>
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 <title>Constructing Pentagons TechnicalDrawing</title>
 <description>pentagon. At B, erect a perpendicular, and make it equal to the given side bisect A-B, and from its centre c, with radius c-d, describe the arc d--c. Then from A and B as centres, and A-c as radius, describe arcs intersecting in E. From points A-B-E, with radius A-B, draw intersecting arcs. Join up the points of intersection and the pentagon will be constructed. To construct an Oblique Projection of a Pentagonal Prism, Fig. 5. Draw the ground line, and upon it construct one face of the prism,...&lt;div class="feedflare"&gt;
&lt;a href="http://feeds.feedburner.com/~ff/drawinglessonsinfo?a=1tNqlHgRo7k:_CG1UNpSCT4:yIl2AUoC8zA"&gt;&lt;img src="http://feeds.feedburner.com/~ff/drawinglessonsinfo?d=yIl2AUoC8zA" border="0"&gt;&lt;/img&gt;&lt;/a&gt; &lt;a href="http://feeds.feedburner.com/~ff/drawinglessonsinfo?a=1tNqlHgRo7k:_CG1UNpSCT4:qj6IDK7rITs"&gt;&lt;img src="http://feeds.feedburner.com/~ff/drawinglessonsinfo?d=qj6IDK7rITs" border="0"&gt;&lt;/img&gt;&lt;/a&gt;
&lt;/div&gt;</description>
 <category>TechnicalDrawing</category>
 <link>http://www.jayespace.com/technical/constructing-pentagons.html</link>
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 <pubDate>Thu, 16 Feb 2012 17:40:09 GMT</pubDate>
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 <title>Graphic Narrative Drawing without a Model</title>
 <description>Graphic narrative, or what is commonly called comic-strip, uses words and sequences of images in tandem in order to tell a story. As an artform it lies roughly at the crossroads between literature, illustration and cinema, having much in common with all three and containing elements of each. It is like literature in that it is concerned with telling a story, like illustration in that it uses drawings to give visual information, and like cinema in that it uses a combination of words and images...&lt;p&gt;&lt;a href="http://www.jayespace.com/without-a-model/graphic-narrative.html"&gt;&lt;img src="http://www.jayespace.com/without-a-model/images/1818_144_290.jpg" style="width: 323pt; height: 108pt;" title="Two versions story incident Although the content the pictures very similar only the lower example the narrative meaning clear"/&gt;&lt;/a&gt;&lt;/p&gt;&lt;div class="feedflare"&gt;
&lt;a href="http://feeds.feedburner.com/~ff/drawinglessonsinfo?a=0W1obWQOvOQ:NLXrIibonGw:yIl2AUoC8zA"&gt;&lt;img src="http://feeds.feedburner.com/~ff/drawinglessonsinfo?d=yIl2AUoC8zA" border="0"&gt;&lt;/img&gt;&lt;/a&gt; &lt;a href="http://feeds.feedburner.com/~ff/drawinglessonsinfo?a=0W1obWQOvOQ:NLXrIibonGw:qj6IDK7rITs"&gt;&lt;img src="http://feeds.feedburner.com/~ff/drawinglessonsinfo?d=qj6IDK7rITs" border="0"&gt;&lt;/img&gt;&lt;/a&gt;
&lt;/div&gt;</description>
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 <media:title />
 <media:description type="html">Two versions story incident Although the content the pictures very similar only the lower example the narrative meaning clear</media:description>
 <pubDate>Thu, 16 Feb 2012 16:50:39 GMT</pubDate>
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 <title>Coaxiauty Controls DimensioningTolerancing</title>
 <description>Coaxiality is that condition where the axes of two or more surfaces of revolution are coincident. The amount of permissible variation from coaxiality may be expressed by a positional tolerance or a runout tolerance. Selection of the proper control depends on the nature of the functional requirements of the design. 5.11.1 Positional Tolaranca Control. Where the surfaces of revolution are cylindrical and the control of the axes can be applied on a material condition basis, positional tolerancing...&lt;p&gt;&lt;a href="http://www.jayespace.com/dimensioning-tolerancing/coaxiauty-controls.html"&gt;&lt;img src="http://www.jayespace.com/dimensioning-tolerancing/images/1810_1515_277-composite-positional-dimension.jpg" style="width: 486pt; height: 561pt;" alt="Composite Positional Dimension"/&gt;&lt;/a&gt;&lt;/p&gt;&lt;div class="feedflare"&gt;
&lt;a href="http://feeds.feedburner.com/~ff/drawinglessonsinfo?a=6QmNNT189xA:Iyunl4Ny7UQ:yIl2AUoC8zA"&gt;&lt;img src="http://feeds.feedburner.com/~ff/drawinglessonsinfo?d=yIl2AUoC8zA" border="0"&gt;&lt;/img&gt;&lt;/a&gt; &lt;a href="http://feeds.feedburner.com/~ff/drawinglessonsinfo?a=6QmNNT189xA:Iyunl4Ny7UQ:qj6IDK7rITs"&gt;&lt;img src="http://feeds.feedburner.com/~ff/drawinglessonsinfo?d=qj6IDK7rITs" border="0"&gt;&lt;/img&gt;&lt;/a&gt;
&lt;/div&gt;</description>
 <category>DimensioningTolerancing</category>
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 <media:title>Composite Positional Dimension</media:title>
 <media:description type="html" />
 <pubDate>Thu, 16 Feb 2012 16:23:26 GMT</pubDate>
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 <title>requirements EngineeringDrawing</title>
 <description>Figure 14.43 shows mandatory positions of associated surface texture requirements. Note that in accordance with BS EN ISO 1302 2002 the position 'X' is no longer used. Only positions a, b, c, d and e should be used. Position 'a' indicates one single surface texture requirement. Positions 'a' and 'b' indicate two or more surface texture requirements. Position 'c' indicates manufacturing method, treatment, coating or other process. Position 'd' indicates surface lay. Position 'e' shows machining...&lt;p&gt;&lt;a href="http://www.jayespace.com/engineering-3/requirements.html"&gt;&lt;img src="http://www.jayespace.com/engineering-3/images/1843_138_283.jpg" style="width: 441pt; height: 650pt;"/&gt;&lt;/a&gt;&lt;/p&gt;&lt;div class="feedflare"&gt;
&lt;a href="http://feeds.feedburner.com/~ff/drawinglessonsinfo?a=gtu3HefFVz4:dQa7CKZdUxA:yIl2AUoC8zA"&gt;&lt;img src="http://feeds.feedburner.com/~ff/drawinglessonsinfo?d=yIl2AUoC8zA" border="0"&gt;&lt;/img&gt;&lt;/a&gt; &lt;a href="http://feeds.feedburner.com/~ff/drawinglessonsinfo?a=gtu3HefFVz4:dQa7CKZdUxA:qj6IDK7rITs"&gt;&lt;img src="http://feeds.feedburner.com/~ff/drawinglessonsinfo?d=qj6IDK7rITs" border="0"&gt;&lt;/img&gt;&lt;/a&gt;
&lt;/div&gt;</description>
 <category>EngineeringDrawing</category>
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 <pubDate>Thu, 16 Feb 2012 15:48:21 GMT</pubDate>
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 <title>Cube Construction AnatomicalDrawings</title>
 <description>When a head is built on a cube there is a sense of mass, a basis of measurement and comparison. The eye has a fixed point upon which to rest. A vertical line divides the head into two parts. These are equal, opposite, and balanced. Each side is an exact duplicate of the other. A horizontal line drawn through the lower eyelids divides the head in half. The lower portion again divided in the middle gives the base of the nose. The mouth is placed two-thirds up from the chin. Built on the form of a...&lt;p&gt;&lt;a href="http://www.jayespace.com/anatomical/cube-construction.html"&gt;&lt;img src="http://www.jayespace.com/anatomical/images/1778_30_137.jpg" style="width: 397pt; height: 656pt;"/&gt;&lt;/a&gt;&lt;/p&gt;&lt;div class="feedflare"&gt;
&lt;a href="http://feeds.feedburner.com/~ff/drawinglessonsinfo?a=-QlVz6noEB0:UVRA4MsL8O4:yIl2AUoC8zA"&gt;&lt;img src="http://feeds.feedburner.com/~ff/drawinglessonsinfo?d=yIl2AUoC8zA" border="0"&gt;&lt;/img&gt;&lt;/a&gt; &lt;a href="http://feeds.feedburner.com/~ff/drawinglessonsinfo?a=-QlVz6noEB0:UVRA4MsL8O4:qj6IDK7rITs"&gt;&lt;img src="http://feeds.feedburner.com/~ff/drawinglessonsinfo?d=qj6IDK7rITs" border="0"&gt;&lt;/img&gt;&lt;/a&gt;
&lt;/div&gt;</description>
 <category>AnatomicalDrawings</category>
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 <pubDate>Thu, 16 Feb 2012 15:32:14 GMT</pubDate>
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 <title>Tightening up your sketch CartoonsComics</title>
 <description>After you make a rough sketch and like the idea and are ready to move on, the next step is to tighten up your sketch. Tightening up a sketch means to define the lines so that the characters, word balloons, background, and overall composition are clearer and more defined. This is the stage when the final composition comes into focus and you can see how the line art will look prior to beginning the inking process see Figure 4-7 . When you tighten up your sketch, you simply go over your first...&lt;div class="feedflare"&gt;
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 <category>CartoonsComics</category>
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 <pubDate>Thu, 16 Feb 2012 14:33:33 GMT</pubDate>
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 <title>The girl next door CartoonsComics</title>
 <description>Everyone loves the girl next door, and you can always tell who she is she's pretty but not seductive, her makeup is understated, and she's kind to small children and animals, not to mention her parents. She's the all-American cheerleader type with a bubbly personality. The following are a few traits or patterns that the girl next door possesses The looks of an active cheerleader type She's thin but looks athletic. Very little makeup She doesn't need it When drawing the girl next door, keep the...&lt;p&gt;&lt;a href="http://www.jayespace.com/cartoons-comics/the-girl-next-door.html"&gt;&lt;img src="http://www.jayespace.com/cartoons-comics/images/1786_114_138.jpg" style="width: 137pt; height: 249pt;"/&gt;&lt;/a&gt;&lt;/p&gt;&lt;div class="feedflare"&gt;
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 <pubDate>Thu, 16 Feb 2012 13:43:34 GMT</pubDate>
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 <title>General Instructions And Hints On Drawing TechnicalDrawing</title>
 <description>How to Fix the Paper. Finding-Marks damp-stretching. Using the Squares. To draw Parallel Lines. Sharpening the Pencil. Lining in. Managing the Ruling Pen. Inking in Curved Pines. To keep Drawings Clean. Where to Commence a Drawing haw to proceed. Examinations how to draw what to avoid. Trying otf Dimensions. To Measure Curved Pines. Managing the Compasses. Locating Centre of Circles. Draughtsmen's Lines and Signs. Sections. Standard list of Material Hatchings Fixing the Drawing Paper for...&lt;div class="feedflare"&gt;
&lt;a href="http://feeds.feedburner.com/~ff/drawinglessonsinfo?a=Ua2osDdI5bM:MAnMuK4GL4E:yIl2AUoC8zA"&gt;&lt;img src="http://feeds.feedburner.com/~ff/drawinglessonsinfo?d=yIl2AUoC8zA" border="0"&gt;&lt;/img&gt;&lt;/a&gt; &lt;a href="http://feeds.feedburner.com/~ff/drawinglessonsinfo?a=Ua2osDdI5bM:MAnMuK4GL4E:qj6IDK7rITs"&gt;&lt;img src="http://feeds.feedburner.com/~ff/drawinglessonsinfo?d=qj6IDK7rITs" border="0"&gt;&lt;/img&gt;&lt;/a&gt;
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 <pubDate>Thu, 16 Feb 2012 12:12:55 GMT</pubDate>
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 <title>Info Lvq DisneyAnimation</title>
 <description>fleeting smile, the raising of a shoulder as the body leaned forward these were the precious elements of life revealed by the camera. But whenever we stayed too close to the photostats, or directly copied even a tiny piece of human action, the results looked very strange. The moves appeared real enough, but the figure lost the illusion of life. There was a certain authority in the movement and a presence that came out of the whole action, but it was impossible to become emotionally involved...&lt;p&gt;&lt;a href="http://www.jayespace.com/disney-animation/info-lvq.html"&gt;&lt;img src="http://www.jayespace.com/disney-animation/images/1883_323_602.jpg" style="width: 250pt; height: 234pt;" title="Human Chara"/&gt;&lt;/a&gt;&lt;/p&gt;&lt;div class="feedflare"&gt;
&lt;a href="http://feeds.feedburner.com/~ff/drawinglessonsinfo?a=eSKNDnKCyp4:f4rPM8Gv7Mk:yIl2AUoC8zA"&gt;&lt;img src="http://feeds.feedburner.com/~ff/drawinglessonsinfo?d=yIl2AUoC8zA" border="0"&gt;&lt;/img&gt;&lt;/a&gt; &lt;a href="http://feeds.feedburner.com/~ff/drawinglessonsinfo?a=eSKNDnKCyp4:f4rPM8Gv7Mk:qj6IDK7rITs"&gt;&lt;img src="http://feeds.feedburner.com/~ff/drawinglessonsinfo?d=qj6IDK7rITs" border="0"&gt;&lt;/img&gt;&lt;/a&gt;
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 <media:description type="html">Human Chara</media:description>
 <pubDate>Thu, 16 Feb 2012 10:32:51 GMT</pubDate>
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 <title>Specifications And Performance AircraftDrawing</title>
 <description>Wing span 104 ft. Length 63 ft., Win. Wing Area 1,400 sq. ft Empty Weight 20,190 Ibs. Gross Weight 35,420 Ibs. Cruising Speed 1,13mph MG 2x.50-caliber MG 4x1,000-lb. bombs or depth charges. two Canadian plants. Eventually, it distinguished itself by becoming the most prevalent flying boat of all time 3,276 were built in the U.S. and Canada, plus an estimated 150 under license in Russia. In competition against the Douglas XP3D-1 patrol plane, Consolidated's XP3Y-1 was the winner and went into...&lt;div class="feedflare"&gt;
&lt;a href="http://feeds.feedburner.com/~ff/drawinglessonsinfo?a=xnuV0rxQfHI:92niG5U8Y74:yIl2AUoC8zA"&gt;&lt;img src="http://feeds.feedburner.com/~ff/drawinglessonsinfo?d=yIl2AUoC8zA" border="0"&gt;&lt;/img&gt;&lt;/a&gt; &lt;a href="http://feeds.feedburner.com/~ff/drawinglessonsinfo?a=xnuV0rxQfHI:92niG5U8Y74:qj6IDK7rITs"&gt;&lt;img src="http://feeds.feedburner.com/~ff/drawinglessonsinfo?d=qj6IDK7rITs" border="0"&gt;&lt;/img&gt;&lt;/a&gt;
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 <pubDate>Thu, 16 Feb 2012 09:34:41 GMT</pubDate>
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 <title>Info Icd AircraftDrawing</title>
 <description>gt '.' . v '. . IHWUUL Jttc VA, . . .wv. v. -v. ,, a . .v- . ' W ffffWB I A Consolidated PBY-5A ashore. Note the ram air scoops on the tops of the engines not shown on drawing and the hook-on access ladder at the side blister. Sea-blue camouflage on top of the wing is carried around to the bottom of the retracted wing-tip float. THE Consolidated PBY flying boat, named Catalina by the British, was one of the oddities of the war. A 1933 design, it was widely used by the U.S. Navy, but was nearly...&lt;div class="feedflare"&gt;
&lt;a href="http://feeds.feedburner.com/~ff/drawinglessonsinfo?a=3vXKfNivuZQ:MkmpotsmoW8:yIl2AUoC8zA"&gt;&lt;img src="http://feeds.feedburner.com/~ff/drawinglessonsinfo?d=yIl2AUoC8zA" border="0"&gt;&lt;/img&gt;&lt;/a&gt; &lt;a href="http://feeds.feedburner.com/~ff/drawinglessonsinfo?a=3vXKfNivuZQ:MkmpotsmoW8:qj6IDK7rITs"&gt;&lt;img src="http://feeds.feedburner.com/~ff/drawinglessonsinfo?d=qj6IDK7rITs" border="0"&gt;&lt;/img&gt;&lt;/a&gt;
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 <pubDate>Thu, 16 Feb 2012 09:32:16 GMT</pubDate>
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 <title>Looking at ear shapes and sizes CartoonsComics</title>
 <description>You can create all kinds of shapes and sizes for ears. When drawing your character's ears, their look and shape can say a lot about the character. Big ears make your character look goofy, while pointed ears can make your character look sinister or even otherworldly, like a vampire or a Vulcan Ears are a very noticeable feature if you draw them too big or oddly, they may be the dominating feature that readers see. Figure 6-20 shows an assortment of ear shapes and sizes for you to consider when...&lt;p&gt;&lt;a href="http://www.jayespace.com/cartoons-comics/looking-at-ear-shapes-and-sizes.html"&gt;&lt;img src="http://www.jayespace.com/cartoons-comics/images/1786_71_74.jpg" style="width: 336pt; height: 117pt;"/&gt;&lt;/a&gt;&lt;/p&gt;&lt;div class="feedflare"&gt;
&lt;a href="http://feeds.feedburner.com/~ff/drawinglessonsinfo?a=X_ARSR-a8KA:GYP33UNhcsk:yIl2AUoC8zA"&gt;&lt;img src="http://feeds.feedburner.com/~ff/drawinglessonsinfo?d=yIl2AUoC8zA" border="0"&gt;&lt;/img&gt;&lt;/a&gt; &lt;a href="http://feeds.feedburner.com/~ff/drawinglessonsinfo?a=X_ARSR-a8KA:GYP33UNhcsk:qj6IDK7rITs"&gt;&lt;img src="http://feeds.feedburner.com/~ff/drawinglessonsinfo?d=qj6IDK7rITs" border="0"&gt;&lt;/img&gt;&lt;/a&gt;
&lt;/div&gt;</description>
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 <pubDate>Thu, 16 Feb 2012 04:41:17 GMT</pubDate>
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 <title>Record Label SetUps Illustration</title>
 <description>The music business is a global industry that employs tens of thousands of people and represents artists and acts that generate many millions ol dollars per annum. The huge scale of the operation means that finding in-roads into working as a freelance illustrator can be less lhan straightforward, Large record labels normally run their own art departments, creating sleeves and promos for their acts on an in-house basis, buying in photography and illustration on a project-by-project basis. Some of...&lt;p&gt;&lt;a href="http://www.jayespace.com/illustration/record-label-setups.html"&gt;&lt;img src="http://www.jayespace.com/illustration/images/1880_63_167.jpg" style="width: 98pt; height: 120pt;"/&gt;&lt;/a&gt;&lt;/p&gt;&lt;div class="feedflare"&gt;
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 <pubDate>Thu, 16 Feb 2012 03:47:49 GMT</pubDate>
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 <title>Focusing on the fridge CartoonsComics</title>
 <description>The refrigerator's nice rectangular shape is similar to the boxy or square shape of many other household items, such as TVs, beds, radios, microwave ovens, toasters, and so on. Chapter 9 shows you how to draw different household appliances. To draw your fridge in two-point perspective, you need to line up two different angles so that they meet two different vanishing points on the same horizon line, if you were to draw a ruler out as far as the line goes. However, most of the time, the...&lt;p&gt;&lt;a href="http://www.jayespace.com/cartoons-comics/focusing-on-the-fridge.html"&gt;&lt;img src="http://www.jayespace.com/cartoons-comics/images/1786_157_237.jpg" style="width: 215pt; height: 168pt;"/&gt;&lt;/a&gt;&lt;/p&gt;&lt;div class="feedflare"&gt;
&lt;a href="http://feeds.feedburner.com/~ff/drawinglessonsinfo?a=kagR0v2NEkg:aK1DWKTdgfg:yIl2AUoC8zA"&gt;&lt;img src="http://feeds.feedburner.com/~ff/drawinglessonsinfo?d=yIl2AUoC8zA" border="0"&gt;&lt;/img&gt;&lt;/a&gt; &lt;a href="http://feeds.feedburner.com/~ff/drawinglessonsinfo?a=kagR0v2NEkg:aK1DWKTdgfg:qj6IDK7rITs"&gt;&lt;img src="http://feeds.feedburner.com/~ff/drawinglessonsinfo?d=qj6IDK7rITs" border="0"&gt;&lt;/img&gt;&lt;/a&gt;
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 <pubDate>Thu, 16 Feb 2012 03:22:32 GMT</pubDate>
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 <title>PLATE The female hand Drawing the Head and Hands</title>
 <description>Women's hands, like their faces, differ from those of men chiefly in having smaller bones, more delicate muvcles, and generally inore roundness of planes. If the middle finger is made at least half the length of the hand on the palm side it will l gt e more graceful and will characterize the hand as feminine. Even though feminine hands are slim, they still have amazing tenacity of grip. The long fingernails, oval in shape, add charm. PLATE 88. Make many studies of hands There is only one sure...&lt;p&gt;&lt;a href="http://www.jayespace.com/head-hands/plate-the-female-hand.html"&gt;&lt;img src="http://www.jayespace.com/head-hands/images/1807_252_192-graceful-palm-the-hand.jpg" style="width: 501pt; height: 668pt;" alt="Graceful Palm The Hand"/&gt;&lt;/a&gt;&lt;/p&gt;&lt;div class="feedflare"&gt;
&lt;a href="http://feeds.feedburner.com/~ff/drawinglessonsinfo?a=rgadoOZGAXI:sDoshHiHab0:yIl2AUoC8zA"&gt;&lt;img src="http://feeds.feedburner.com/~ff/drawinglessonsinfo?d=yIl2AUoC8zA" border="0"&gt;&lt;/img&gt;&lt;/a&gt; &lt;a href="http://feeds.feedburner.com/~ff/drawinglessonsinfo?a=rgadoOZGAXI:sDoshHiHab0:qj6IDK7rITs"&gt;&lt;img src="http://feeds.feedburner.com/~ff/drawinglessonsinfo?d=qj6IDK7rITs" border="0"&gt;&lt;/img&gt;&lt;/a&gt;
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 <media:title>Graceful Palm The Hand</media:title>
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 <pubDate>Wed, 15 Feb 2012 23:00:03 GMT</pubDate>
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 <title>Fig Positional Tolerancing At Mmc Relative To Datum Feature Center Planes DimensioningTolerancing</title>
 <description>5.3.1 Material Condition Basis. Positional tol-erancing is applied on an MMC, RFS, or LMC basis. When MMC or LMC is required, the appropriate modifier follows the specified tolerance and applicable datum reference in the feature control frame. See para. 2.8. 5.3.2 MMC as Related to Positional Toler-ancing. The positional tolerance and maximum material condition of mating features are considered in relation to each other. MMC by itself means a feature of a finished product contains the maximum...&lt;p&gt;&lt;a href="http://www.jayespace.com/dimensioning-tolerancing/fig-positional-tolerancing-at-mmc-relative-to-datum-feature-center-planes.html"&gt;&lt;img src="http://www.jayespace.com/dimensioning-tolerancing/images/1810_1098_167.jpg" style="width: 84pt; height: 141pt;"/&gt;&lt;/a&gt;&lt;/p&gt;&lt;div class="feedflare"&gt;
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 <pubDate>Wed, 15 Feb 2012 21:56:39 GMT</pubDate>
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 <title>Attaching Names to Colors MixingColors</title>
 <description>In their exhaustive and extensively documented study Basic Color Terms, Brent Berlin and Paul Kay propose that as separate languages developed worldwide, color names entered each language in the same order. Black and white were the first to he named, followed by red. Next came green followed by yellow, or, alternatively, yellow followed by green. After that came names for blue, then brown, and finally purple, pink, orange, and gray. In many cultures, even today, that short list is the extent of...&lt;p&gt;&lt;a href="http://www.jayespace.com/mixing-colors/attaching-names-to-colors.html"&gt;&lt;img src="http://www.jayespace.com/mixing-colors/images/1787_92_143-trarican-macur.jpg" style="width: 309pt; height: 207pt;" title="Fig Trarican Macur Mapuche Museo Arte Precolombino Santiago Chile Art Resource" alt="Trarican Macur"/&gt;&lt;/a&gt;&lt;/p&gt;&lt;div class="feedflare"&gt;
&lt;a href="http://feeds.feedburner.com/~ff/drawinglessonsinfo?a=ozgax5xS2Y4:U1lKoGw2Wsk:yIl2AUoC8zA"&gt;&lt;img src="http://feeds.feedburner.com/~ff/drawinglessonsinfo?d=yIl2AUoC8zA" border="0"&gt;&lt;/img&gt;&lt;/a&gt; &lt;a href="http://feeds.feedburner.com/~ff/drawinglessonsinfo?a=ozgax5xS2Y4:U1lKoGw2Wsk:qj6IDK7rITs"&gt;&lt;img src="http://feeds.feedburner.com/~ff/drawinglessonsinfo?d=qj6IDK7rITs" border="0"&gt;&lt;/img&gt;&lt;/a&gt;
&lt;/div&gt;</description>
 <category>MixingColors</category>
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 <media:title>Trarican Macur</media:title>
 <media:description type="html">Fig Trarican Macur Mapuche Museo Arte Precolombino Santiago Chile Art Resource</media:description>
 <pubDate>Wed, 15 Feb 2012 17:31:55 GMT</pubDate>
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 <title>Rendering controls EngineeringDrawing</title>
 <description>Presentations and proposals using photo-realistic images add excitement and visual impact. Before applying rendering features to a model, the background and lighting conditions should be adjusted to simulate mood, time and scene composition. It can also apply lighting, shadows and ray tracing for reflective and transparent materials, and if required, background scenery. Smoothing areas of high contrast to improve appearance can enhance image quality. Accuracy is improved through fully...&lt;div class="feedflare"&gt;
&lt;a href="http://feeds.feedburner.com/~ff/drawinglessonsinfo?a=KSSQDmIQmHs:7J54Ixvrh18:yIl2AUoC8zA"&gt;&lt;img src="http://feeds.feedburner.com/~ff/drawinglessonsinfo?d=yIl2AUoC8zA" border="0"&gt;&lt;/img&gt;&lt;/a&gt; &lt;a href="http://feeds.feedburner.com/~ff/drawinglessonsinfo?a=KSSQDmIQmHs:7J54Ixvrh18:qj6IDK7rITs"&gt;&lt;img src="http://feeds.feedburner.com/~ff/drawinglessonsinfo?d=qj6IDK7rITs" border="0"&gt;&lt;/img&gt;&lt;/a&gt;
&lt;/div&gt;</description>
 <category>EngineeringDrawing</category>
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 <pubDate>Wed, 15 Feb 2012 16:05:12 GMT</pubDate>
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<item>
 <title>Info Vsh DisneyAnimation</title>
 <description>Drawings for the splash of i passing storm in Bambi reflect study and observation by the effects animator. animator Paul KoSSoff Rite of SpringFantasia. Imagination in both design and movement was needed for this scene of lava Jlowing down the primordial landscape. artist Jules Engel ' 'Rite of Spring.9 9 Fantasia animator Ed Aardal Rite of Spring. Fantasia. artist Jules Engel ' 'Rite of Spring.9 9 Fantasia The Rite of Spring in Fantasia called for mist, rain, smoke, wind, water, falling rocks,...&lt;p&gt;&lt;a href="http://www.jayespace.com/disney-animation/info-vsh.html"&gt;&lt;img src="http://www.jayespace.com/disney-animation/images/1883_221_513.jpg" style="width: 730pt; height: 422pt;"/&gt;&lt;/a&gt;&lt;/p&gt;&lt;div class="feedflare"&gt;
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 <category>DisneyAnimation</category>
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 <pubDate>Wed, 15 Feb 2012 12:44:58 GMT</pubDate>
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