Sketch Best Quotes

Good humor may be said to be one of the very best articles of dress one can wear in society.

What are you working on?" I ask. "The last page." He gestures towards the table, where a pencilled sketch is being turned into inked brushstrokes. It's a drawing of us, in this café, in this moment. I smile up at him "It's beautiful. But what comes next?" "The best part." And he pulls me back into his arms. "The happily ever after.

Each way to suicide is its own: intensely private, unknowable, and terrible. Suicide will have seemed to its perpetrator the last and best of bad possibilities, and any attempt by the living to chart this final terrain of life can be only a sketch, maddeningly incomplete

It's about that applause I want to speak to you. I want you to remember that when you've done a little dance or a song or sketch, the applause which you get is not only because you yourself have done your best, but because each of those men is seeing in you someone he loves at home, and because of you is able to forget for a little while the unhappiness of not being in his home, and in some cases the great tragedy of not knowing what has happened to the children in his family.

That the situation is hopeless should not prevent us from doing our best.

Monty Python is, for reasons best known to nobody, rather popular with computer programmers. There’s even a programming language called Python, based on their sketches.

Each way to suicide is its own: intensely private, unknowable, and terrible. Suicide will have seemed to its perpetrator the last and best of bad possibilities, and any attempt by the living to chart this final terrain of a life can be only a sketch, maddeningly incomplete.

And Rhys had given me the best gift I’d ever received. He was right—it wasn’t a fancy purse or diamond jewelry, but I would much rather have one sketch from him than a hundred Tiffany diamonds. Anyone could buy a diamond. No one except him could’ve drawn me the way he did, and it didn’t escape my notice this was the first time he’d ever shared his art with me. “It’s all right.” He shrugged. “It’s not all right, it’s beautiful,” I repeated. “Seriously, thank you. I’ll treasure this forever.” I never thought I’d see the day, but Rhys blushed. Actually blushed. I watched in fascination as the red spread across his neck and cheeks, and the desire to trace its path with my tongue gripped me. But of course, I couldn’t do that.

When I walk into [the studio] I am alone, but I am alone with my body, ambition, ideas, passions, needs, memories, goals, prejudices, distractions, fears. These ten items are at the heart of who I am. Whatever I am going to create will be a reflection of how these have shaped my life, and how I've learned to channel my experiences into them. The last two -- distractions and fears -- are the dangerous ones. They're the habitual demons that invade the launch of any project. No one starts a creative endeavor without a certain amount of fear; the key is to learn how to keep free-floating fears from paralyzing you before you've begun. When I feel that sense of dread, I try to make it as specific as possible. Let me tell you my five big fears: 1. People will laugh at me. 2. Someone has done it before. 3. I have nothing to say. 4. I will upset someone I love. 5. Once executed, the idea will never be as good as it is in my mind. "There are mighty demons, but they're hardly unique to me. You probably share some. If I let them, they'll shut down my impulses ('No, you can't do that') and perhaps turn off the spigots of creativity altogether. So I combat my fears with a staring-down ritual, like a boxer looking his opponent right in the eye before a bout. 1. People will laugh at me? Not the people I respect; they haven't yet, and they're not going to start now.... 2. Someone has done it before? Honey, it's all been done before. Nothing's original. Not Homer or Shakespeare and certainly not you. Get over yourself. 3. I have nothing to say? An irrelevant fear. We all have something to say. 4. I will upset someone I love? A serious worry that is not easily exorcised or stared down because you never know how loved ones will respond to your creation. The best you can do is remind yourself that you're a good person with good intentions. You're trying to create unity, not discord. 5. Once executed, the idea will never be as good as it is in my mind? Toughen up. Leon Battista Alberti, the 15th century architectural theorist, said, 'Errors accumulate in the sketch and compound in the model.' But better an imperfect dome in Florence than cathedrals in the clouds.

She started coming to the meetings. We talked, mostly about you, and it sorta..." "Just happened," Tori finished, staring at the floor. "Unh-uh." Cara shook her head, trying to clear it like an Etch a Sketch. "A zit just happens. My best friend going after my ex doesn't just happen.

And you’d correct him, but the thing is, you’re not sure you remember it a hundred percent accurately yourself. It turns out your memory isn’t the precise court stenographer you think it is, getting every word down just so. It’s more like the sketch artist way at the back of the courtroom who is doing his level best to capture images that no longer are.

To look at a star by glances - to view it in a side-long way, by turning toward it the exterior portions of the retina (more susceptible of feeble impressions of light than the interior), is to behold the star distinctly - is to have the best appreciation of its lustre - a lustre which grows dim just in proportion as we turn our vision fully upon it.

Secrets are rarely betrayed or discovered according to any programme our fear has sketched out. Fear is almost always haunted by terrible dramatic scenes, which recur in spite of the best-argued probabilities against them.

And Rhys had given me the best gift I’d ever received. He was right—it wasn’t a fancy purse or diamond jewelry, but I would much rather have one sketch from him than a hundred Tiffany diamonds. Anyone could buy a diamond. No one except him could’ve drawn me the way he did, and it didn’t escape my notice this was the first time he’d ever shared his art with me.

He is all my art to me now," said the painter gravely. "I sometimes think, Harry, that there are only two eras of any importance in the world's history. The first is the appearance of a new medium for art, and the second is the appearance of a new personality for art also. What the invention of oil-painting was to the Venetians, the face of Antinous was to late Greek sculpture, and the face of Dorian Gray will some day be to me. It is not merely that I paint from him, draw from him, sketch from him. Of course, I have done all that. But he is much more to me than a model or a sitter. I won't tell you that I am dissatisfied with what I have done of him, or that his beauty is such that art cannot express it. There is nothing that art cannot express, and I know that the work I have done, since I met Dorian Gray, is good work, is the best work of my life. But in some curious way—I wonder will you understand me?—his personality has suggested to me an entirely new manner in art, an entirely new mode of style. I see things differently, I think of them differently. I can now recreate life in a way that was hidden from me before. 'A dream of form in days of thought'—who is it who says that? I forget; but it is what Dorian Gray has been to me. The merely visible presence of this lad—for he seems to me little more than a lad, though he is really over twenty— his merely visible presence—ah! I wonder can you realize all that that means? Unconsciously he defines for me the lines of a fresh school, a school that is to have in it all the passion of the romantic spirit, all the perfection of the spirit that is Greek. The harmony of soul and body— how much that is! We in our madness have separated the two, and have invented a realism that is vulgar, an ideality that is void. Harry! if you only knew what Dorian Gray is to me! You remember that landscape of mine, for which Agnew offered me such a huge price but which I would not part with? It is one of the best things I have ever done. And why is it so? Because, while I was painting it, Dorian Gray sat beside me. Some subtle influence passed from him to me, and for the first time in my life I saw in the plain woodland the wonder I had always looked for and always missed.

Time held no meaning as my mind darted in and out of memories. Past and present collided to create a full-sensory collage out of my life: playing hide-n-seek with my best friends Luke—who always cheated by walking through walls when he was about to be caught—and Lucy; Mr. Caldrin critiquing my sketches and offering ideas to make them more realistic; targets changing faces, blending into the same person, their thoughts rippling through my mind like waves. Through it all, a demon stalked me from the shadows of my memories, never quite showing its face, but crouching, waiting. And then I dreamed....

I worked with a sketch artist, but I was driving fast when I saw the suspect, so the drawing came out blurry.

She sees the best in the world. Not because she is exposed to the best. She’s exposed to the same madness as everybody else. She chooses to see the beauty in all.

Man has done his best to ruin the world he lives in.

It is not merely that I paint from him, draw from him, sketch from him. Of course I have done all that. But he is much more to me than a model or a sitter. I won't tell you that I am dissatisfied with what I have done of him, or that his beauty is such that Art cannot express it. There is nothing that Art cannot express, and I know that the work I have done, since I met Dorian Gray, is good work, is the best work of my life

The whole Romantic sham, Bernard! It’s what happened to the Enlightenment, isn’t it? A century of intellectual rigour turned in on itself. A mind in chaos suspected of genius. In a setting of cheap thrills and false emotion. The history of the garden says it all, beautifully. There’s an engraving of Sidley Park in 1730 that makes you want to weep. Paradise in the age of reason. By 1760 everything had gone – the topiary, pools and terraces, fountains, an avenue of limes – the whole sublime geometry was ploughed under by Capability Brown. The grass went from the doorstep to the horizon and the best box hedge in Derbyshire was dug up for the ha-ha so that the fools could pretend they were living in God’s countryside. And then Richard Noakes came in to bring God up to date. By the time he’d finished it looked like this (the sketch book). The decline from thinking to feeling, you see.

He done his level best. Was he a mining on the flat.. He done it with a zest.. Was he a leading of the choir.. He done his level best. If he'd a reg'lar task to do, He never took no rest.. Or if 'twas off and on the same.. He done his level best. If he was preachin' on his beat, He'd tramp from east to west, And north to south ..in cold and heat.. He done his level best. He'd Yank a sinner outen (Hades), And land him with the blest; Then snatch a prayer'n waltz in again, And do his level best. He'd cuss and sing and howl and pray, And dance and drink and jest, He done his level best. Whate'er this man was sot to do He done it with a zest; No matter what his contract was, He'd do his level best...

With the best of intentions, the generation before mine worked diligently to prepare their children to make an intelligent case for Christianity. We were constantly reminded of the superiority of our own worldview and the shortcomings of all others. We learned that as Christians, we alone had access to absolute truth and could win any argument. The appropriate Bible verses were picked out for us, the opposing positions summarized for us, and the best responses articulated for us, so that we wouldn’t have to struggle through two thousand years of theological deliberations and debates but could get right to the bottom line on the important stuff: the deity of Christ, the nature of the Trinity, the role and interpretation of Scripture, and the fundamentals of Christianity. As a result, many of us entered the world with both an unparalleled level of conviction and a crippling lack of curiosity. So ready with the answers, we didn’t know what the questions were anymore. So prepared to defend the faith, we missed the thrill of discovering it for ourselves. So convinced we had God right, it never occurred to us that we might be wrong. In short, we never learned to doubt. Doubt is a difficult animal to master because it requires that we learn the difference between doubting God and doubting what we believe about God. The former has the potential to destroy faith; the latter has the power to enrich and refine it. The former is a vice; the latter a virtue. Where would we be if the apostle Peter had not doubted the necessity of food laws, or if Martin Luther had not doubted the notion that salvation can be purchased? What if Galileo had simply accepted church-instituted cosmology paradigms, or William Wilberforce the condition of slavery? We do an injustice to the intricacies and shadings of Christian history when we gloss over the struggles, when we read Paul’s epistles or Saint Augustine’s Confessions without acknowledging the difficult questions that these believers asked and the agony with which they often asked them. If I’ve learned anything over the past five years, it’s that doubt is the mechanism by which faith evolves. It helps us cast off false fundamentals so that we can recover what has been lost or embrace what is new. It is a refining fire, a hot flame that keeps our faith alive and moving and bubbling about, where certainty would only freeze it on the spot. I would argue that healthy doubt (questioning one’s beliefs) is perhaps the best defense against unhealthy doubt (questioning God). When we know how to make a distinction between our ideas about God and God himself, our faith remains safe when one of those ideas is seriously challenged. When we recognize that our theology is not the moon but rather a finger pointing at the moon, we enjoy the freedom of questioning it from time to time. We can say, as Tennyson said, Our little systems have their day; They have their day and cease to be; They are but broken lights of thee, And thou, O Lord, art more than they.15 I sometimes wonder if I might have spent fewer nights in angry, resentful prayer if only I’d known that my little systems — my theology, my presuppositions, my beliefs, even my fundamentals — were but broken lights of a holy, transcendent God. I wish I had known to question them, not him. What my generation is learning the hard way is that faith is not about defending conquered ground but about discovering new territory. Faith isn’t about being right, or settling down, or refusing to change. Faith is a journey, and every generation contributes its own sketches to the map. I’ve got miles and miles to go on this journey, but I think I can see Jesus up ahead.

Those who handle feedback more fruitfully have an identity story with a different assumption at its core. These folks see themselves as ever evolving, ever growing. They have what is called a “growth” identity. How they are now is simply how they are now. It’s a pencil sketch of a moment in time, not a portrait in oil and gilded frame. Hard work matters; challenge and even failure are the best ways to learn and improve. Inside a growth identity, feedback is valuable information about where one stands now and what to work on next. It is welcome input rather than upsetting verdict.

While I am carrying on a conversation with someone, I find that I am drawing with my eyes. I find myself observing how his shirt collar comes around from behind his neck and perhaps casts a slight shadow on one side. I observe how the wrinkles in his sleeve form and how his arm may be resting on the edge of the chair. I observe how the features on his face move back and forth in perspective as he rotates his head. It actually is a form of sketching and I believe that it is the next best thing to drawing itself. I sometimes feel it is obsessive, but at least it accomplishes something for me.

I’ve been reading all the time down here. Turgenieff to me is the greatest writer there ever was. Didn’t write the greatest books, but was the greatest writer. That’s only for me of course. Did you ever read a short story of his called The Rattle of Wheels? It’s in the 2nd vol. of A Sportsman’s Sketches. War and Peace is the best book I know but imagine what a book it would have been if Turgenieff had written it. Chekov wrote about 6 good stories. But he was an amateur writer. Tolstoi was a prophet. Maupassant was a professional writer, Balzac was a professional writer, Turgenieff was an artist.

He turned out the lamps and walked down to his bedroom. He had no preliminary sketch of an idea, not a scrap, not even a hunch, and he would not find it by sitting at the piano and frowning hard. It could come only in its own time. He knew from experience that the best he could do was relax, step back,

I'll call any length of fiction a story, whether it be a novel or a shorter piece, and I'll call anything a story in which specific characters and events influence each other to form a meaningful narrative. I find that most people know what a story is until they sit down to write one. Then they find themselves writing a sketch with an essay woven through it, or an essay with a sketch woven through it, or an editorial with a character in it, or a case history with a moral, or some other mongrel thing. When they realize that they aren't writing stories, they decide that the remedy for this is to learn something that they refer to as "the technique of the short story" or "the technique of the novel." Technique in the minds of many is something rigid, something like a formula that you impose on the material; but in the best stories it is something organic, something that grows out of the material, and this being the case, it is different for every story of any account that has ever been written.

So then one may sketch her spending her morning in a China robe of ambiguous gender among her books; then receiving a client or two (for she had many scores of suppliants) in the same garment; then she would take a turn in the garden and clip the nut trees - for which knee breeches were convenient; then she would change into a flowered taffeta which best suited a drive to Richmond and a proposal of marriage from some great nobleman; and so back again to town, where she would don a snuff-coloured gown like a lawyer's and visit the courts to hear how her cases were doing - for her fortune was wasting hourly and the suits seemed no nearer consummation than they had been a hundred years ago; and so, finally, when night came, she would more often than not become a nobleman complete from head to toe and walk the streets in search of adventure.

A little further on, you see an old soldier changing his linen. His face and body are of a sort of cinnamon-brown color, and gaunt as a skeleton. He has no arm at all; it has been cut off at the shoulder. He is sitting with a wideawake air, he puts himself to rights ; but you see, by his dull, corpse-like gaze, his frightful gaunt-ness, and the wrinkles on his face, that he is a being who has suffered for the best part of his life.

You've already slept the entire day. Why not take over for Matthew now?" "You really think I could sleep with your eyes devouring me all day?" Her face turned red with rage and mortification. That faker! She had been staring at him at various times throughout the day. She probably had his face so memorized that she could sketch it without his being present. But he couldn't keep his knowledge of that to himself? He had to make sure she was embarrassed right down to her toes? But he didn't rub it in further. At least,she thought he was done with the subject when he lay down on his seat and turned his back to her. "Get some sleep yourself," he ordered. "You'll need to be at your best tomorrow, too." She was just lying down when he added, "And keep your eyes off my arse." Waves of heat crept up to her cheeks. That pretty much guarenteed that she wasn't going to get any sleep until he was out of the coach.

Aaron sketched up a tattoo design for me. We’ll start on it soon, but he thinks I can’t handle all the pain in one sitting, so he’s breaking it into parts.” “What’s the tattoo of and where will it be?” he asked, glancing over my breasts. “A fallen angel and it won’t be on my boobs, Judd.” Laughing at my tone, he didn’t seem to hear the first part. I saw when the words registered. “Why fallen?” he asked, his gaze harder now. Holding his gaze, I refused to back down. “You know.” “Fuck you for thinking that makes you fallen.” “Fuck you for thinking you know what I am.” Judd suddenly laughed. “What?” Grudgingly, I smiled. “Whatever. You’re irritating me.” “Where’s the tat going to be? Something around your heart shaped ass maybe?” “Heart shaped?” Judd wiggled his eyebrows at me. “I love that damn ass of yours. Shit, this morning when you walked over to get your clothes, I about jizzed myself.” “Yummy. Best breakfast conversation ever.

In those days, long before, a view over the rooftops of Paris was an unaffordable luxury. The apartment he had shared with a mousy young writer from Laon had a view of the Jardin de Luxembourg – if he stuck his head out of the window as far as it would go and twisted it to the left, a smudge of green foliage appeared in the corner of one eye. That had been his best apartment to date. They had decorated it in the ‘Bohemian’ style of the 1830s : a few volumes of Shakespeare and Victor Hugo, a Phrygian cap, an Algerian hookah, a skull on a broomstick handle (from the brother of a friend, Charles Toubin, who was an intern at one of the big hospitals) and, of course, a window box of geraniums, which was not only pretty but also illegal. (Death by falling window box was always high up the official list of fatalities.) For a proper view of Paris, they visited Henry’s painter friends who lived in a warren of attic rooms near the Barriere d’Enfer and called themselves the Water-Drinkers. When the weather was fine and the smell of their own squalor became unbearable, they clambered onto the roof and sat on the gutters and ridges, sketching chimneyscapes, and sending up more smoke from their pipes than the fireplaces below. Three of the Water-Drinkers had since died of various illnesses known collectively as ‘lack of money’. When the last of the three was buried, in the spring of 1844, Henry and the others had found themselves at the graveside without a sou to give a gravedigger. ‘Never mind’, said he, “you can pay me the next time, ‘ and then, to his collegue : ‘It’s all right – these gentlemen are a regular customers.

In his book Real Presences, George Steiner asks us to "imagine a society in which all talk about the arts, music and literature is prohibited." In such a society there would be no more essays on whether Hamlet was mad or only pretending to be, no reviews of the latest exhibitions or novels, no profiles of writers or artists. There would be no secondary, or parasitic, discussion - let alone tertiary: commentary on commentary. We would have, instead, a "republic for writers and readers" with no cushion of professional opinion-makers to come between creators and audience. While the Sunday papers presently serve as a substitute for the experiencing of the actual exhibition or book, in Steiner's imagined republic the review pages would be turned into listings:catalogues and guides to what is about to open, be published, or be released. What would this republic be like? Would the arts suffer from the obliteration of this ozone of comment? Certainly not, says Steiner, for each performance of a Mahler symphony is also a critique of that symphony. Unlike the reviewer, however, the performer "invests his own being in the process of interpretation." Such interpretation is automatically responsible because the performer is answerable to the work in a way that even the most scrupulous reviewer is not. Although, most obviously, it is not only the case for drama and music; all art is also criticism. This is most clearly so when a writer or composer quotes or reworks material from another writer or composer. All literature, music, and art "embody an expository reflection which they pertain". In other words it is not only in their letters, essays, or conversation that writers like Henry James reveal themselves also to be the best critics; rather, The Portrait of a Lady is itself, among other things, a commentary on and a critique of Middlemarch. "The best readings of art are art." No sooner has Steiner summoned this imaginary republic into existence than he sighs, "The fantasy I have sketched is only that." Well, it is not. It is a real place and for much of the century it has provided a global home for millions of people. It is a republic with a simple name: jazz.

Mrs. Jameson had not at this time written the works on sacred art with which her name is now chiefly associated; but she was already engaged in her long struggle to earn her livelihood by her pen. Her first work, ‘The Diary of an Ennuyée’ (1826), written before her marriage, had attracted considerable attention. Since then she had written her ‘Characteristics of Women,’ ‘Essays on Shakespeare’s Female Characters,’ ‘Visits and Sketches,’ and a number of compilations of less importance. Quite recently she had been engaged to write handbooks to the public and private art galleries of London, and had so embarked on the career of art authorship in which her best work was done.

He turned out the lamps and walked down to his bedroom. He had no preliminary sketch of an idea, not a scrap, not even a hunch, and he would not find it by sitting at the piano and frowning hard. It could come only in its own time. He knew from experience that the best he could do was relax, step back, while remaining alert and receptive. He would have to take a long walk in the country, or even a series of long walks. He needed mountains, big skies. The Lake District, perhaps. The best ideas caught him by surprise at the end of twenty miles, when his mind was elsewhere. In bed at last, lying on his back in total darkness, taut, resonating from mental effort, he saw jagged rods of primary color streak across his retina, then fold and writhe into sunbursts.

In 1976, a doctoral student at the University of Nottingham in England demonstrated that randomizing letters in the middle of words had no effect on the ability of readers to understand sentences. In tihs setncene, for emalxpe, ervey scarbelmd wrod rmenias bcilasaly leibgle. Why? Because we are deeply accustomed to seeing letters arranged in certain patterns. Because the eye is in a rush, and the brain, eager to locate meaning, makes assumptions. This is true of phrases, too. An author writes “crack of dawn” or “sidelong glance” or “crystal clear” and the reader’s eye continues on, at ease with combinations of words it has encountered innumerable times before. But does the reader, or the writer, actually expend the energy to see what is cracking at dawn or what is clear about a crystal? The mind craves ease; it encourages the senses to recognize symbols, to gloss. It makes maps of our kitchen drawers and neighborhood streets; it fashions a sort of algebra out of life. And this is useful, even essential—X is the route to work, Y is the heft and feel of a nickel between your fingers. Without habit, the beauty of the world would overwhelm us. We’d pass out every time we saw—actually saw—a flower. Imagine if we only got to see a cumulonimbus cloud or Cassiopeia or a snowfall once a century: there’d be pandemonium in the streets. People would lie by the thousands in the fields on their backs. We need habit to get through a day, to get to work, to feed our children. But habit is dangerous, too. The act of seeing can quickly become unconscious and automatic. The eye sees something—gray-brown bark, say, fissured into broad, vertical plates—and the brain spits out tree trunk and the eye moves on. But did I really take the time to see the tree? I glimpse hazel hair, high cheekbones, a field of freckles, and I think Shauna. But did I take the time to see my wife? “Habitualization,” a Russian army-commissar-turned-literary-critic named Viktor Shklovsky wrote in 1917, “devours works, clothes, furniture, one’s wife, and the fear of war.” What he argued is that, over time, we stop perceiving familiar things—words, friends, apartments—as they truly are. To eat a banana for the thousandth time is nothing like eating a banana for the first time. To have sex with somebody for the thousandth time is nothing like having sex with that person for the first time. The easier an experience, or the more entrenched, or the more familiar, the fainter our sensation of it becomes. This is true of chocolate and marriages and hometowns and narrative structures. Complexities wane, miracles become unremarkable, and if we’re not careful, pretty soon we’re gazing out at our lives as if through a burlap sack. In the Tom Andrews Studio I open my journal and stare out at the trunk of the umbrella pine and do my best to fight off the atrophy that comes from seeing things too frequently. I try to shape a few sentences around this tiny corner of Rome; I try to force my eye to slow down. A good journal entry—like a good song, or sketch, or photograph—ought to break up the habitual and lift away the film that forms over the eye, the finger, the tongue, the heart. A good journal entry ought be a love letter to the world. Leave home, leave the country, leave the familiar. Only then can routine experience—buying bread, eating vegetables, even saying hello—become new all over again.

I sometimes think, Harry, that there are only two eras of any importance in the world's history. The first is the appearance of a new medium for art, and the second is the appearance of a new personality for art also. What the invention of oil-painting was to the Venetians, the face of Antinous was to late Greek sculpture, and the face of Dorian Gray will some day be to me. It is not merely that I paint from him, draw from him, sketch from him. Of course, I have done all that. But he is much more to me than a model or a sitter. I won't tell you that I am dissatisfied with what I have done of him, or that his beauty is such that art cannot express it. There is nothing that art cannot express, and I know that the work I have done, since I met Dorian Gray, is good work, is the best work of my life. But in some curious way--I wonder will you understand me?--his personality has suggested to me an entirely new manner in art, an entirely new mode of style. I see things differently, I think of them differently. I can now recreate life in a way that was hidden from me before. 'A dream of form in days of thought'--who is it who says that? I forget; but it is what Dorian Gray has been to me. The merely visible presence of this lad--for he seems to me little more than a lad, though he is really over twenty--his merely visible presence--ah! I wonder can you realize all that that means? Unconsciously he defines for me the lines of a fresh school, a school that is to have in it all the passion of the romantic spirit, all the perfection of the spirit that is Greek. The harmony of soul and body--how much that is! We in our madness have separated the two, and have invented a realism that is vulgar, an ideality that is void. Harry! if you only knew what Dorian Gray is to me!

All my former occupations seem so tedious and dull, my former amusements so insipid and unprofitable. I cannot enjoy my music, because there is no one to hear it. I cannot enjoy my walks, because there is no one to meet. I cannot enjoy my books, because they have not power to arrest my attention: my head is so haunted with the recollections of the last few weeks that I cannot attend to them. My drawing suits me best, for I can draw and think at the same time; and if my productions cannot now be seen by anyone but myself and those who do not care about them, they, possibly, may be, hereafter. But then, there is one face I am always trying to paint or to sketch, and always without success; and that vexes me. As for the owner od that face, I cannot get him out of my mind - and, indeed, I never try. I wonder whether he ever thinks of me; and I wonder whether I shall ever see him again.

We were working on the idea about dogs’ Internet searches, and first we debated whether the sketch should feature real dogs or Henrietta and Viv in dog costumes (because cast members were always, unfailingly, trying to get more air time, we quickly went with the latter). Then we discussed where it should take place (the computer cluster in a public library, but, even though all this mattered for was the establishing shot, we got stalled on whether that library should be New York’s famous Main Branch building on Fifth Avenue, with the lion statues in front, a generic suburban library in Kansas City, or a generic suburban library in Jacksonville, Florida, which was where Viv was from). Then we really got stalled on the breeds of dogs. Out of loyalty to my stepfather and Sugar, I wanted at least one to be a beagle. Viv said that it would work best if one was really big and one was really little, and Henrietta said she was fine with any big dog except a German Shepherd because she’d been bitten by her neighbor’s German Shepherd in third grade. After forty minutes we’d decided on a St. Bernard and a Chihuahua—I eventually conceded that Chihuahuas were funnier than beagles. We decided to go with the Florida location for the establishing shot because the lions in front of the New York Main Branch could preempt or diminish the appearance of the St. Bernard. Then we’d arrived at the fun part, which was the search terms. With her mouth full of beef kebab, Viv said, “Am I adopted?” With my mouth full of spanakopita, I said, “Am I a good girl?” With her mouth full of falafel, Henrietta said, “Am I five or thirty-five?” “Why is thunder scary?” I said. “Discreet crotch-sniffing techniques,” Henrietta said. “Cheap mani-pedis in my area,” Viv said. “Oh, and cheapest self-driving car.” “Best hamburgers near me,” I said. “What is halitosis,” Henrietta said. “Halitosis what to do,” I said. “Where do humans pee,” Viv said. “Taco Bell Chihuahua male or female,” I said. “Target bull terrier married,” Viv said. “Lassie plastic surgery,” Henrietta said. “Funny cat videos,” I said. “Corgis embarrassing themselves YouTube,” Viv said. “YouTube little dog scares away big dog,” I said. “Doghub two poodles and one corgi,” Henrietta said. “Waxing my tail,” I said. “Is my tail a normal size,” Viv said.

There is, perhaps, no class of men on the face of the earth, says Captain Bonneville, who lead a life of more continued exertion, peril, and excitement, and who are more enamored of their occupations, than the free trappers of the West. No tail, no danger, no privation can turn the trapper from his pursuit. His passionate excitement at times resembles mania. In vain may the most vigilant and cruel savages best his path, in vain may rocks and precipices and wintry torrents oppose his progress, let but a single track of a beaver meet his eye, and he forgets all the dangers and defies all difficulties. At times, he may be seen with his traps on his shoulder, buffeting his way across rapid streams, amidst floating blocks of ice: at other times, he is to be found with his traps swung on his back clambering the most rugged mountains, scaling or descending the most frightful precipices, searching, by routes inaccessible to the horse, and never before trodden by white man, for springs and lakes unknown to his comrades, and where he may meet with his favorite game. Such is the mountaineer, the hardy trapper of the West, and such, as we have slightly sketched it, is the wild, Robin Hood kind of life, with all its strange and motley populace, now existing in full vigor among the Rocky Mountains.

Making the most of an experience: Living fully is extolled everywhere in popular culture. I have only to turn on the television at random to be assailed with the following messages: “It’s the best a man can get.” “It’s like having an angel by your side.” “Every move is smooth, every word is cool. I never want to lose that feeling.” “You look, they smile. You win, they go home.” What is being sold here? A fantasy of total sensory pleasure, social status, sexual attraction, and the self-image of a winner. As it happens, all these phrases come from the same commercial for razor blades, but living life fully is part of almost any ad campaign. What is left out, however, is the reality of what it actually means to fully experience something. Instead of looking for sensory overload that lasts forever, you’ll find that the experiences need to be engaged at the level of meaning and emotion. Meaning is essential. If this moment truly matters to you, you will experience it fully. Emotion brings in the dimension of bonding or tuning in: An experience that touches your heart makes the meaning that much more personal. Pure physical sensation, social status, sexual attraction, and feeling like a winner are generally superficial, which is why people hunger for them repeatedly. If you spend time with athletes who have won hundreds of games or with sexually active singles who have slept with hundreds of partners, you’ll find out two things very quickly: (1) Numbers don’t count very much. The athlete usually doesn’t feel like a winner deep down; the sexual conqueror doesn’t usually feel deeply attractive or worthy. (2) Each experience brings diminishing returns; the thrill of winning or going to bed becomes less and less exciting and lasts a shorter time. To experience this moment, or any moment, fully means to engage fully. Meeting a stranger can be totally fleeting and meaningless, for example, unless you enter the individual’s world by finding out at least one thing that is meaningful to his or her life and exchange at least one genuine feeling. Tuning in to others is a circular flow: You send yourself out toward people; you receive them as they respond to you. Notice how often you don’t do that. You stand back and insulate yourself, sending out only the most superficial signals and receive little or nothing back. The same circle must be present even when someone else isn’t involved. Consider the way three people might observe the same sunset. The first person is obsessing over a business deal and doesn’t even see the sunset, even though his eyes are registering the photons that fall on their retinas. The second person thinks, “Nice sunset. We haven’t had one in a while.” The third person is an artist who immediately begins a sketch of the scene. The differences among the three are that the first person sent nothing out and received nothing back; the second allowed his awareness to receive the sunset but had no awareness to give back to it—his response was rote; the third person was the only one to complete the circle: He took in the sunset and turned it into a creative response that sent his awareness back out into the world with something to give. If you want to fully experience life, you must close the circle.

I’ve been discussing elite attitudes toward democracy. I sketched a line from the first democratic revolution, with its fear and contempt for the rascal multitude who were asking for ridiculous things like universal education, health care, and democratization of law, wanting to be ruled by countrymen like themselves who know the people’s sores, not by knights and gentlemen who just oppress them. From there to the second major democratic revolution establishing the US Constitution, which was, as discussed last time, a Framers’ Coup, the title of the main scholarly work, a coup by elites that the author describes as a conservative counterrevolution against excessive democracy. On to the twentieth century and such leading progressive theorists of democracy as Walter Lippmann, Edward Bernays, Harold Lasswell, and Reinhold Niebuhr, and their conception that the public has to be put in its place. They’re spectators, not participants. The responsible men, the elite, have to be protected from the trampling and the roar of the bewildered herd, who have to be kept in line with necessary illusions, emotionally potent oversimplifications, and, in general, engineering of consent, which has become a gigantic industry devoted to some aspects of the task, while responsible intellectuals take care of others. The men of best quality through the ages have to be self-indoctrinated, as Orwell discussed. They must internalize the understanding that there are certain things it just wouldn’t do to say. It must be so fully internalized that it becomes as routine as taking a breath. What else could anyone possibly believe? As long as all of this is in place, the system functions properly, with no crises. This picture, I think, captures crucial features of thought control in the more free societies, but it is misleading in essential ways. Most importantly, it largely omitted the constant popular struggles to extend the range of democracy, with many successes. Even in the last generation, there have been quite substantial successes. Such successes typically lead to a reaction. Those with power and privilege don’t relinquish it easily. The neoliberal period that we’re now enduring, long in planning, is such a reaction.

Mr. Bredon had been a week with Pym's Publicity, and had learnt a number of things. He learned the average number of words that can be crammed into four inches of copy; that Mr. Armstrong's fancy could be caught by an elaborately-drawn lay-out, whereas Mr. Hankin looked on art-work as waste of a copy-writer's time; that the word “pure” was dangerous, because, if lightly used, it laid the client open to prosecution by the Government inspectors, whereas the words “highest quality,” “finest ingredients,” “packed under the best conditions” had no legal meaning, and were therefore safe; that the expression “giving work to umpteen thousand British employees in our model works at so-and-so” was not by any means the same thing as “British made throughout”; that the north of England liked its butter and margarine salted, whereas the south preferred it fresh; that the Morning Star would not accept any advertisements containing the word “cure,” though there was no objection to such expressions as “relieve” or “ameliorate,” and that, further, any commodity that professed to “cure” anything might find itself compelled to register as a patent medicine and use an expensive stamp; that the most convincing copy was always written with the tongue in the cheek, a genuine conviction of the commodity's worth producing—for some reason—poverty and flatness of style; that if, by the most far-fetched stretch of ingenuity, an indecent meaning could be read into a headline, that was the meaning that the great British Public would infallibly read into it; that the great aim and object of the studio artist was to crowd the copy out of the advertisement and that, conversely, the copy-writer was a designing villain whose ambition was to cram the space with verbiage and leave no room for the sketch; that the lay-out man, a meek ass between two burdens, spent a miserable life trying to reconcile these opposing parties; and further, that all departments alike united in hatred of the client, who persisted in spoiling good lay-outs by cluttering them up with coupons, free-gift offers, lists of local agents and realistic portraits of hideous and uninteresting cartons, to the detriment of his own interests and the annoyance of everybody concerned.

When I finally calmed down, I saw how disappointed he was and how bad he felt. I decided to take a deep breath and try to think this thing through. “Maybe it’s not that bad,” I said. (I think I was trying to cheer myself up as much as I was trying to console Chip.) “If we fix up the interior and just get it to the point where we can get it onto the water, at least maybe then we can turn around, sell it, and get our money back.” Over the course of the next hour or so, I really started to come around. I took another walk through the boat and started to picture how we could make it livable--maybe even kind of cool. After all, we’d conquered worse. We tore a few things apart right then and there, and I grabbed some paper and sketched out a new layout for the tiny kitchen. I talked to him about potentially finishing an accent wall with shiplap--a kind of rough-textured pine paneling that fans of our show now know all too well. “Shiplap?” Chip laughed. “That seems a little ironic to use on a ship, doesn’t it?” “Ha-ha,” I replied. I was still not in the mood for his jokes, but this is how Chip backs me off the ledge--with his humor. Then I asked him to help me lift something on the deck, and he said, “Aye, aye, matey!” in his best pirate voice, and slowly but surely I came around. I can’t believe I’m saying this, but by the end of that afternoon I was actually a little bit excited about taking on such a big challenge. Chip was still deflated that he’d allowed himself to get duped, but he put his arm around me as we started walking back to the truck. I put my head on his shoulder. And the camera captured the whole thing--just an average, roller-coaster afternoon in the lives of Chip and Joanna Gaines. The head cameraman came jogging over to us before we drove away. Chip rolled down his window and said sarcastically, “How’s that for reality TV?” We were both feeling embarrassed that this is how we had spent our last day of trying to get this stinkin’ television show. “Well,” the guy said, breaking into a great big smile, “if I do my job, you two just landed yourself a reality TV show.” What? We were floored. We couldn’t believe it. How was that a show? But lo and behold, he was right. That rotten houseboat turned out to be a blessing in disguise.

The Outer Cape is famous for a dazzling quality of light that is like no other place on Earth. Some of the magic has to do with the land being surrounded by water, but it’s also because that far north of the equator, the sunlight enters the atmosphere at a low angle. Both factors combine to leave everything it bathes both softer and more defined. For centuries writers, poets, and fine artists have been trying to capture its essence. Some have succeeded, but most have only sketched its truth. That’s no reflection of their talent, because no matter how beautiful the words or stunning the painting, Provincetown’s light has to be experienced. The light is one thing, but there is also the way everything smells. Those people lucky enough to have experienced the Cape at its best—and most would agree it’s sometime in the late days of summer when everything has finally been toasted by the sun—know that simply walking on the beach through the tall seagrass and rose hip bushes to the ocean, the air redolent with life, is almost as good as it gets. If in that moment someone was asked to choose between being able to see or smell, they would linger over their decision, realizing the temptation to forsake sight for even one breath of Cape Cod in August. Those aromas are as lush as any rain forest, as sweet as any rose garden, as distinct as any memory the body holds. Anyone who spent a week in summer camp on the Cape can be transported back to that spare cabin in the woods with a single waft of a pine forest on a rainy day. Winter alters the Cape, but it doesn’t entirely rob it of magic. Gone are the soft, warm scents of suntan oil and sand, replaced by a crisp, almost cruel cold. And while the seagrass and rose hips bend toward the ground and seagulls turn their backs to a bitter wind, the pine trees thrive through the long, dark months of winter, remaining tall over the hibernation at their feet. While their sap may drain into the roots and soil until the first warmth of spring, their needles remain fragrant through the coldest month, the harshest storm. And on any particular winter day on the Outer Cape, if one is blessed enough to take a walk in the woods on a clear, cold, windless day, they will realize the air and ocean and trees all talk the same language and declare We are alive. Even in the depths of winter: we are alive. It

I WANT TO end this list by talking a little more about the founding of Pixar University and Elyse Klaidman’s mind-expanding drawing classes in particular. Those first classes were such a success—of the 120 people who worked at Pixar then, 100 enrolled—that we gradually began expanding P.U.’s curriculum. Sculpting, painting, acting, meditation, belly dancing, live-action filmmaking, computer programming, design and color theory, ballet—over the years, we have offered free classes in all of them. This meant spending not only the time to find the best outside teachers but also the real cost of freeing people up during their workday to take the classes. So what exactly was Pixar getting out of all of this? It wasn’t that the class material directly enhanced our employees’ job performance. Instead, there was something about an apprentice lighting technician sitting alongside an experienced animator, who in turn was sitting next to someone who worked in legal or accounting or security—that proved immensely valuable. In the classroom setting, people interacted in a way they didn’t in the workplace. They felt free to be goofy, relaxed, open, vulnerable. Hierarchy did not apply, and as a result, communication thrived. Simply by providing an excuse for us all to toil side by side, humbled by the challenge of sketching a self-portrait or writing computer code or taming a lump of clay, P.U. changed the culture for the better. It taught everyone at Pixar, no matter their title, to respect the work that their colleagues did. And it made us all beginners again. Creativity involves missteps and imperfections. I wanted our people to get comfortable with that idea—that both the organization and its members should be willing, at times, to operate on the edge. I can understand that the leaders of many companies might wonder whether or not such classes would truly be useful, worth the expense. And I’ll admit that these social interactions I describe were an unexpected benefit. But the purpose of P.U. was never to turn programmers into artists or artists into belly dancers. Instead, it was to send a signal about how important it is for every one of us to keep learning new things. That, too, is a key part of remaining flexible: keeping our brains nimble by pushing ourselves to try things we haven’t tried before. That’s what P.U. lets our people do, and I believe it makes us stronger.

Excerpt from Storm’s Eye by Dean Gray With a final drag and drop, Jordan Rayne sent his latest creation winging its way toward the publisher. He looked up, squinted at that little clock in the right hand corner of his monitor, and removed his glasses to rub the bridge of his nose. His cover art was finished and shipped, just in time for lunch. He sighed and stood, rolling his shoulders and bending side to side, his back cracking in protest as the muscles loosened after having been hunched over the screen for so long. Sam raised his head, tilting it enquiringly at him, and Jordan laughed. “Yeah, I know what you want, some lunch and a nice long walk along the beach, hmm?” Jordan smiled fondly at the furry ball of energy he’d saved from certain death. With his mom’s recent death it was just Sam and him in the house. Sometimes he wondered what kept him here, now that the last thread tethering him to the island was severed. Sam limped over and nuzzled at his hand. When Jordan had first found him out on the main road, hurt and bleeding, he hadn’t been sure the pooch would make it. Taylor, his best friend and the local vet, had done what she could. At the time, Jordan simply didn’t have the deep pockets for the fancy surgery needed to mend Sam’s leg perfectly, he could barely afford the drugs to keep his mom in treatment. So they’d patched him up as well as they could, Taylor extending herself further than he could ever repay, and hoped for the best. The dog had made a startling recovery, urged on by plenty of rest and good food and lots of love, and had flourished, the slight limp now barely noticeable. Jordan’s conscience still twinged as he watched Sam limp over to his dish, but he had barely been keeping things together at the time. He had done the best he could. He’d done his best to find Sam’s real owners as well, papering downtown Bar Harbor with a hand-drawn sketch of the dog, but to no avail. The only thing it had prompted was one kind soul wanting to buy the illustration. But no one had ever come forward to claim the “goldendoodle,” which Taylor had told him was a golden retriever/standard poodle cross. Who had a dog breed like that anyway? Summer people! Jordan shook his head, grinning at the dog’s foolish antics, weaving in and around his legs like he was still a little pup instead of the fifty-pound fuzzball he actually was now. So without meaning to at all, Sam had drifted into Jordan’s life and stayed, a loyal, faithful companion.

Nietzsche's case is an especially interesting one for whoever wishes to undertake a critical examination of the “neotraditionalist” path. Two main reasons justify this evaluation: ― Nietzsche's work, on the one hand, explicitly and in an exemplary manner articulates the critique of democratic modernity and the denunciation of the argumentative foundation of norms: in this way it permits us ―better than does the work of other philosophers― to grasp all that is involved, within the choice between tradition and argumentation, in the rejection of the latter. ― On the other and perhaps more important hand, the way Nietzsche went about this rejection illustrates in a particularly significant fashion one of the main difficulties this type of philosophical projects comes up against: the neotraditionalist avoidance of democratic modernity makes it necessary to look for and ―we insist on this― whatever could be today's analogue of a traditional universe: the analogue, for (as Nietzsche knew better than anyone) it is out of question that in a time when “God is dead”, tradition should function as it does in theological cultures, in which whatever renders the value of tradition “sacred” and gives it its power is never unrelated to its rootedness in the divine will or in the world order supposed to express this will. Situating as he does his reflections at the same time after the “death of God” and after the (inseparably associated) discovery that the world once “dedivinized”, appears to be devoid of any order and must be thought of as “chaos”, Nietzsche take into account the end of cosmological and theological universe, an end that in general defines the intellectual and cultural location of the Moderns: we are thus dealing here, by definition and, we could say, at the stage of working sketch (since Nietzsche is, in philosophy, the very man who declared the foundations of the traditional universe to be antiquated), with a very peculiar mixture of antimodernism and modernity, of tradition and novelty ―which is why the expression “neotraditionalism” seems perfectly appropriate here, right down to the tension expressed within it. The question is of course one of knowing what such a “mixture” could consists of, both in its content and in its effects. Since, more than most of the representative of ordinary conservatism, Nietzsche cannot contemplate a naïve resumption of tradition, his “neo-conservative” approach permits us to submit the traditionalist option to an interrogation that can best examine its limitations and unintended consequences ―namely: what would a modern analogue of tradition consist of?

If a season like the Great Rebellion ever came to him again, he feared, it could never be in that same personal, random array of picaresque acts he was to recall and celebrate in later years at best furious and nostalgic; but rather with a logic that chilled the comfortable perversity of the heart, that substituted capability for character, deliberate scheme for political epiphany (so incomparably African); and for Sarah, the sjambok, the dances of death between Warmbad and Keetmanshoop, the taut haunches of his Firelily, the black corpse impaled on a thorn tree in a river swollen with sudden rain, for these the dearest canvases in his soul's gallery, it was to substitute the bleak, abstracted and for him rather meaningless hanging on which he now turned his back, but which was to backdrop his retreat until he reached the Other Wall, the engineering design for a world he knew with numb leeriness nothing could now keep from becoming reality, a world whose full despair he, at the vantage of eighteen years later, couldn't even find adequate parables for, but a design whose first fumbling sketches he thought must have been done the year after Jacob Marengo died, on that terrible coast, where the beach between Luderitzbucht and the cemetery was actually littered each morning with a score of identical female corpses, an agglomeration no more substantial-looking than seaweed against the unhealthy yellow sand; where the soul's passage was more a mass migration across that choppy fetch of Atlantic the wind never left alone, from an island of low cloud, like an anchored prison ship, to simple integration with the unimaginable mass of their continent; where the single line of track still edged toward a Keetmanshoop that could in no conceivable iconology be any part of the Kingdom of Death; where, finally, humanity was reduced, out of a necessity which in his loonier moments he could almost believe was only Deutsch-Sudwestafrika's (actually he knew better), out of a confrontation the young of one's contemporaries, God help them, had yet to make, humanity was reduced to a nervous, disquieted, forever inadequate but indissoluble Popular Front against deceptively unpolitical and apparently minor enemies, enemies that would be with him to the grave: a sun with no shape, a beach alien as the moon's antarctic, restless concubines in barbed wire, salt mists, alkaline earth, the Benguela Current that would never cease bringing sand to raise the harbor floor, the inertia of rock, the frailty of flesh, the structural unreliability of thorns; the unheard whimper of a dying woman; the frightening but necessary cry of the strand wolf in the fog.

Miss Prudence Mercer Stony Cross Hampshire, England 7 November 1854 Dear Prudence, Regardless of the reports that describe the British soldier as unflinching, I assure you that when riflemen are under fire, we most certainly duck, bob, and run for cover. Per your advice, I have added a sidestep and a dodge to my repertoire, with excellent results. To my mind, the old fable has been disproved: there are times in life when one definitely wants to be the hare, not the tortoise. We fought at the southern port of Balaklava on the twenty-fourth of October. Light Brigade was ordered to charge directly into a battery of Russian guns for no comprehensible reason. Five cavalry regiments were mowed down without support. Two hundred men and nearly four hundred horses lost in twenty minutes. More fighting on the fifth of November, at Inkerman. We went to rescue soldiers stranded on the field before the Russians could reach them. Albert went out with me under a storm of shot and shell, and helped to identify the wounded so we could carry them out of range of the guns. My closest friend in the regiment was killed. Please thank your friend Prudence for her advice for Albert. His biting is less frequent, and he never goes for me, although he’s taken a few nips at visitors to the tent. May and October, the best-smelling months? I’ll make a case for December: evergreen, frost, wood smoke, cinnamon. As for your favorite song…were you aware that “Over the Hills and Far Away” is the official music of the Rifle Brigade? It seems nearly everyone here has fallen prey to some kind of illness except for me. I’ve had no symptoms of cholera nor any of the other diseases that have swept through both divisions. I feel I should at least feign some kind of digestive problem for the sake of decency. Regarding the donkey feud: while I have sympathy for Caird and his mare of easy virtue, I feel compelled to point out that the birth of a mule is not at all a bad outcome. Mules are more surefooted than horses, generally healthier, and best of all, they have very expressive ears. And they’re not unduly stubborn, as long they’re managed well. If you wonder at my apparent fondness for mules, I should probably explain that as a boy, I had a pet mule named Hector, after the mule mentioned in the Iliad. I wouldn’t presume to ask you to wait for me, Pru, but I will ask that you write to me again. I’ve read your last letter more times than I can count. Somehow you’re more real to me now, two thousand miles away, than you ever were before. Ever yours, Christopher P.S. Sketch of Albert included As Beatrix read, she was alternately concerned, moved, and charmed out of her stockings. “Let me reply to him and sign your name,” she begged. “One more letter. Please, Pru. I’ll show it to you before I send it.” Prudence burst out laughing. “Honestly, this is the silliest things I’ve ever…Oh, very well, write to him again if it amuses you.

To paint after nature is to transfer three-dimensional corporeality to a two-dimensional surface. This you can do if you are in good health and not colorblind. Oil paint, canvas, and brush are material and tools. It is possible by expedient distribution of oil paint on canvas to copy natural impressions; under favorable conditions you can do it so accurately that the picture cannot be distinguished from the model. You start, let us say, with a white canvas primed for oil painting and sketch in with charcoal the most discernible lines of the natural form you have chosen. Only the first line may be drawn more or less arbitrarily, all the others must form with the first the angle prescribed by the natural model. By constant comparison of the sketch with the model, the lines can be so adjusted that the lines of the sketch will correspond to those of the model. Lines are now drawn by feeling, the accuracy of the feeling is checked and measured by comparison of the estimated angle of the line with the perpendicular in nature and in the sketch. Then, according to the apparent proportions between the parts of the model, you sketch in the proportions between parts on the canvas, preferably by means of broken lines delimiting these parts. The size of the first part is arbitrary, unless your plan is to represent a part, such as the head, in 'life size.' In that case you measure with a compass an imaginary line running parallel to a plane on the natural object conceived as a plane on the picture, and use this measurement in representing the first part. You adjust all the remaining parts to the first through feeling, according to the corresponding parts of the model, and check your feeling by measurement; to do this, you place the picture so far away form you that the first part appears as large in the painting as the model, and then you compare. In order to check a given proportion, you hold out the handle of your paintbrush at arm's length towards this proportion in such a way that the end of the thumbnail on the handle coincides with the other end of the proportion. If then you hold the paintbrush out towards the picture, again at arm's length, you can, by the measurement thus obtained, determine with photographic accuracy whether your feeling has deceived you. If the sketch is correct, you fill in the parts of the picture with color, according to nature. The most expedient method is to begin with a clearly recognizable color of large area, perhaps with a somewhat broken blue. You estimate the degree of matness and break the luminosity with a complimentary color, ultramarine, for example, with light ochre. By addition of white you can make the color light, by addition of black dark. All this can be learned. The best way of checking for accuracy is to place the picture directly beside the projected picture surface in nature, return to your old place and compare the color in your picture with the natural color. By breaking those tones that are too bright and adding those that are still lacking, you will achieve a color tonality as close as possible to that in nature. If one tone is correct, you can put the picture back in its place and adjust the other colors to the first by feeling. You can check your feeling by comparing every tone directly with nature, after setting the picture back beside the model. If you have patience and adjust all large and small lines, all forms and color tones according to nature, you will have an exact reproduction of nature. This can be learned. This can be taught. And in addition, you can avoid making too many mistakes in 'feeling' by studying nature itself through anatomy and perspective and your medium through color theory. That is academy.

As for politics, well, it all seemed reasonable enough. When the Conservatives got in anywhere, [Judge] Pepperleigh laughed and enjoyed it, simply because it does one good to see a straight, fine, honest fight where the best man wins. When a Liberal got in, it made him mad, and he said so,--not, mind you; from any political bias, for his office forbid it,--but simply because one can't bear to see the country go absolutely to the devil.

Amateur musical performances were extremely important for all of us during the war, and my experience of them started at the age of ten or eleven, when my friends and I took part in a custom that was very popular back then but now seems to have died out altogether. It was carried out at Halloween, but instead of going round asking for trick or treats we did something called ‘Guising’. A group of us lads would go to the front door of a house we thought might be welcoming and politely ask if we could come in and perform. Our particular playlet was suggested by my father; it was one he had performed when he was a lad, although whether there was any deeper tradition behind the verses we recited I cannot say. We were all dressed up in costumes, with one boy dressed as a king with a cardboard crown on his head. Once all were in the house most of us would cluster behind the sitting-room door, then the first boy would enter the room on his own and say, ‘Red up sticks and red up stools here comes in a pack of fools, a pack of fools behind that door. Step in King George and clear the floor.’ The boy with the crown on his head would enter and recite, ‘King George is my name, sword and pistol by my side, I hope to win the game.’ The first boy would answer, ‘The game, sir, the game, sir, is not within your power. I will slash you and slay you within half an hour.’ These two boys would then have a duel with toy swords and the first boy would drop down as though dead, at which the king would kneel down and say, ‘Is there a doctor in the town?’ A small boy with a little attaché case would then pop out from behind the door saying, ‘My name is Doctor Brown, the best little doctor in the town. A little to his nose and a little to his bum, now rise up, jock, and sing a song.’ It was an absurd little sketch, but we used to get showered with pieces of cake and home-made toffees and fudge, and we would pass from house to house performing the same sketch. Even now I can recall the words perfectly.

Class, take 15 seconds to think of your answers. I will go around the room starting at Lindsay and everyone will have a chance to respond. When it is your time to answer, if you want to, you can say, "Pass." If you do so, that's OK. I will come back to you, and you can either give an idea you thought of or say an idea you heard from someone else that you agree with. Or a part of an idea you agree with. So in this way we will hear from everyone. Class, take 2 minutes to develop an answer to this question. You may write down some ideas in a list, in sentences, in images. I want you to go beyond the first ideas in your head. I will then call on you, one at a time. Class, this is a great question for everyone to consider. I think you need about 37 seconds on this one. I will tell you when that time is up, and then you should share your answer with the person sitting next to you. Then I am going to go around the room—this time, let's start with Andrew and go counterclockwise—and you have to tell us what your partner gave for an answer. So listen carefully. Class, here's the deal with answering this question. Everyone will have 20 seconds to consider. Then I am going to ask Eric and Liz their ideas. Then I will ask Jess and Matt to say if they agree or disagree with Eric and Liz. Then I will ask Jenny and Max to add any ideas or reactions. We will regularly do this: one group gives a first response, one group says if they agree, and the third group adds comments. Class, I am not asking you "Why did the Industrial Revolution begin?" but instead, "What are some of the reasons it began?" You can write a list or sentences. I will start this time with Danielle and have her say one reason. I'll write it on the board. Then Casey will give one reason. Then Eric. And we'll go around the room, collecting ideas, until we run out of them. That way, no one person gives all the answers for the group—everyone contributes. When we collect all the ideas, then I am going to have you work on your own to organize them into …. Class, JP just gave an answer to the question I asked before I could give you all time to think, so now I want you to consider his answer for 10 seconds. Then thumbs up if you agree with JP, thumbs down if you disagree, and thumbs sideways if you are not sure. Oh no, class, it happened again—this time Jeffrey answered the question before I gave you all time to think. So, it's "Fist to Five" time. Hold up a fist if you disagree, five fingers if you completely agree, and one to four fingers depending how much you agree. Let's see what we all really think, after 10 seconds. Class, this is a time I want to let the conversation flow more quickly than usual. There is only one thing you have to do before you give your ideas—you have to summarize as best you can what the person who spoke before you said. That way we know we are listening. Class, I have a question to ask that you will need a bunch of time to think about and organize your answers, and then we'll share them in some fashion. I put together this graphic organizer, which might help you get all the parts of the answer organized. You don't have to use it. You can sketch an answer, or write a list, or sentences. I am not playing "Guess what the teacher is thinking" here. The only right answer is what you are thinking, if it is organized enough for the rest of us to understand. Here goes….

One of the best ways to ensure that you are creating an effective main character is to spend some time really getting to know her. Some writers do this by writing a simple character sketch about their main character, detailing her likes and dislikes, her goal, her motivation, her age and personal history, and her physical qualities. (The character worksheet on page 90 guides you in writing a character sketch.) Other writers find it easier to let their characters “talk” to them by writing a letter from their main character to themselves. Some writers prefer “interviewing” the main character as if she were actually in the same room. Still others write a character statement in which the character speaks in first person about herself. These latter exercises have the advantage of actually establishing that character's voice. Both methods will allow you to get to know your character more intimately. And, while all of the character traits and details that you develop during this exercise probably won't be worked into the story, you'll know them, and this will help you maintain your character consistently and help you focus the character's motivation.

One of Brown’s best monograph sketches, for example, narrates the tragedy of Charles Stull, a deaf and mute man from Philadelphia who decided to cross the Oregon Trail, alone and on foot, during the peak emigration year of 1852. Stull died of cholera at Castle Creek, just west of Ash Hollow. He was found by the members of a passing wagon train, who examined his body and found $2.75 in his pockets, along with a certificate attesting to his graduation from the Pennsylvania School for the Deaf and Dumb in Philadelphia. I learned from Brown’s account how crowded the trail was that year, and new details about the cholera plagues. Brown also portrayed how early-nineteenth-century educators and philanthropists founded schools for the deaf and circulated beautifully illustrated pamphlets on sign language. Stull was an exemplary product of that era. He was one of the first students at the Philadelphia school for the deaf, and he and his brother, an engraver, published one of the first sign-language manuals, an illustrated broadsheet titled An Alphabet for the Instruction of the Deaf and Dumb. The

Charlotte waited for him to press his advantage, but he closed his eyes and rested his head back. Never had she seen a man look so contented. She stole the opportunity to study him without having to fend off that bright, interested gaze. When he’d turned up out of the pouring rain, she’d thought him handsome. No woman with eyes in her head would disagree. These hours in his company had only confirmed his physical appeal. Perhaps because she now knew the taste of that expressive mouth and how readily his lips could curve into a smile. Her fingers clenched into her skirts, much as they’d clenched into the cool silk of his black hair, hair with an endearing propensity to fall over his high forehead. Her fascinated inspection traced the hard, spare lines of his cheekbones and jaw. Even in a newspaper sketch, his striking good looks had been apparent. Now she saw so much more. Intelligence. Kindness. Humor. The thick black lashes shadowing his cheeks lifted, and he turned his head toward her. When she met that dark blue gaze, the world stopped, and an odd, echoing silence surrounded her. “Seen enough?” he asked softly. She flushed. Heavens, she’d blushed more since meeting Ewan Macrae than she had in the last year. It was an effort to speak. It was even more of an effort to keep her voice steady. “Best to know your enemy.” Every time he smiled, her pulses leaped in the most extraordinary way. This time was no different. “Daft lass, I’m not your enemy.” “Opponent,

Hamilton was more persuasive than he realized, and a delegation of business leaders soon approached him to subscribe to a “money-bank” that would thwart Livingston’s land bank. “I was a little embarrassed how to act,” Hamilton confessed sheepishly to Church, “but upon the whole I concluded it best to fall in with them.” 51 Instead of launching a separate bank, Hamilton decided to represent Church and Wadsworth on the board of the new bank. Ironically, he held in his own name only a single share of the bank that was long to be associated with his memory. On February 23, 1784, The New-York Packet announced a landmark gathering: “It appearing to be the disposition of the gentlemen in this city to establish a bank on liberal principles . . . they are therefore hereby invited to meet tomorrow evening at six o’clock at the Merchant’s Coffee House, where a plan will be submitted to their consideration.” 52 At the meeting, General Alexander McDougall was voted the new bank’s chairman and Hamilton a director. Snatching an interval of leisure during the next three weeks, Hamilton drafted, singlehandedly, a constitution for the new institution—the sort of herculean feat that seems almost commonplace in his life. As architect of New York’s first financial firm, he could sketch freely on a blank slate. The resulting document was taken up as the pattern for many subsequent bank charters and helped to define the rudiments of American banking. In the superheated arena of state politics, the bank generated fierce controversy among those upstate rural interests who wanted a land bank and believed that a money bank would benefit urban merchants to their detriment. Within the city, however, the cause of the Bank of New York made improbable bedfellows, reconciling radicals and Loyalists who were sparring over the treatment of confiscated wartime properties.

Normally men don't really listen all that well. You can mention that you like apricots, or The Cure, or kittens, and it just goes out of their heads the minute it's out of your mouth. I personally seize on these clues about people. For example, I know that Sasha loves the smell of violets, and that Rose enjoys novels of a bodice-ripping nature and walks for exercise and has a Siamese cat called Dr. Oodles, but if I'd asked Dan what his best friend had studied at college- where they were roommates- he would have no idea. Anyway, Edward was apparently different, because he'd sent me a gorgeous bouquet of roses that filled the room with an intense, sweetly lemony, rosy smell that was mind-blowing. The roses themselves were a rich cream and stuffed with petals that made them look like roses in paintings. Sasha was looking at me. "Well, you must have done something pretty amazing last night. I've been sketching these since I got in. They're the most gorgeous Madame Hardys I've seen in a long time." I could see she had also been getting her shit together; there were open cartons on her desk, and she'd brought her portfolio to the office. "Aren't they roses?" I was bending down, sniffing deeply. I looked for a card. Sasha laughed. "The name of the rose is Madame Hardy. It's a damask rose, and one of the most famous old roses available these days. Someone knows their flowers.

Kensi Gounden - Ten Vintage Ideas to Spark Innovation in Your Classroom Kensi Gounden says, Vintage innovation happens when we use old ideas and tools to transform the present. Think of it as a mash-up. It’s not a rejection of new tools or new ideas. Instead, it’s a reminder that sometimes the best way to move forward is to look backward. Like all innovation, vintage innovation is disruptive. But it’s disruptive by pulling us out of present tense and into something more timeless. This isn’t meant to be nostalgic. There are certainly horrible things in the past that we don’t want to repeat. However, in the ed tech drive toward collective novelty, we often miss out on the classic and the vintage. According to kensi gounden, here are ten ways you can embrace the vintage in your classroom. Sketch-Noting Commonplace Books Prototyping with Duct Tape and Cardboard Apprenticeships The Natural World Play Socratic Seminars Games and Simulations Experiments Manipulatives A garden is valuable but students can videochat with an expert at a greenhouse. It’s powerful to bring in World War II soldiers to talk face-to-face about their experiences. There’s something amazing about the vintage element of human connection. If you need more help regarding vintage innovation you can contact kensigounden, he will definately help you in acieving your goals. #kensigounden #kensi #gounden #sports #education #vintageinnovation #classroom #student #kenseelen business gounden innovation Kenseelan kensi Kensigounden kensigounden kensi gounden business innovator smartwork sports study tips

The Very Difference Between Game Design & 3D Game Development You Always Want to Know Getting into the gaming industry is a dream for many people. In addition to the fact that this area is always relevant, dynamic, alive and impenetrable for problems inherent in other areas, it will become a real paradise for those who love games. Turning your hobby into work is probably the best thing that can happen in your career. What is Game Designing? A 3D Game Designer is a creative person who dreams up the overall design of a video game. Game design is a large field, drawing from the fields of computer science/programming, creative writing, and graphic design. Game designers take the creative lead in imagining and bringing to life video game worlds. Game designers discuss the following issues: • the target audience; • genre; • main plot; • alternative scenarios; • maps; • levels; • characters; • game process; • user interface; • rules and restrictions; • the primary and secondary goals, etc Without this information, further work on the game is impossible. Once the concept has been chosen, the game designers work closely with the artists and developers to ensure that the overall picture of the game is harmonized and that the implementation is in line with the original ideas. As such, the skills of a game designer are drawn from the fields of computer science and programming, creative writing and graphic design. Game designers take the creative lead in imagining and bringing to life video game stories, characters, gameplay, rules, interfaces, dialogue and environments. A game designer's role on a game development outsourcing team differs from the specialized roles of graphic designers and programmers. Graphic designers and game programmers have specific tasks to accomplish in the division of labor that goes into creating a video game, international students can major in those specific disciplines if desired. The game designer generates ideas and concepts for games. They define the layout and overall functionality of the Game Animation Studio. In short, they are responsible for creating the vision for the game. These geniuses produce innovative ideas for games. Game designers should have a knack for extraordinary and creative vision so that their game may survive in the competitive market. The field of game design is always in need of artists of all types who may be drawn to multiple art forms, original game design and computer animation. The game designer is the artist who uses his/her talents to bring the characters and plot to life. Who is a Game Development? Games developers use their creative talent and skills to create the games that keep us glued to the screen for hours and even days or make us play them by erasing every other thought from our minds. They are responsible for turning the vision into a reality, i.e., they convert the ideas or design into the actual game. Thus, they convert all the layouts and sketches into the actual product. It may involve concept generation, design, build, test and release. While you create a game, it is important to think about the game mechanics, rewards, player engagement and level design. 3D Game development involves bringing these ideas to life. Developers take games from the conceptual phase, through *development*, and into reality. The Game Development Services side of games typically involves the programming, coding, rendering, engineering, and testing of the game (and all of its elements: sound, levels, characters, and other assets, etc.). Here are the following stages of 3D Game Development Service, and the best ways of learning game development (step by step). • High Concept • Pitch • Concept • Game Design Document • Prototype • Production • Design • Level Creation • Programming

Here's today our topic is how to draw a sketch and which application is the best for this purpose? So let's start with one of the best applications."Pencil sketch" is the best application for this purpose. You can easily make pictures with the help of this application and this application makes your pictures as real. It’s not easy to make a drawing or real pencil sketch of your face with the help of hand but, Now use this application pencil sketch photo editor, photo sketch app & sparkle effect make outstanding simple or coloring photo sketch on one single click. Pencil sketch photo editor, photo to sketch & sparkle effect best tool to convert your Wonderful pictures into pencil sketch photo editor, photo to sketch, or colorful outline sketches.

We must make the best of what we have been given. So much has been granted to you through death, it is true. You cannot rest your thoughts solely on that. Such powerful guilt is an insult to the ones who worked hard to provide what you have.

Be this as it may, I make a rule of entering a monkey as speedily as possible after hoisting my pendant; and if a reform takes place in the table of ratings, I would recommend a corner for the "ship's monkey," which should be borne on the books for "full allowance of victuals," excepting only the grog; for I have observed that a small quantity of tipple very soon upsets him; and although there are few things in nature more ridiculous than a monkey half-seas over, yet the reasons against permitting such pranks are obvious and numerous. When Lord Melville, then First Lord of the Admiralty, to my great surprise and delight, put into my hands a commission for a ship going to the South American station, a quarter of the world I had long desired to visit, my first thought was, "Where now shall I manage to find a merry rascal of a monkey?" Of course, I did not give audible expression to this thought in the First Lord's room; but, on coming down-stairs, I had a talk about it in the hall with my friend, the late Mr. Nutland, the porter, who laughed, and said,— "Why, sir, you may buy a wilderness of monkeys at Exeter 'Change." "True! true!" and off I hurried in a Hackney coach. Mr. Cross, not only agreed to spare me one of his choicest and funniest animals, but readily offered his help to convey him to the ship. "Lord, sir!" said he, "there is not an animal in the whole world so wild or fierce that we can't carry about as innocent as a lamb; only trust to me, sir, and your monkey shall be delivered on board your ship in Portsmouth Harbour as safely as if he were your best chronometer going down by mail in charge of the master.

The mainsail is now to be taken in; and as the method of performing this evolution has long been a subject of hot controversy at sea, I take the opportunity of saying, that Falconer's couplet,— "For he who strives the tempest to disarm Will never first embrail the lee yard-arm," has, in my opinion, done a world of mischief, and split many thousands of sails. I, at least, plead guilty to having been sadly misled by this authority for many years, since it was only in the last ship I commanded that I learned the true way to take in the mainsail when it blows hard. The best practice certainly is, to man both buntlines and the lee leechline well, and then to haul the LEE clew-garnet close up, before starting the tack or slacking the bowline. By attending to these directions, the spar is not only instantaneously relieved, but the leeward half of the sail walks sweetly and quietly up to the yard, without giving a single flap. After which the weather-clew comes up almost of itself, and without risk or trouble. Meanwhile

I’ve just been to see Audrey,” Beatrix said breathlessly, entering the private upstairs parlor and closing the door. “Poor Mr. Phelan isn’t well, and--well, I’ll tell you about that in a minute, but--here’s a letter from Captain Phelan!” Prudence smiled and took the letter. “Thank you, Bea. Now, about the officers I met last night…there was a dark-haired lieutenant who asked me to dance, and he--” “Aren’t you going to open it?” Beatrix asked, watching in dismay as Prudence laid the letter on a side table. Prudence gave her a quizzical smile. “My, you’re impatient today. You want me to open it this very moment?” ”Yes.” Beatrix promptly sat in a chair upholstered with flower-printed fabric. “But I want to tell you about the lieutenant.” “I don’t give a monkey about the lieutenant, I want to hear about Captain Phelan.” Prudence gave a low chuckle. “I haven’t seen you this excited since you stole that fox that Lord Campdon imported from France last year.” “I didn’t steal him, I rescued him. Importing a fox for a hunt…I call that very unsporting.” Beatrix gestured to the letter. “Open it!” Prudence broke the seal, skimmed the letter, and shook her head in amused disbelief. “Now he’s writing about mules.” She rolled her eyes and gave Beatrix the letter. Miss Prudence Mercer Stony Cross Hampshire, England 7 November 1854 Dear Prudence, Regardless of the reports that describe the British soldier as unflinching, I assure you that when riflemen are under fire, we most certainly duck, bob, and run for cover. Per your advice, I have added a sidestep and a dodge to my repertoire, with excellent results. To my mind, the old fable has been disproved: there are times in life when one definitely wants to be the hare, not the tortoise. We fought at the southern port of Balaklava on the twenty-fourth of October. Light Brigade was ordered to charge directly into a battery of Russian guns for no comprehensible reason. Five cavalry regiments were mowed down without support. Two hundred men and nearly four hundred horses lost in twenty minutes. More fighting on the fifth of November, at Inkerman. We went to rescue soldiers stranded on the field before the Russians could reach them. Albert went out with me under a storm of shot and shell, and helped to identify the wounded so we could carry them out of range of the guns. My closest friend in the regiment was killed. Please thank your friend Prudence for her advice for Albert. His biting is less frequent, and he never goes for me, although he’s taken a few nips at visitors to the tent. May and October, the best-smelling months? I’ll make a case for December: evergreen, frost, wood smoke, cinnamon. As for your favorite song…were you aware that “Over the Hills and Far Away” is the official music of the Rifle Brigade? It seems nearly everyone here has fallen prey to some kind of illness except for me. I’ve had no symptoms of cholera nor any of the other diseases that have swept through both divisions. I feel I should at least feign some kind of digestive problem for the sake of decency. Regarding the donkey feud: while I have sympathy for Caird and his mare of easy virtue, I feel compelled to point out that the birth of a mule is not at all a bad outcome. Mules are more surefooted than horses, generally healthier, and best of all, they have very expressive ears. And they’re not unduly stubborn, as long they’re managed well. If you wonder at my apparent fondness for mules, I should probably explain that as a boy, I had a pet mule named Hector, after the mule mentioned in the Iliad. I wouldn’t presume to ask you to wait for me, Pru, but I will ask that you write to me again. I’ve read your last letter more times than I can count. Somehow you’re more real to me now, two thousand miles away, than you ever were before. Ever yours, Christopher P.S. Sketch of Albert included

Ken Wharfe In 1987, Ken Wharfe was appointed a personal protection officer to Diana. In charge of the Princess’s around-the-clock security at home and abroad, in public and in private, Ken Wharfe became a close friend and loyal confidant who shared her most private moments. After Diana’s death, Inspector Wharfe was honored by Her Majesty Queen Elizabeth II at Buckingham Palace and made a Member of the Victorian Order, a personal gift of the sovereign for his loyal service to her family. His book, Diana: Closely Guarded Secret, is a Sunday Times and New York Times bestseller. He is a regular contributor with the BBC, ITN, Sky News, NBC, CBS, and CNN, participating in numerous outside broadcasts and documentaries for BBC--Newsnight, Channel 4 News, Channel 5 News, News 24, and GMTV. My memory of Diana is not her at an official function, dazzling with her looks and clothes and the warmth of her manner, or even of her offering comfort among the sick, the poor, and the dispossessed. What I remember best is a young woman taking a walk in a beautiful place, unrecognized, carefree, and happy. Diana increasingly craved privacy, a chance “to be normal,” to have the opportunity to do what, in her words, “ordinary people” do every day of their lives--go shopping, see friends, go on holiday, and so on--away from the formality and rituals of royal life. As someone responsible for her security, yet understanding her frustration, I was sympathetic. So when in the spring of the year in which she would finally be separated from her husband, Prince Charles, she yet again raised the suggestion of being able to take a walk by herself, I agreed that such a simple idea could be realized. Much of my childhood had been spent on the Isle of Purbeck in Dorset, a county in southern England approximately 120 miles from London; I remembered the wonderful sandy beaches of Studland Bay, on the approach to Poole Harbour. The idea of walking alone on miles of almost deserted sandy beach was something Diana had not even dared dream about. At this time she was receiving full twenty-four-hour protection, and it was at my discretion how many officers should be assigned to her protection. “How will you manage it, Ken? What about the backup?” she asked. I explained that this venture would require us to trust each other, and she looked at me for a moment and nodded her agreement. And so, early one morning less than a week later, we left Kensington Palace and drove to the Sandbanks ferry at Poole in an ordinary saloon car. As we gazed at the coastline from the shabby viewing deck of the vintage chain ferry, Diana’s excitement was obvious, yet not one of the other passengers recognized her. But then, no one would have expected the most photographed woman in the world to be aboard the Studland chain ferry on a sunny spring morning in May. As the ferry docked after its short journey, we climbed back into the car and then, once the ramp had been lowered, drove off in a line of cars and service trucks heading for Studland and Swanage. Diana was driving, and I asked her to stop in a sand-covered area about half a mile from the ferry landing point. We left the car and walked a short distance across a wooded bridge that spanned a reed bed to the deserted beach of Shell Bay. Her simple pleasure at being somewhere with no one, apart from me, knowing her whereabouts was touching to see. Diana looked out toward the Isle of Wight, anxious by now to set off on her walk to the Old Harry Rocks at the western extremity of Studland Bay. I gave her a personal two-way radio and a sketch map of the shoreline she could expect to see, indicating a landmark near some beach huts at the far end of the bay, a tavern or pub, called the Bankes Arms, where I would meet her.

Ken Wharfe In 1987, Ken Wharfe was appointed a personal protection officer to Diana. In charge of the Princess’s around-the-clock security at home and abroad, in public and in private, Ken Wharfe became a close friend and loyal confidant who shared her most private moments. After Diana’s death, Inspector Wharfe was honored by Her Majesty Queen Elizabeth II at Buckingham Palace and made a Member of the Victorian Order, a personal gift of the sovereign for his loyal service to her family. His book, Diana: Closely Guarded Secret, is a Sunday Times and New York Times bestseller. He is a regular contributor with the BBC, ITN, Sky News, NBC, CBS, and CNN, participating in numerous outside broadcasts and documentaries for BBC--Newsnight, Channel 4 News, Channel 5 News, News 24, and GMTV. And so, early one morning less than a week later, we left Kensington Palace and drove to the Sandbanks ferry at Poole in an ordinary saloon car. As we gazed at the coastline from the shabby viewing deck of the vintage chain ferry, Diana’s excitement was obvious, yet not one of the other passengers recognized her. But then, no one would have expected the most photographed woman in the world to be aboard the Studland chain ferry on a sunny spring morning in May. As the ferry docked after its short journey, we climbed back into the car and then, once the ramp had been lowered, drove off in a line of cars and service trucks heading for Studland and Swanage. Diana was driving, and I asked her to stop in a sand-covered area about half a mile from the ferry landing point. We left the car and walked a short distance across a wooded bridge that spanned a reed bed to the deserted beach of Shell Bay. Her simple pleasure at being somewhere with no one, apart from me, knowing her whereabouts was touching to see. Diana looked out toward the Isle of Wight, anxious by now to set off on her walk to the Old Harry Rocks at the western extremity of Studland Bay. I gave her a personal two-way radio and a sketch map of the shoreline she could expect to see, indicating a landmark near some beach huts at the far end of the bay, a tavern or pub, called the Bankes Arms, where I would meet her. She set off at once, a tall figure clad in a pair of blue denim jeans, a dark-blue suede jacket, and a soft scarf wrapped loosely around her face to protect her from the chilling, easterly spring wind. I stood and watched as she slowly dwindled in the distance, her head held high, alone apart from busy oyster catchers that followed her along the water’s edge. It was a strange sensation watching her walking away by herself, with no bodyguards following at a discreet distance. What were my responsibilities here? I kept thinking. Yet I knew this area well, and not once did I feel uneasy. I had made this decision--not one of my colleagues knew. Senior officers at Scotland Yard would most certainly have boycotted the idea had I been foolish enough to give them advance notice of what the Princess and I were up to.

Ken Wharfe In 1987, Ken Wharfe was appointed a personal protection officer to Diana. In charge of the Princess’s around-the-clock security at home and abroad, in public and in private, Ken Wharfe became a close friend and loyal confidant who shared her most private moments. After Diana’s death, Inspector Wharfe was honored by Her Majesty Queen Elizabeth II at Buckingham Palace and made a Member of the Victorian Order, a personal gift of the sovereign for his loyal service to her family. His book, Diana: Closely Guarded Secret, is a Sunday Times and New York Times bestseller. He is a regular contributor with the BBC, ITN, Sky News, NBC, CBS, and CNN, participating in numerous outside broadcasts and documentaries for BBC--Newsnight, Channel 4 News, Channel 5 News, News 24, and GMTV. Diana looked out toward the Isle of Wight, anxious by now to set off on her walk to the Old Harry Rocks at the western extremity of Studland Bay. I gave her a personal two-way radio and a sketch map of the shoreline she could expect to see, indicating a landmark near some beach huts at the far end of the bay, a tavern or pub, called the Bankes Arms, where I would meet her. She set off at once, a tall figure clad in a pair of blue denim jeans, a dark-blue suede jacket, and a soft scarf wrapped loosely around her face to protect her from the chilling, easterly spring wind. I stood and watched as she slowly dwindled in the distance, her head held high, alone apart from busy oyster catchers that followed her along the water’s edge.

There are many reasons why girls should not travel alone, and I won’t list them, because none of them are original reasons. Besides, there are more reasons why girls should. I have the utmost respect for girls who travel alone, because it’s hard work sometimes. But girls, we just want adventures. We want international best friends and hold-your-breath vistas out of crappy hostel windows. We want to discover moving works of art, sometimes in museums and sometimes in side-street graffiti. We want to hear soul-restoring jam sessions at beach bonfires and to watch celestial dawns spill over villages that haven’t changed since the Middle Ages. We want to fall in love with boys with say-that-again accents. We want sore feet from stay-up-all-night dance parties at just-one-more-drink bars. We want to be on our own even as we sketch and photograph the Piazza San Marco covered in pigeons and beautiful Italian lovers intertwined so that we’ll never forget what it feels like to be twenty-three and absolutely purposeless and single, but in love with every city we visit next. We want to be struck dumb by the baritone echoes of church bells in Vatican City and the rich, heaven-bound calls to prayer in Istanbul and to know that no matter what, there just has to be some greater power or holy magic responsible for all this bursting, delirious, overwhelming beauty in the great, wide, sprawling world. I tucked my passport into my bag. Girls, we don’t just want to have fun; we want a whole lot more out of life than that.

You’re not wearing a shirt or waistcoat.” The corners of his lips turned up, the first real humor she’d seen in him—and at her expense. “You spent a half hour sketching me, and you’re only noticing this now?” An hour sketching him, taking him apart visually and putting him back together on the page as a composition, a study. As he’d hunched over his letter, his chest had been a shadow she’d avoided. “I noticed.” Though she’d noticed by omission. Her gaze traveled down. “What is this?” “The cat…” He didn’t move, didn’t leap off the couch and hold the door open for her. Jenny pushed the dressing gown farther apart, revealing two long, angry red welts running up Elijah’s belly to his sternum. “Timothy did this?” She touched the welts, surprised they weren’t hot. Elijah’s stomach went still beneath her fingers, as if he’d stopped breathing. “Timothy was an uninvited guest at a kiss,” he said. “An ill-advised kiss. He absented himself from the proceedings as best he could.” As

Grab your phone from the truck before you go in,” he said. “Why?” “So I can send you suggestive and encouraging texts when you take too long with the party planning of course.” “Of course,” she said. “I really might have to revamp my whole not-thinking plan and put you in charge.” He lifted his hands. “I’m willing and able,” he said, then sketched a bow. When he stood, he slid his phone out and handed it to her. “To put in your number,” he said when she looked confused. “Oh, right.” She did as he asked, then that mischievous light sparkled in her eyes as she took a moment and typed in a little more before turning it off and handing it back to him. “What was that last bit?” “Just helping to get that encouraging conversation going.” She left him standing there, looking down at his phone then at her retreating back as she headed back around to the parking lot and her truck. He pocketed the phone without reading the message, thinking he should probably be alone when that happened. And possibly naked. “Yes, much better when we don’t think.” He planned to do his best to keep them both not thinking for at least the remainder of that day and, if he was lucky, all of the night, too.

Have I mentioned that I grew up working in my much older brother’s dojo?” “Dojo?” Kerry repeated. “As in karate? Judo?” “Tae kwon do,” Maddy said. She shot a knowing grin Kerry’s way. “Ah,” Kerry said, understanding dawning. “And what color would your belt be, jongyeonghaneun yeosong?” Maddy laughed. “I don’t know if I’m an honorable woman,” she said, surprising Kerry by understanding her very rough Korean. “But my belt, it is black.” Maddy sketched a quick martial arts bow, making both women laugh. They glanced toward the back of the bar at the same time, only to find a grinning Hardy looking their way. “See? He’s the guy who assumes women are always talking about him,” Kerry said. “Well, we are,” Maddy replied. “He can’t know we’re discussing how best to dismantle his manhood if he so much as thinks about laying a finger on me.” She said all this with a serene smile. Hardy lifted his beer in a salute, presumably to Maddy, before downing the rest in a single gulp, as if beer consumption somehow proved his manly man prowess. “Poor Hardy,” Kerry said with a mock sigh. “But then, he never did seem big on wanting to have children. Just ask his ex-wife.” She ducked her chin as both women shared another laugh before continuing with their work. After that, the rest of the night didn’t seem all that arduous. Maddy was happy to return Kerry’s wingman favor, and between the two of them, they managed to distract, deflect, or defend much of the ribbing being thrown Kerry’s way and actually had a much better time doing it than Kerry would have imagined.

Actual drawing papers can make shading look more realistic and can be easier for the artist to get results faster. Papers made especially for drawing will help the artist to achieve a tight consistency between tones. Also, higher quality drawing papers are made from cotton or linen fibers, which makes them more resistant to chemical breakdown and degrading over time. Archival papers are of the highest quality, acid-free papers are of medium quality, and other papers are best used for sketching.

But thus it was: the best measures, in the diseased state of Irish politics, very often became the worst; whatever was poured into that poisoned chalice soured instantly into poison. The Catholic reasoned naturally if not justly; he could not conceive it possible, that the same men who were so anxious to exclude him from all enjoyment of the rights of a citizen, could really feel much anxiety about his education or his soul.

The success has fully triumphed over every objection (and in detail there were very many); nor will any one be so unreasonable as fastidiously to reprobate the important advantages of such a political lever, because it may not have been the most perfect which political ingenuity could have devised. On such occasions it is the duty of a good man, and the wisdom of a prudent one, to remember the answer of Solon to the stranger, and to console himself with the reflection, that if not the best which could be imagined, it was the very best which the times and the men with whom he had to deal would allow of.

Robert Hooke was a member of another which had used the mails to go intercontinental—the British Royal Society. Hooke picked up on Galileo’s innovations, built his own telescope, used it to discover a new star in Orion and to sketch the planet Mars, then turned it on its head, transforming it into a microscope with which he could examine the invisible intricacies of snowflakes, mosquitoes, feathers, and fungi. He hit the jackpot when he pointed his lenses at a slice of cork, for here he spotted what he described in his best-selling book Micrographia as “the first microscopical pores I ever saw.” Because they reminded him of the chambers in which monks slept, Hooke called these microrooms cells.

games that took much to sketch are with the best designs but one of short time to sketch succeed

Miss Breckenridge: We want the child to build relationships with the things in nature, which would include the earth itself, plant and animal life, oceanography, and astronomy. So, all things that eventually fall under science, and the more physical parts of geography. Miss Mason: And, as educators, what do we generally do with that? We consider the matter carefully; we say the boy will make a jumble of it if he is taught more than one or two sciences. We ask our friends “what sciences will tell best in examinations?” and “which are most easily learned?” We discover which are the best text-books in the smallest compass. The most economical, so to speak. The student learns up the text, listens to lectures, makes diagrams, watches demonstrations. Behold! he has “learned a science,” and is able to produce facts and figures, for a time anyway, in connection with some one class of natural phenomena; but of tender intimacy with Nature herself he has acquired none. I will now sketch what seems to me a better way.

I immerse myself in sketching on my phone, tapping my stylus against the corner when I’m thinking through my design. I love the way there’s direction and guidance for something as wild and emotional as art, so some of my favorite books to read are on art theory. But the best learning comes from practice, after being guided by the lessons in the books.

Actually I’d never planned a career in publishing, preferring the world of art.  There was always a sketch pad handy, though I soon learned that I was best with caricatures.  There was hardly a market for those unless one was a political cartoonist, an all-male world if there ever was one.  So it was publishing for me, at least for the time being.

Precognition, as a time- and dream-bound phenomenon, firmly straddles the fault line between the objective and subjective. I will be arguing on one hand that it is probably a neurobiological function related to memory, and thus we can expect a physical, material explanation in years or decades to come (in Part Two, I sketch what such an explanation might look like in its broad contours). But like a person’s memory, precognition is highly personal and centers on personally meaningful experiences. Thus, except for its defiance of the usual causal order, precognition is little different from anything else in a person’s biography—it needs to be understood within a life context and is subject to the same hermeneutic methods that are familiar to psychoanalysts and literary critics and philosophers. The tools of both the sciences and the humanities must be brought to bear, and neither should be favored over the other. The best we can do is flicker from one perspective to the other.

The thought of Clara became a preoccupation, and with the love which at length he recongised there blended a sense of fate fulfilling itself. His enthusiasms, his purposes, never defined as education would have defined them, were dissipated into utter vagueness. He lost his guiding interests, and found himself returning to those of boyhood. The country once more attracted him; he took out of his old sketch-books, bought a new one, revived the regret that he could not be a painter of landscape. A visit to one or two picture-galleries, and then again profound discouragement, recognition of the fact that he was a mechanic and never could be anything else. It was the end of his illusions. For him not even passionate love was to preserve the power od idealising its object. He loved Clara with all the desire of his being, but could no longer deceive himself in judging her character. The same sad clearness of vision affected his judgement of the world about him, of the activities in which he had once been zealous, of the conditions which enveloped his life and the lives of those dear to him. The spirit of revolt often enough stirred within him, but no longer found utterance in the speech which brings no relief; he did his best to dispel the mood, mocking at it as folly. Consciously he set himself that task of becoming a practical man, of learning to make the best of life as he found it, of shunning as the fatal error that habit of mind which kept John Hewett on the rack. Who was he that he should look for pleasant things in his course through the world? ‘We are the lower orders; we are the working classes,’ he said bitterly to his friend, and that seemed the final answer to all his aspirations.

...in my defense it was something my whole life had been leading up to, from the kid sketching on bits of paper, making models, right up to becoming the person responsible for the design of a racing car that's won a Formula One championship. I remember thinking, This is one of the best days of my life.

Alma said, "They seem to be greatly amused with something in there." "Me, probably," said Beaton. "I seem to amuse everybody to-night." "Don't you always?" "I always amuse you, I'm afraid, Alma." She looked at him as if she were going to snub him openly for using her name; but apparently she decided to do it covertly. "You didn't at first. I really used to believe you could be serious, once." "Couldn't you believe it again? Now?" "Not when you put on that wind-harp stop." "Wetmore has been talking to you about me. He would sacrifice his best friend to a phrase. He spends his time making them." "He's made some very pretty ones about you." "Like the one you just quoted?" "No, not exactly. He admires you ever so much. He says" She stopped, teasingly. "What?" "He says you could be almost anything you wished, if you didn't wish to be everything." "That sounds more like the school of Wetmore. That's what you say, Alma. Well, if there were something you wished me to be, I could be it." "We might adapt Kingsley: 'Be good, sweet man, and let who will be clever.'" He could not help laughing. She went on: "I always thought that was the most patronizing and exasperating thing ever addressed to a human girl; and we've had to stand a good deal in our time. I should like to have it applied to the other 'sect' a while. As if any girl that was a girl would be good if she had the remotest chance of being clever." "Then you wouldn't wish me to be good?" Beaton asked. "Not if you were a girl." "You want to shock me. Well, I suppose I deserve it. But if I were one-tenth part as good as you are, Alma, I should have a lighter heart than I have now. I know that I'm fickle, but I'm not false, as you think I am." "Who said I thought you were false?" "No one," said Beaton. "It isn't necessary, when you look it—live it." "Oh, dear! I didn't know I devoted my whole time to the subject." "I know I'm despicable. I could tell you something—the history of this day, even—that would make you despise me." Beaton had in mind his purchase of the overcoat, which Alma was getting in so effectively, with the money he ought to have sent his father. "But," he went on, darkly, with a sense that what he was that moment suffering for his selfishness must somehow be a kind of atonement, which would finally leave him to the guiltless enjoyment of the overcoat, "you wouldn't believe the depths of baseness I could descend to." "I would try," said Alma, rapidly shading the collar, "if you'd give me some hint." Beaton had a sudden wish to pour out his remorse to her, but he was afraid of her laughing at him. He said to himself that this was a very wholesome fear, and that if he could always have her at hand he should not make a fool of himself so often. A man conceives of such an office as the very noblest for a woman; he worships her for it if he is magnanimous. But Beaton was silent, and Alma put back her head for the right distance on her sketch. "Mr. Fulkerson thinks you are the sublimest of human beings for advising him to get Colonel Woodburn to interview Mr. Dryfoos about Lindau. What have you ever done with your Judas?" "I haven't done anything with it. Nadel thought he would take hold of it at one time, but he dropped it again. After all, I don't suppose it could be popularized. Fulkerson wanted to offer it as a premium to subscribers for 'Every Other Week,' but I sat down on that.

Sometimes letting go leads to your best results.

There the very delirium of tyranny tramples on the best gifts of nature and sports with the fate, the happiness, the lives of millions; there the extreme fertility of the ground always indicates the extreme misery of the inhabitants!

You take for granted," she remarked, "that our race is the finest fruit of civilisation.” "Certainly. Don't you?" "It's having a pretty good conceit of ourselves. Is every foreigner who contests it a poor deluded creature? Take the best type of Frenchman, for instance. Is he necessarily fatuous in his criticism of us?" "Why, of course he is. He doesn't understand us. He doesn't understand the world. He has his place, to be sure, but that isn't in international politics. We are the political people; we are the ultimate rulers. Our language——" "There's a quotation from Virgil——" "I know. We are very like the Romans. But there are no new races to overthrow us." He began to sketch the future extension of Britannic lordship and influence. Kingdoms were overthrown with a joke, continents were annexed in a boyish phrase; Armageddon transacted itself in sheer lightness of heart. Laughing, he waded through the blood of nations, and in the end seated himself with crossed legs upon the throne of the universe. "Do you know what it makes me wish?" said Irene, looking wicked. "That you may live to see it?" "No. That someone would give us a good licking, for the benefit of our souls." Having spoken it, she was ashamed, and her lip quivered a little.

One of the most effective guidelines is not to get stuck on a single approach. If diagramming the design in UML isn't working, write it in English. Write a short test program. Try a completely different approach. Think of a brute-force solution. Keep outlining and sketching with your pencil, and your brain will follow. If all else fails, walk away from the problem. Literally go for a walk, or think about something else before returning to the problem. If you've given it your best and are getting nowhere, putting it out of your mind for a time often produces results more quickly than sheer persistence can. You don't have to solve the whole design problem at once. If you get stuck, remember that a point needs to be decided but recognize that you don't yet have enough information to resolve that specific issue. Why fight your way through the last 20 percent of the design when it will drop into place easily the next time through? Why make bad decisions based on limited experience with the design when you can make good decisions based on more experience with it later? Some people are uncomfortable if they don't come to closure after a design cycle, but after you have created a few designs without resolving issues prematurely, it will seem natural to leave issues unresolved until you have more information (Zahniser 1992, Beck 2000).

inches apart. The artist does a quick sketch and shows Derek, as he squeezes my hand.

Most people aren’t lucky enough to have a flexible schedule. I didn’t have one either for the first sixteen years of my corporate life. So I did the next best thing by going to bed early and getting up at 4:00 A.M. to do my creative side projects. One of those projects became the sketches for Dilbert. You might not think you’re an early-morning person. I didn’t think I was either. But once you get used to it, you might never want to go back. You can accomplish more by the time other people wake up than most people accomplish all day.

Self-awareness is inevitably erratic, a work in progress, an etch-a-sketch that shifts with the slightest shimmer of movement. Doing the best we can is the best we can do.

Aymer turned towards the sea. There was a perfect panorama of chapel, town and harbour, with thinning wraiths of smoke haunting the sky in silent, crooked unison and the last remaining smudges of the snow slipping down those roofs that had no warming chimneys. Was this worthy of a sketch, a verse, an observation in his diary, Aymer wondered. What was that phrase he’d read that morning in dell‘Ova? He took the book from his pocket and found the passage: ‘The solitary Traveller has better company than those that voyage in the multitude, for he has Nature as his best Companion and no man can be lonely in its Assemblies of sky and earth and water, nor want of Friends.’ Aymer read this passage several times. It ought to comfort him, he thought. He was one of life’s ‘solitary travellers’ after all, a Radical, an aesthete and a bachelor. He didn’t voyage in the multitude. He knew that he was destined to a life alone. He looked for solace in the Assembly of sky and earth and water that was spread out before him. But there wasn’t any solace. He couldn’t fool himself. He’d rather be some cheerful low-jack, welcome at an inn, than the emperor of all this landscape

It was funny how you thought you remembered someone. You sketched their face boldly in your mind, but when you saw them again, you realized how far you were from their true likeness. Had he always been that height, for example? Had he moved the way he did, long strides as he reached the table? Had he smiled at her like that? Maybe she’d constructed false memories of him, fake angles.

I FIRST CAME UNDER THE TIGER’S SPELL FIFTY-FOUR years ago, at the age of ten, sitting astride an elephant in Corbett National Park in the Lower Himalayas of north India. It was early in the morning and ten elephants were sweeping through high grass in an attempt to spring some tigers into a clearing on the far side. I remember looking down from my perch and seeing a tigress snarling up at the elephant and then darting away with two large cubs at her heels. I was struck by that experience and continue to remember it vividly. It was thirteen years after this encounter that I saw my next tiger in Ranthambhore. The year was 1976. That was the year my life with tigers truly began. This book is not only about my favourite tigers but also the very best of my encounters with one of the most magnificent animals to walk the face of the planet. Over the past forty years I have tried to serve them as best as I could. It was a dream for me to publish my first book nearly thirty-five years ago and to share my experiences with tigers with people across the world. This is my thirtieth publication and I have loved every minute of my time as an author. Through my books I have shared some of the best photographs showing the diversity of tigers in the wild. This time around I have used only a bunch of sketches. I have to thank Rose Corcoran for her brilliant sketches. My Ranthambhore journey would not have been possible without Fateh Singh Rathore, the wildlife warden, welcoming me into the folds of the park.

As Melville’s rather puerile sketches in Yankee Doodle and the political chapters of Mardi had made clear, he was, at best, a halfhearted political satirist. Politics never engaged him deeply. Passage of the Fugitive Slave Law did not incite him to loud outrage as it did contemporaries such as Emerson, who declared that “I wake in the morning with a painful sensation” at the smell of “infamy in the air,” or Harriet Beecher Stowe, who wrote Uncle Tom’s Cabin in hot fury at what she regarded as Webster’s perfidy.

When I'm with you, the best, most interesting part of my life is behind the scenes. I felt this emailing you, and I even felt it in your TNO office when you were helping with my sketch. Like, no one in the world knows what we're up to except us and it's awesome. It's not for social media, it's not for a documentary about the making of an album, it's not an anecdote to tell on a talk show. It's just because we think it's fun and we like each other and we like being together.

The best way to have a good idea is to have lots of ideas. Linus Pauling, winner of two Nobel Prizes

I had several sketches drafted for my mapbook--- my intention for the first edition was to focus on the best known faerie kingdoms of Western Europe, scouring the literature for references to their doors. Some doors have been documented; more have not, or exist as rumors. While it's true that many faerie kingdoms are tied to specific mortal regions, others are more nebulous, and a tale may place one at the edge of a village a hundred miles from the setting of a later iteration of the same story. I am aware that mine is no easy task, given that faerie doors can and do move, and what I will accomplish is likely to be a mere snapshot of Faerie during this particular era. Even so, it will be a monumental achievement for scholarship, something for others to build upon--- particularly if I can produce evidence of such disputed doors as the nexus.