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.
GOOD
MORNING!
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ELEMENTSof ARTS
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Elements (of visual art)refer to which the artist uses
as symbols (symbolic),
pictures (pictorial), and anexpression to visualize and
communicate his variety offeelings and ideas.
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Line
FormTexture
Value
Color
Space
Perspective
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LINE
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Straight linesgive the feeling ofsimplicity, directness and
sometimes monotony.
Horizontal linesexpress calmness,quietness, peace and repose.
Vertical linesexpress dignity,stability, majesty, uprightness,strength, life and reverence.
Types of lines:
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Oblique, slant or diagonal lines-
indicate motion or action,support, stability and
vulnerability.
Broken linessuggest disorder,violence and power.
Light linesgive the feeling ofdelicacy and refinement.
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Heavy linesgive the feeling
of strength and sturdiness.
Curved linessuggest grace,
feminity, variation andmovement.
Parallel linessuggestequality.
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12/170Identify the following LINES
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FORMrefers to the shape,
structure and area of anobject.Like line, it alsorepresents the feelings or
thoughts of the artist. Formin art varies in types, size
and effect or meaning.
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Types of forms:
Regular (forms)formshaving definite shape.
These include square,triangle, rectangle, circle
and oblong.
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Identify the following FORMS
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Rectangle
It is a good shape fordecorative and structural
design. It expresses stability,close set, dignity and
uprightness.
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Triangle
It has the expression
of repose anddignity.
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Natural (forms) formsfound in nature like the
shapes of the leaves,animals, trees,
mountains and thehuman body.
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Identify the following Geometrical Forms
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CubeRectangular prism
cylinder
sphereprism
cone
Identify the following Geometrical Forms
Rectangulalrpyramid
Frustum of a square pyramid
cone
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Forms according to size:
Large formsgive theimpression of
spaciousness andsuperiority.
Small formssuggestinferiority and crowding.
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TEXTURE
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TEXTURErefers to the
quality or character of thearea or surface produced by
the form. Its aesthetic valueof texture lies first of all in
the fact that it makes thegradation of color possible.
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Texturesgive a surfaceunevenness which causes
the color of the surface tobe broken into gradations oflight and shade giving it a
charm of its own.
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Types of texture:
Rough or Coarse texturessuggest strength, endurance
and cheapness.Smooth or Fine textures
imply excellently finished,delicateness and costliness.
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Identif the Textures of the Mentioned Materials
White Marble
News Print
Granite
Sand
Parchment Woven Mat
Cork
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VALUE
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VALUE refers to the amount
of light, shade or dark-and-light in an object.Its
aesthetic value lies on thereason that subjects or
objects of art are seenbecause of its presence.
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The Three Primary Values:
The extremes in value are blackand white that is the highest value
is white and the lowest, black.Blackis the absence of light
while white is its presence. The
step half-way or the middle valueis called gray.
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Black
Gray
White
Lonely Swim
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Lonely Swim (WILFRED TORRALBA ALINAS)
Watering Hall (WILFRED TORRALBA ALINAS)
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Watering Hall(WILFRED TORRALBA ALINAS)
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COLOR
hues with their
various values andintensities
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PINKVIOLET
RED PINK
GREEN
BLUE
BROWN
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PINKVIOLET
RED PINK
GREEN
BLUE
BROWN
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Color refers to the visual
perception of light beingreflected from a surface of
an artwork. In the mostbasic classification, colors
can be divided into threegroups: primary, secondary
and tertiar
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Color refers to the
quality or kind of lightthat reflects from the
surface of the object.Colors are seen
because of value or
light Th Th P ti f C l
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The Three Properties of Color:
1. Hue - is the dimension ofcolor that gives color its
identity or name. Colornames such as red, yellow,blue and others indicatethe color characteristic
called hue.
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2. Valuedenotes the lightnessand darkness of a color.
Colors can be made darker bymaking the pigments thicker
or adding black or adding alittle of its complement.Colors can be made lighter by
adding water or oil or white.
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3. Intensity or Chromadenotesthe brightness or dullness of acolor, its strength or weakness,
its purity or impurity. A color can
be made intense by adding morepigment of the same hue, by
placing beside it its complement
or opposite or by surrounding itwith the same hue but of lower
intensity.
Cl ifi i
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Classificationof Colors (Hue):
The primary colorsareRED,YELLOWand
BLUE.These are calledprimary colors because all
other colors are producedby combining any of the
two colors
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Yellow BlueRed
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The secondary colorsare
GREEN(yellow + blue),ORANGE(yellow + red)
andVIOLET(blue + red).These are formed through
the combination of twoprimary colors.
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Orange
Violet
Green
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The tertiary colorsare the
combination of two secondarycolors.
Violet + Orange= RussetOrange + Green= Olive
Violet + Green=Slate
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RussetOlive
Slate
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The quarternary colors
are mixture of twotertiary colors.
Russet + Olive =Buff
Slate + Russet=PlumOlive + Slate = Sage
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Buff
Plum
Sage
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The intermediate or
intermediary colorsaremixture of equal amounts
of primary and secondarycolors. These areyellow orange, red-orange, red-violet, blue-green,blue -violetandyellow-green.
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Blue - Violet
Blue - Green
Yellow - Green
Yellow - Orange
Red - Orange
Red - Violet
Intermediary Colors IName the
Intermediary Colors
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N
T
E
R
M
E
D
I
A
T
E
Intermediary Colors
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The complementary or
opposite colorsform anatural balance in the color
wheel. Example ofComplementary colors are:red and green, blue andorange and violet and
yellow.
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Complementary Colors (The Intermediary Colors)
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Red - Violet
Yellow - Green
Blue - Violet
Yellow - Orange
Red - Orange
Blue - Green
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Manner of Presenting Colors (Hues):
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Manner of Presenting Colors (Hues):
ColorWheelmanifeststhe primary, secondary,
intermediary as well asthe complementary
colors.
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Color Wheel
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Color Trianglemanifests
the primary, secondary,tertiary quarternary and
the intermediary colors aswell. It can also be a
substitute to color wheel.
Color Triangle
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Y
O
R
G
BV
Olive
Russet Slate
g
PrimaryColors Secondary
Colors
TertiaryColors
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Color Triangle
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Y
O
R
G
BV
Olive
Russet Slate
Buff Sage
Plum
Buff Sage
g
TertiaryColors
Quarternary
ColorsPrimaryColors
SecondaryColors
Color TriangleI t di
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Y
O
R
G
BV
YG
RV BV
Buff Sage
YO
gIntermediary
Colors
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BlackIt is the darkest and the dullest
of the colors. It is onlyconsidered a color when mixedwith other color. It suggests
despair, gloom, death andmourning.
l
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BlueIt is the color of the sky and the
deep. It gives the impressionof vastness and infinity. It is asymbol of tranquility, calmness
and peace.
G
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Gray
It gives the impression
of weight, solidity
and neutrality.
G
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GreenIt is the color of
vegetation and stillwater. It is a symbol of
growth, freshness andhope.
O
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Orange
It symbolizes
deliciousness and
sweetness.
Pi k
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Pink
It symbolizeslove.
R d
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RedIt typifies fire, blood,
danger, festivity,bravery, war, passion,
energy, vitality andwarmth.
Violet
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Violet
It suggests shadows,mourning, penance,
royalty and power.
Whit
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WhiteIt stands for simplicity,
clarity, purity, peace,cleanliness and
innocence.
Y ll
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YellowIt symbolizes life, joy,
sunshine, cheerfulness,warmth, splendor,
royalty and hospitality.
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Brown
It suggests humility
and confidence.
Color TriangleSupplytheMISSING HUES
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MISSING HUESbased on the
given Hue(Color) Russet
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PERSPECTIVE
Perspective deals with the
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Perspective deals with the
effect of distance upon theappearance of objects, bymeans of which the eye
judges spatial relationship.It enables us to perceive
distance and to see theposition of objects in space.
Types of Perspective:
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Types of Perspective:
1. Linear perspectiveis therepresentation of an
appearance of distance bymeans of converging lines.This has to do with the
direction of lines and with thesize of objects.
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(Example: The tracts of a railroad appear to the viewer asseeming to rise and meet in the distance.)
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2 A i l ti
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2.Aerial perspective
is the representationof relative distances ofobjects by gradations
of tone and color.
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(Example: Objects
become fainter in thedistance due to theeffect of distance.
Objects appear to belighter in color and theoutline more vague asthey recede into the
distance.)
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SPACE
Space is the bounded or
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Space is the bounded or
boundless container ofcollection of objects. In art,
space is regarded asbounded by and susceptible
to aesthetic and expressiveorganization.
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Since visual arts are alsoclassified according to theirdimensions, space iscategorized into two
according to the visual art
that will occupy it.
Plane i li it d
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Planeis a space limited
only to painting and otherrelated arts, since they
are two-dimensional arts.Generally, they only
occupy a surface.
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An Artist (Romi Mananquil)
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Selleck(Wilfred T. Alinas)
One Sunday Afternoon (Antonio Afable)
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Caribbean Coast near Tela (Photo)
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Puente Yayabo (Photo)
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SCULPTURE
S bj t
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Subject
Medium
Texture
Space
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SUBJECT
In sculpture, the subject tells what the
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p , jwork is all about. Since art is an
expression of oneself, subject is thebest avenue where the sculptor canmanifest his emotions, his thoughts,
love and frustrations, victory anddefeat. Through the subject, the
sculptor can also manifest his cry for
change, justice, affiliation andpreferences.
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MEDIUM
Diversity of materials and richness
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yof the earth give a lucrative
opportunity for a sculptor toexplore his art, although limitation
may be cited on the availabilityand non-availability of materials ina certain topography or setting.
Common materials used arewood, metal, stone, clay, plastic
and ice.
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TEXTURE
Texture refers to the touch of the
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Texture refers to the touch of theskin against the surface or the
body of a given sculpture. It alsorefers to the interpretation given
both by the artist and the admirertowards the piece of art. As anelement of sculptor, texture is
always the prerogative of theartist.
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SPACE
Space refers to the portion or area
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where the piece stands. Both
sculpture and architecture occupya space called volume.
Volume is a space provided forthree-dimensional arts such asarchitecture and sculpture.
Volume is the space that isorganized, divided, or enclosed
by height, length and width.
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PROCESS OF
CREATION
Many art critiques believe that
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y qthe reason why humanities has
fewer sculptors than paintersis because not all artists could
be pitted in wood or stone.Moreover, being a sculptor
needs sustained physical effortto transform ones imagination
to reality.
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CARVING
It is a subtractive process; it
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It is a subtractive process; it
involves removingunwanted portions of theraw material to reveal theform that the artist hasvisualized. Wood, stone
and ivory are the materialsemployed in this process.
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MODELING
It is an additive process. It means
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building the form, using highly
plastic material such as clay orwax. This results in a type of
creative spontaneity. Theadditive process permits theartist to rework his materialand introduce details as he
sees fit.
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CASTING
It is a complex process. It uses
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bronze and other metal for it
to materialize. It begins withthe production of a negative
mold. Then the artist coversthe original model with amold in such a way that a
faithful negative reproductionis created.
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FABRICATION
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ARCHITECTURE
The extent to which a building
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may be considered architecture
depends upon the degree towhich the four basic elements
of FUNCTION,CONSTRUCTION, DESIGNand SPACE have individuallyand collectively contributed to
its form.
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But great architecture isproduced only when:
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produced only when:
1. The elements offunction and
construction areintegrated by creative
design.
2. The building hasacquired a significance
that transcends itsobjective character.
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DESIGN
and
SPACE
In terms of design, the fundamentalbl i t d fi th l f
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problem is to define the volume of
space in the structure by the formsthat will enclose it. Through designa positive relationship between thesolids and the space is established.The character of a building will be
ultimately determined by thetreatment of space.
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Three structural principles
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are of paramountimportance in the history ofbuilding. In various formsand variants, they accountfor almost any imaginable
type of construction.
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Post and Lintel
Arch
Cantilever
Of the three, the post and lintel
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structural principle is probablythe earliest, although some
ancient examples of arch have
also been found. The cantilevercomes into extensive use withthe advent of steel building,
although it also occurs inmedieval wooden roofs.
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Post and Lintel
The nature of the post and lintel systemis implied by its name It consists of
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is implied by its name. It consists of
two vertical members that support ahorizontal one. It is the simplest of thethree basic structural principles for the
vertical members need only besufficiently strong to support thehorizontal weight. Even if some
additional weight is placed on thelintel, the stability of the system is notthreatened, if its span is not too great.
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Downward thrustof lintel
Shearing effect
Upward thrust of lintel
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Lintel
Post
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The post and lintel system is the mostfrequently employed of the three
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frequently employed of the three
structural principles. It is even usedin the modern steel-framed buildings,
which are composed largely of
beams, fastened together to formpost and lintel units. In addition to
being the simplest of the three
principles, its structural effect is easilyobserved.
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ARCH
In its simplest form, the archconsists of a semicircle of wedge
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consists of a semicircle of wedge-
shaped blocks called voussoirs,the topmost one being the
keystone.The bottom face of thelowest voussoir on each side is
called an impost.The top face of
the upper most stone of whatevermember supports it is called the
springing.
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springing
impost
impostimpost
voussoir
Keystone
Keystone
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voussoirs
imposts
springing
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Arch ofSeverus, Rome
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The arch has some inherent shortcomings.It must be supported on a scaffold, while
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pp ,it is being built. Such a scaffold is calledcentering. It is usually of the form and
size of the opening to be spanned by thecomplete arch. The voussoirs are laid
upon it, and then locked in place byputting in the keystone. The keystone,
subjected to the law of gravitation, has a
constant tendency to fall. However, this isavoided when proper compensation of the
whole structure is made (buttressing).
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The cantilever is basically the horizontalextension of a beam of slab into space
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p
beyond its supporting post. Its freeexternal end is unsupported, and thepoint where it rests on its post, acts like
the fulcrum of a lever. If the internal endof the beam were not bolted down orcounterweighted in some fashion, the
cantilever would rotate around itsfulcrum. Since the inside end is fixed,
the free end is rigid.
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cantilever cantilever
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The cantilever is utilized todaylargely in construction with
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largely in construction with
steel and ferroconcrete. Itsmechanical operation involves
forces that join the structuralparts to many different strains
like twisting, bowing,tension, compression and the
like.
Every good painting every genuine
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poem bears the stamp of the frame
of mind it depicts. For only what has
sprung from perception indeed from
purely objective perception or is
directly stimulated by it contains the
living germ from which genuine and
original achievements can result.
Arthur Schopenhauer
Philosopher (1788 1860)
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