pencil drawings photos

Monday, 6 August 2012

Pencil Drawings Of Hearts

Source:Google.com.pk
Pencil Drawings Of Hearts Biography
Ken Nutt is a fine artist and an award-winning Canadian illustrator of children's books. He most frequently illustrates under the name Eric Beddows, which combines his middle name and his mother's maiden name. Nutt is known for his black-and-white pencil drawings, which demonstrate "a strong handling of light and shadow, composition and form," according to Julie Corsaro in Booklist. Nutt has also opted for a full and brilliant palette in more recent works such as The Rooster's Gift, which earned him the Governor General's Award for Illustration from the Canada Council in 1996.

Nutt was born in a small town in the Canadian province of Ontario. He first came into contact with the great works of children's book illustrators through the encyclopedias his parents bought at the local grocery, one volume per week. In these volumes he discovered the work of Gustave Doré, Arthur Rackham, Rockwell Kent, and William Blake. Nutt found his place in the social hierarchy of school by drawing campaign posters for student-body elections and helping plan the decorations for school dances. After graduating from high school, he attended Toronto's York University for two years, studying painting and drawing, then decided to start his career in the field of art. When friend and writer Tim Wynne-Jones asked him to illustrate a children's book, Nutt realized that he had never even considered the possibility of book illustration. "Oddly," he reported in Seventh Book of Junior Authors and Illustrators, "for all my love of the great illustrators of the past, I had never thought of drawing pictures for a book myself."

That situation changed drastically after the success of Zoom at Sea, the first book for which Nutt provided pictures. In this story, the playful cat, Zoom, short for Wynne-Jones's family cat Montezuma, won the hearts of critics and, most importantly, young readers. His adventures with his friend Maria, who transforms her home into an ocean so as to fulfill Zoom's sea-loving fantasy, are perfectly complemented by Nutt's pencil drawings, according to numerous reviewers. Award committees added to the favorable response, and Nutt's career as an illustrator looked promising.

Nutt collaborated with Wynne-Jones on all three of the "Zoom" titles, which include Zoom Away and Zoom Upstream. With Zoom Away the feline and Maria go searching for the elusive Uncle Roy at the North Pole—the transformed attic of Maria's house. Mary Lou Budd, writing in School Library Journal, noted that the story "captures and keeps the readers' attention from beginning to end with its action-packed narrative and accompanying pencil illustrations." Budd also noted that Nutt's method of shadowing his back-and-white pictures "gives each one a photographic look."

With the final title in the series, Zoom Upstream, the fearless feline follows a mysterious trail through a bookshelf to join friend Maria on another search for the illusive Uncle Roy, this time in ancient Egypt. Ilene Cooper wrote in Booklist that "Beddows' wonderful pencil illustrations detail the ensuing adventure," going on to call the pictures "wildly imaginative and full of minute particulars." A meticulous researcher, Nutt actually went to Egypt for the last title and spent a great deal of time making his way through tombs and the insides of pyramids. Hhe did his first rough sketches for Zoom Upstream while floating down the Nile.

Another fruitful collaboration for Nutt has been with writer Paul Fleischman, with whom he has teamed up on two prize-winning books of poems for children: I Am Phoenix: Poems for Two Voices, about birds, and the Newbery Medal-winning Joyful Noise: Poems for Two Voices, a book of verses which describe the characteristics of a variety of insects. Nutt has also illustrated Fleischman's Shadow Play, about a visit to a county fair by a brother and sister who become entranced by a shadow-puppet-theater presentation of "Beauty and the Beast."

Other noteworthy titles Nutt has illustrated under the name Beddows include The Emperor's Panda, about a poor young shepherd boy, Kung, who becomes the emperor of China with the help of the magical Master Panda, and the collection of poems, Who Shrank My Grandmother's House? Poems of Discovery. In 1996, Nutt illustrated Pam Conrad's The Rooster's Gift, an effort that earned him the prestigious Governor General's Literary Award for Illustration. In Conrad's story, the gift in question is the rising of the sun, for which the crowing rooster takes credit. However, one day, over-sleeping, Rooster is surprised and dismayed to discover the sun has risen without his call. In Publishers Weekly, a reviewer noted that "Beddows eschews his characteristic black-and-white drawings in favor of dazzling full-color paintings," while Martha V. Parravano, writing in Horn Book, commented that "Beddows depicts, in curving lines and soft colors, the changing seasons in the pastoral landscapes rolling out below the chicken coop." Michael Cart concluded his Booklist review of The Rooster's Gift by praising "Beddows' gently humorous treatment of character ... and impressive command of color and light."

After this great success, Nutt abandoned illustrating for several years. His work was not seen alongside the text of a story again until 2003, when he provided sketches for best-selling science-fiction author Ursula K. LeGuin's adult short-story collection Changing Planes. The next year he lent his artwork to Toes, a novel for middle-grades readers by Tor Seidler. The title character is a cat who got his name because he has seven toes on each foot rather than the usual five; Nutt's "small, black-and-white sketches of the cat in different poses begin each chapter," Susan Patron noted in School Library Journal.

While as Eric Beddows Nutt has become well known as the illustrator of children's and adult books, he also works as a figurative painter under his real name. As he explained in the Seventh Book of Junior Authors and Illustrators, his interests range beyond book illustration. "I like math and physics and building mathematical models," he noted. Another favorite pastime for the illustrator is paleontology and the collection of fossils, with a specialty in invertebrates. However, "no dinosaurs," he added of his collection, noting that one day he would like to illustrate a fossil book with not one dinosaur featured.

Career

Illustrator. The Gallery, Stratford, Ontario, Canada, educator and installer and lighter of exhibitions for nine years. Exhibitions: Included in exhibitions at Vancouver Art Gallery, Vancouver, British Columbia, Canada, 1988-90; The Gallery, Stratford, Ontario, Canada, 1990; and Woodstock Art Gallery, Woodstock, Ontario, Canada, 1997. Work represented in permanent collections, including Osborn Collection, Toronto, Ontario, and National Library of Canada, Ottawa.

Awards, Honors

Children's Book of the Year citation, International Order of the Daughters of the Empire (IODE), 1983, Amelia Frances Howard-Gibbon Award, Canadian Association of Children's Librarians (CACL), and Ruth Schwartz Children's Book Award, Ontario Arts Council, both 1984, all for Zoom at Sea; Amelia Frances Howard-Gibbon Award, 1986, for Zoom Away; runner-up, Book of the Year for Children, Canadian Library Association, 1987, and Honor List for Illustration in Canada citation, International Board on Books for Young People, 1988, both for The Emperor's Panda; Honor Book, Boston Globe/Horn Book Illustration Award, 1988, for Joyful Noise; Children's Book of the Year citation, IODE, 1988, runner-up, Amelia Frances Howard-Gibbon Award, CACL, and Elizabeth Mrazik-Cleaver Picture Book Award, Canadian Children's Book Centre, both 1989, all for Night Cars; Notable Books citation, American Library Association, 1992, for Who Shrank My Grandfather's House?; Governor General's Literary Award for Illustration, Canada Council, 1996, for The Rooster's Gift. Recipient of grants for book illustration from Ontario Arts Council, 1981, 1985.

Pencil Drawings Of Hearts

Pencil Drawings Of Hearts

Pencil Drawings Of Hearts

Pencil Drawings Of Hearts

Pencil Drawings Of Hearts

Pencil Drawings Of Hearts

Pencil Drawings Of Hearts

Pencil Drawings Of Hearts

Pencil Drawings Of Hearts

How To Draw Fancy Valentine Hearts

How To Draw Sora (Kingdom Hearts)

Source:Google.com.pk
Pencil Drawings Of Gold Biography
Why Jesus is the Way to Union with God
For therefore we both labor and suffer reproach,
because we trust in the living God,
who is the Saviour of all men,
specially of those that believe.
1 Timothy 4:10

Text in Light Blue or bold Light Blue can be "clicked" for backup in scripture or detail in writings.
When you have clicked to the on-line Bible, you can change and update to see any Bible version that you prefer.

Christ's teachings are the ultimate in the way to become holy and become one with God; classic challenges to those who would be his followers are:

So likewise, whoever of you does not forsake all that he has cannot be My disciple. Luke 14:33
And whosoever does not bear his cross, and come after me, cannot be my disciple. Luke 14:27
He that finds his life shall lose it, and he that loses his life for my sake shall find it. Matthew 10:39
For if we are dead with him, we shall also live with him: If we suffer, we shall also reign with him. 2 Tim 2:11-12

Of all the guides and teachers in history, Christ stands far above in holiness and perfection. His death on the cross is the physical example that we must follow with the inward cross of self-denial to find God, to have God dwell in us, to be with God, to have union with Christ and the Father, while on earth, and to live with Him now and forever.

He has given us his very great and precious promises, so that through them
you may participate in the divine nature and escape the corruption in the world caused by evil desires. 2 Peter 1:4

Scriptures regarding the divinity of Christ, and showing that before he came to earth in the flesh, Christ created the universe, in his heavenly, glorious form:

In the beginning was the Word, and the Word [Jesus] was with God, and the Word was God. The same was in the beginning with God. All things were made by him; and without him was not any thing made that was made. In him was life; and the life was the light of men. He was in the world, and the world was made by him, and the world knew him not. And the Word was made flesh, and dwelt among us, (and we beheld his glory, the glory as of the only begotten of the Father,) full of grace and truth. John 1:1-14

He [Jesus] is the sole expression of the glory of God , and He is the perfect imprint and very image of nature, upholding and maintaining and guiding and propelling the universe by His mighty word of power. Hebrews 1:3

Who [Christ] is the image of the invisible God, the firstborn of every creature, Colossians 1:15

For by him [Jesus] all things were created; things in heaven and on earth, visible and invisible, whether thrones or powers or rulers or authorities; all things were created by him and for him. He is before all things, and in him all things hold together - so that in everything he might have the supremacy. For God was pleased to have all his fullness dwell in him, and through him to reconcile to himself (God the Father) all things, whether things on earth or in heaven, by making peace through his blood, shed on the cross. Col.1:16-20

Who, [Christ] although being essentially one with God and in the form of God, did not think this equality with God was a thing to be eagerly grasped or retained, but stripped Himself, so as to assume the guise of a servant (slave), in that He became like men and was born a human being. And after He had appeared in human form, He abased and humbled Himself [still further] and carried His obedience to the extreme of death, even the death of the cross. Philippians 2:6-8

Philip said to Him, Lord, show us the Father; then we shall be satisfied. Jesus replied, Have I been with all of you for so long a time, and do you not recognize and know Me yet, Philip? Anyone who has seen Me has seen the Father. How can you say then, Show us the Father? Do you not believe that I am in the Father, and that the Father is in Me? What I am telling you I do not say on My own authority and of My own accord; but the Father Who lives continually in Me does the (His) works (His own miracles, deeds of power). John 14:8-10

In the last of these days He has spoken to us in Son, Whom He appointed Heir and lawful Owner of all things, also by and through Whom He created the worlds and the reaches of space and the ages of time. Heb 1:2

As the Father raises up the dead, and quickens them, even so the Son quickens whom he will; for the Father judges no man; but has committed all judgment to the Son, that all men should honor the Son, even as they honor the Father. He that does not honor the Son, does not honor the Father which has sent him. John 5:21-23.

Speaking at the last supper, just before his crucifixion, Jesus said: And now, O Father, glorify Me together with Yourself, with the glory which I had with You before the world was. John 17:5
God is light. God is a consuming fire. God is a spirit. In the beginning, Jesus stepped out of the light, fire, and spirit called God, to become the visible representation of God as the first-born (Jesus) of all the new creation, so that all God's fullness could dwell in him, (Jesus) and then by him (Jesus) were all things created, that are in heaven and that are in earth, visible and invisible, whether thrones or powers or rulers or authorities; all things were created by him and for him. He is before all things, and in him all things hold together - so that in everything he might have the supremacy. He is essentially one with God and in the form of God.

Yet for us there is one God, the Father, of whom are all things, and we for Him; and one Lord Jesus Christ, through whom are all things, and through whom we live, 1 Cor 8:6. Hear, O Israel: The LORD our God is one LORD.

And through him [Jesus] to reconcile to himself (God the Father) all things, whether things on earth or in heaven, by making peace through his blood, shed on the cross. Col.1:5-20.

(See Is There Hope for All Men and Women for more on his reconciliation of all things back to God the Father).

There are many, many prophecies of scriptures regarding the details of Jesus' life, made hundreds of years before his birth, and fulfilled in his lifetime. Click Here to See Them. These fulfilled prophecies not only show Christ's Divinity and Him being the promised Messiah, but also demonstrate the validity of the Bible, (despite the gross misinterpretations so prevalent in Christendom today).

Almost everyone has heard that Jesus said, 'I am the way, the truth, and the life, and no one comes to the Father except by me.' And no one can come to him in this life, unless the Father draws them; but they must come to the Father through the example, teachings, and help of Christ, including the mystical missing cross. But make no mistake, he is not a license for immorality; whatever label people claim, they must be holy to have any part of him. The sects of christendom claim in error that he came to set them free them from guilt of sin, rather than to set them free from sin by destruction of the sinful nature. You tender hearted souls, who thought he was, but still wish him to be your Lord, will find encouragement below on how he can destroy the sinful nature; for Jesus said, I tell you the truth, everyone who sins is a slave to sin. John 8:34. If you still sin, then sin is your master; and Jesus can't be your Lord, because you cannot serve two masters. Luke 16:13. Here is proof that so-called Christians who still sin, will not go to heaven.
Pencil Drawings Of Gold

Pencil Drawings Of Gold

Pencil Drawings Of Gold

Pencil Drawings Of Gold

Pencil Drawings Of Gold

Pencil Drawings Of Gold

Pencil Drawings Of Gold

Pencil Drawings Of Gold

Pencil Drawings Of Gold

Child Of God (Pencil Drawing)

God Of War 3 Drawing

Sunday, 5 August 2012

Mechanical Pencil Drawing

Source:Google.com.pk
Mechanical Pencil Drawing Biography
A mechanical pencil (U.S. English) or a propelling pencil (UK English)[1][2][3] is a pencil with a replaceable and mechanically extendable solid pigment core called a lead ( /ˈlɛd/). It is designed such that the lead can be extended as its point is worn away. The lead is not bonded to the outer casing and is usually graphite based, though colored pigments and other solid substances are also used.
Mechanical pencils are often designed and used to provide lines of constant thickness without requiring sharpening, making them well suited to applications like technical drawing and fine-point or general writing. They have also, relatively unusually, been used, either with conventional pencils,[4] or by themselves, for fine-art drawing.[5]
Contents [hide]
1 History
2 Mechanism types
2.1 Propelling pencil
2.2 Clutch pencil
3 Lead variations
3.1 Diameter
3.2 Pigments
4 See also
5 References
6 Further reading
7 External links
[edit]History

Detail of the first patent for a mechanical pencil.
The earliest extant example of a mechanical pencil, was found aboard the wreckage of HMS Pandora, which sank in 1791.[6]
The first patent for a refillable pencil with lead-propelling mechanism was issued to Sampson Mordan and John Isaac Hawkins in Britain in 1822. After buying out Hawkins' patent rights, Mordan entered into a business partnership with Gabriel Riddle from 1823 to 1837. The earliest Mordan pencils are thus hallmarked SMGR.[7][8] After 1837, Sampson Mordan ended the partnership with Riddle and continued to manufacture pencils as "S.MORDAN & CO". His company continued to manufacture pencils and a wide range of silver objects until World War II, when the factory was bombed.
Between 1822 and 1874, more than 160 patents were registered pertaining to a variety of improvements to mechanical pencils. The first spring-loaded mechanical pencil was patented in 1877 and a twist-feed mechanism was developed in 1895. The 0.9 mm lead was introduced in 1938, and later it was followed by 0.3, 0.5 and 0.7. Even 1.3 and 1.4 mm mechanisms were available, and 0.4 and 0.2 versions are now produced.

Pencil lead for a modern mechanical pencil.
The mechanical pencil became successful in Japan with some improvements in 1915 by Tokuji Hayakawa, a metal worker who had just finished his apprenticeship. It was introduced as the Ever-Ready Sharp Pencil. Success was not immediate, since the metal shaft—essential for the pencil's long life—was unfamiliar to users. The Ever-Sharp began selling in huge numbers, however, after a company from Tokyo and Osaka made large orders. Later Tokuji Hayakawa's company got its name from that pencil: Sharp.
At nearly the same time, in America, Charles R. Keeran was developing a similar pencil that would be the precursor of most of today's pencils. Keeran's design was ratchet-based, whereas Hayakawa's was screw-based. These two development histories are often combined into one.
[edit]Mechanism types

A Pentel Sharp ratchet draughting pencil disassembled, showing three 0.5 mm graphite leads.
A Faber-Castell propelling pencil
Mechanical pencils can be divided into two basic types: those that both hold the lead and actively propel it forward during use, and those that only hold the lead in position against gravity.
[edit]Propelling pencil
Most mechanical pencils use small sub-millimeter leads and have an internal mechanism that propels the lead forward from a holding chamber inside the barrel. There are a number of different mechanism types:
Ratchet-based pencils are a variant of the clutch pencil, in which the lead is held in place by two or three small jaws inside a ring at the tip. The jaws are controlled by a button on the end or the side of the pencil. When the button is pushed, the jaws move forward and separate, allowing the lead to advance. When the button is released and the jaws retract, the "lead retainer" (a small rubber device inside the tip) keeps the lead in place, prevents the lead from either falling freely outward or riding back up into the barrel until the jaws recover their grip.
A Ratchet-based pencil is the most popular type of mechanical pencil, and is sold in stores. Variations of this include:
A variation of the ratchet-based pencil, in which shaking the pencil back and forth causes a weight inside the pencil to operate a mechanism in the cap. A button may be present.
Another variation advances the lead automatically. In this design, the lead is advanced by a ratchet but only prevented from going back into the pencil, just held from falling by a small amount of friction. The nib is a spring-loaded collar that, when depressed as the lead is worn away, pulls out more when pressure is released.
A very modern one has a mechanical engine that twists the pencil lead 9 degrees counter clockwise every time the lead is pressed on to the paper to keep the lead 50% less broad than the common propelling mechanical pencils, resulting in uniform thickness of the lines written onto the paper. It was first developed by Mitsubishi Pencil Co.,LTD, and named Kuru Toga.[9]

Kuru toga pencil lead
Screw-based pencils, in which the lead is advanced by twisting a screw, which moves a slider down the barrel of the pencil. This was the most common type in the earlier part of the twentieth century.
Screw-based pencils in which the lead is advanced by direct friction with the screw.
Twist-based pencils, in which the lead advances upon twisting the head of the pencil. Many of these have a locking mechanism one way to allow the lead to be pushed back into the pencil.
[edit]Clutch pencil

Tip of a clutch pencil
A clutch pencil (or leadholder) tends to use thicker leads (2–5.6 mm) and generally holds only one piece of lead at a time.
A typical clutch pencil is activated by pressing the eraser cap to open the jaws inside the tip, allowing the lead to freely drop through from the barrel (or into it when retracting). Because the lead falls freely when the jaws are opened, its forward movement cannot be controlled except by externally halting its progress. This can be easily done by keeping the tip of the pencil a few millimeters above a work surface or the palm of one's hand.
Some clutch pencils do have mechanisms which incrementally advance the lead, such as the Alvin Tech-Matic leadholder, but are not normally considered to be in the same category as most pencils with propellant mechanisms.

Mechanical Pencil Drawing

Mechanical Pencil Drawing

Mechanical Pencil Drawing

Mechanical Pencil Drawing

Mechanical Pencil Drawing

Mechanical Pencil Drawing

Mechanical Pencil Drawing

Mechanical Pencil Drawing

Mechanical Pencil Drawing

Thoughts On Mechanical Pencils

Tree Pencil Drawing

Source:Google.com.pk
Tree Pencil Drawing Biography
First find your tree. This is not as easy as it might appear... trees have a habit of looking unbalanced, awkward or just plain crazy! Despite Nature's best endeavours, not all trees make good subjects. Finding one with the appearance of good balance can take some time.

Maybe you prefer to design your own? The same rules apply. Unless a leaning or grossly unsymmetrical tree is going to be of some advantage to your drawing, you would benefit from first studying trees and their growth habits to learn the basic rules. Personally, I nearly always work from photographs that I use as a base from which to work. I might occasionally draw one just as I saw it but often I will amalgamate elements from two or more trees into one. But, whatever your approach, one aspect remains constant - trees posses three-dimensional form. For simplicity I will concentrate on common deciduous trees but similar rules and techniques will apply to evergreens.

Overall Form and Structure
Trees are not flat structures of entwining branches. Some branches will extend to each side, some will recede beyond the trunk and yet other will be pointing straight at you. A country walk in Winter offers a good opportunity to study this. Later, when the trees are clothed in leaves, you can study the same ones again but with a full knowledge of their internal skeleton.

Brought right down to basics, a tree in leaf is like a lollipop or candyfloss on a stick - a round or conical shape on a long pole. You will see that these basic, three-dimensional shapes conform to normal lighting expectations. They posses a shaded side, a highlighted side and a shadow beneath. You may also incorporate reflected light on the dark side of the trunk if it will help you to better show it's edge.

Keep this basic shape in mind as you work, coupled with the chosen direction of light, and the tree that you produce will possess an overall reality of form.

Analysing what you see
There are, to my mind, three major aspects of a tree that make it what it is. Surface texture and shape, internal bough structure and gaps through which you can see through to the other side.

Texture and Shaping
These are two major topics that I will return to later. For now just be aware that your tree must look as though it is clothed in believable leaves. It's while you are drawing these "leaves", keeping the lighting direction in mind, that you will introduce the external shaping.
Internal structure
Whether you are drawing hair or grass or the boughs of a tree one important point extends to them all — what you start you must finish. Nothing looks more false to the eye than a bough that springs from nowhere or one that simply disappears. Make your internal structure believable and the eye will accept what you draw as reality.

Holes and gaps - negative areas
Holes through the foliage are a great boon as they enable you to show the far side of the tree and add reality to your drawing. And these holes and gaps often expose the hard edges of the boughs - using these in stark silhouette (they rarely receive direct light) contrasts well with the more enigmatic foliage and can be used to impart a softer look to the leaves.

It is only by analysing what you see that you will gain the full understanding that allows you to draw realistically. A tree is not an amorphous collection of leaf-shaped items or random marks that, you hope, will fool the viewer's brain into reading "tree". A tree is an ordered, layered object with an outer covering (often partial) around an inner armature or core. How you draw it, the technique you choose to use, is determined largely by the position of the tree or bush in your composition - foreground (where each leaf shape is discernible), background (where the leaves form a mottled pattern that describe the overall three-dimensionality) or midground (somewhere in between the two). For the basis of this tutorial I'm going to choose the midground scenario with illustrations of the other two. So let's pick up a pencil and draw tree...

Tree Pencil Drawing

Tree Pencil Drawing

Tree Pencil Drawing

Tree Pencil Drawing

Tree Pencil Drawing

Tree Pencil Drawing

Tree Pencil Drawing

Tree Pencil Drawing

Tree Pencil Drawing

How To Draw A Tree In Pencil

How To Draw A Palm Tree In Pencil

Photofunia Effects Pencil Drawing

Source:google.com.pk
Photofunia Effects Pencil Drawing Biography
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Photo Editor Software is an efficient&very easy to understand&operate tool. Photo Editor Software provides various features for image editing edit&processing for various purposes like to enhance the color of the image, make funny cartoons, add bewildering lighting effects, straighten, resample and crop images.With the Picture editor You. Freeware download of Photo Editor Software 3.32, size 983.46 Kb.