the names of two rocks between Italy and Sicily, and only a short distance from one another. In the midst of the one of these rocks which was nearest to Italy, there dwelt, according to Homer, Scylla, a daughter of Crataeis, a fearful monster, barking like a dog, with twelve feet, six long necks and mouths, each of which contained three rows of sharp teeth. The opposite rock, which was much lower, contained an immense fig-tree, under which there dwelt Charybdis, who thrice every day swallowed down the waters of the sea, and thrice threw them up again : both were formidable to the ships which had to pass between them (Hom. Od.xii. 73, &c., 235, &c.). Later traditions represent Scylla as a daughter of Phorcys or Phorbas, by Hecate Crataeis (Apollon. Rhod. iv. 828, &c., with the Scholiast), or by Lamia; while others make her a daughter of Triton, or Poseidon and Crataeis (Eustath.ad Hom. p. 1714), or of Typhon and Echidna (Hygin. Fab. praef.). Some, again, describe her as a monster with six heads of different animals, or with only three heads (Tzetz. ad Lycoph. 650 ; Eustath. l. c.). Continue reading SCYLLA (Skulla) and Charybdis
3 – Light It Separately. Another important, but often overlooked, essential is lighting your subject independently of your set. This is important for two “key” reasons: shadows and reflections. Part of keeping your wall evenly lit is keeping your subject’s shadow from falling across it. To do this you need to position the talent at a distance of at least a few feet from the screen, and light him separately using three point lighting.
If you do not have a lot of distance to work with, position your key & fill lights slightly to the sides, not straight on, so any resulting shadows will fall outside the visible frame. Another advantage of moving your subject away from the wall is the reduction of reflected green spill light on your talent. Reflected spill light can rim your subject in a tinted halo that can be difficult to discern with the naked eye, but if your actor is too close to your wall, it will be there, and any green bouncing off your actor will mess up the cleanliness of your key. You can wash away a fair amount of reflected green using a bright backlight, but you will find that distance is your best friend.
1. Fill in these three forms with one of the the primary colors: red, yellow, or blue. The coloring is to fill the form entirely in each case. One color per shape.
2. If possible, provide an explanation for your choice of color.
In 1923 Wassily Kandinsky circulated a questionnaire at the Bauhaus, asking respondents to fill in a triangle, square, and circle witht he primary colors of red, yellow, and blue. He hoped to discover a universal correspondence between form and color, embodied in the equation red=square, yellow=triangle, blue=circle.
A giant tooth? A weirdly shaped bone or rock? Henry Moore’s chubby, one-ton bronze, poised on three delicate points, suggests different interpretations from different angles. Both prolific and highly respected, Moore has been called the most influential sculptor of the 20th century.
|Welcome to Hussian School of Art.|
There’s a lot of talent in this world. As with any opportunity, competition will be intense. And while it is true that you cannot teach talent, the key to success, as in everything, is preparation. In the Graphic Arts, it will be the kind of preparation that will help you enter the professional world with more than a portfolio, but with confidence and experience. The kind of preparation serious art students find here at Hussian.
Hussian students are aware of this world. They dream of the possibilities, excited about their place in it, but not the least bit intimidated. They possess a drive to create. They’re focused and self-disciplined. And they have talent.
If you are such a student–whether you have a polished portfolio or talent that has yet to be “packaged”–you owe it to yourself to visit. Sit in on a class. Talk with our students and the working professionals on our faculty. You may find a place where you can transform your art talent into a talent for change.
Three Fingers oF Intrigue …
Exhibition:Seductive Espionage: The World of Yuki 7
Art Height:13.0″ (33.02 cm)Art Width:8.0″ (20.32 cm)
Medium:Cell vinyl on matte board
“Three Fingers”, Pastel and Charcoal on Paper, 22″x30″, 1990
All original Drawings are shipped flat with a backing board.
Large format prints are shipped rolled in a tube.
Please contact for framing and matting.
All work copyright John Terwilliger. Originals and prints are for your personal enjoyment and may not be duplicated or used in any commercial application without the express consent of the artist.
The Mysteries of the Horizon (1955) is an oil on canvas painting by the Belgian surrealist René Magritte.
The painting depicts three seemingly identical men in bowler hats. They are in an outdoor setting at twilight. Each one is turned toward a different direction. In the sky above each figure is a separate crescent moon.
Men in bowler hats have appeared frequently in Magritte’s work since his 1926 painting The Musings of a Solitary Walker. They are represented as having undefined or identical personalities.
The Town. Variant. Scenery sketch for N.Evreinov drama “The Three Magi”. 1907
Город. Вариант. Набросок декорации к мистерии Н.Евреинова «Три волхва»
Gouache, ink on paper mounted on cardboard. 28.5 x 34 cm.
E.M.Velichko collection, Moscow
Hue, Value and Chroma Chart
“He constructed a sphere on which were plotted a double set of spirals representing color sequences. From this model grew the evenly balanced Munsell Color Sphere, which demonstrates the exact relations of Hue, Value and Chroma.”
Munsell Color Wheel Step 1 on the Value pole in the center is the darkest gray possible. Step 9 is the lightest white. Absolute Black and White are not practically attainable. This illustration does not purport to be a correct representation of color standards, but is intended merely to visualize the three scales in as graphic form as possible by a printed diagram.
This perspective diagram graphically illustrates the three dimensions of color used by the Munsell Color Chart for color measurement and notation.
Photo composition rules
- Rule of Thirds
- Diagonal rule
- Golden Section rule
Rule of Thirds
The Rule of Thirds is based on the fact that the human eye is naturally drawn to a point about two-thirds up a page. Crop your photo so that the main subjects are located around one of the intersection points rather than in the center of the image:
Your landscapes will be optimally pleasing to the eye if you apply the Rule of Thirds when you place your horizon line.
If the area of interest is land or water, the horizon line will usually be two-thirds up from the bottom. Alternately, if the sky is the area of emphasis, the horizon line may be one-third up from the bottom, leaving the sky to take up the top two-thirds of the picture: