What are the 3 elements in media that affect us select one and explain it

Answer:

the awnser is based on you

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Answer:

Tamaki Souh

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He's funnier but Kyoya does have his golden moments

Answer:

Tamaki

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i love how he fanboys over haruhi all the time, also just how he acts so spoiled

Answer:

Contrast will help important details stand out and will help the piece be more balanced

Explanation:

how to make nightcore on computer

nightcore sulotion ^^ (search it up)

how to draw anime

anime drawing solution^^ (search it up)

It depends on your experience, your talent and the amount of details you give in your drawing. Also if you want to colour, what colour you use. Though for a beginner it takes almost 2–4 hours. how long it takes

Answer:

Not so sure about the nightcore. Love the songs tho. But the anime it matters how good you want it. The better it is the longer it talked. It takes me about three hours to draw on picture. Mainly I think of an idea, sketch it, than you clean it up. And if it’s an OC you need to think of the character personality. Are they crazy or moody?

Explanation:

It is a major chord as the others have a symbol as well

Answer: Arena theatres and Thrust theaters and platform theatres

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Answer:

ok kyvgjcfthfy

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ghghhhuuu

Answer:

Play an instrument or create an art piece about the good things that you have in your life.

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Answer:

so maybe put an object that makes a sound like a guitar or something else and for silence put somethings that has no sound

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hope that helped :D

Answer:

I believe both but I love the second one lol

Answer:

Colors that go well with red:

Primary red works well with yellow, white, tawny-orange, green, blue and black.

Tomato red works well with cyan, mint green, sand, creamy-white, and grey.

Cherry red works well with azure, grey, light-orange, sandy, pale-yellow, and beige.

Answer:

the color scheme red and cream is a color scheme created by vennesa she made it with barn red crimson red and electric red also composed of cream cookies and cream and fawn

Explanation:

if this is not correct then it is because your question was not very persise

Answer:

pop is so nice

Explanation:

nice ok l have only pop arts

Answer:

I'm pretty good at computer engineering so I could make a 3d simulation

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oomer boomer jim

Answer:

Whole rest

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Answer:

its D

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Answer:

you need to use one of your friend or family members kid

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Answer:

No

Explanation:

I dont have grades

Answer:

aria is the opposite of recitative

The opposite of recitative is aria

Some artists like to position all the torn and cut paper shapes on the backing sheet of paper or card before gluing any in place. This allows them to consider the relationship between the different shapes, and make alterations if necessary, before committing to a particular arrangement. owever, I prefer a more intuitive, direct approach. I start with one shape and fix that in position, and then I add other shapes in relation to the first one.

Although I make some reference to the location sketch, as a starting point, I am only thinking of very basic shapes and divisions at this stage. I might overlap some of the paper shapes, and I try to avoid placing them exactly parallel to the edges of the painting paper. Rather than having lots of right angles and parallel lines, I prefer more subtle angles and diagonals. These create a more dynamic quality in the design.

Consequently, once I have decided on a shape and glued it in place, I cannot alter it. But ironically, by adopting this approach, I am able to keep the initial stages of the painting fairly undefined – so allowing me different options in terms of the way to proceed. Generally, I start with just four or five shapes: these, as I have explained, will indicate the key divisions within the composition – for example, where a telegraph pole intersects a field, or the top of a harbour wall abuts a building. I often emphasize such divisions and extend them right across the image.

To secure the collage shapes in place, I use a matt acrylic medium – usually Spectrum Copolymer Emulsion. Essentially, this is the same medium that is used in the manufacture of acrylic paint. An advantage of this medium is that it is waterproof, whereas PVA, which is equally suitable as an adhesive, is water-soluble.

I dilute the acrylic medium with water for use with thin papers, but apply it undiluted for gluing materials such as corrugated card, mountboard and fabric. An alternative method, which I sometimes use, is to impress a paper shape into an area of wet acrylic

This might imply that I am only thinking about the subject matter in literal terms. However, I am also considering the way that various shapes interrelate and begin to create interest and balance within the design. For instance, you will see that I have placed some tissue-paper shapes at the top to balance the ones in the foreground. Equally, I am thinking of the textures and how these could be used later.

Next, as in Stage 2, I sometimes develop the collage further, before starting to apply the two main colours that I have chosen for the subject. I decided to use a blue and a golden sand colour for this painting, working as usual with acrylic inks and applying them with a soft-haired 5cm varnishing brush. The collage must be dry before starting on this stage, for which I first wet the paper by spraying it with water. With the painting held vertically at an easel, I apply the colours randomly, allowing them to create haphazard effects.

With the entire painting surface now covered in some way, either with collage or colour, I begin to think more particularly about textures. For those areas in which a rich textural quality will be useful, I use white acrylic paint, which is applied quite freely with a linoprinting roller, as shown in Stage 3. Again, I aim to create a sense of unity by repeating the texture in different areas, although avoiding those passages of the initial blue or golden sand colour which I estimate will relate to specific parts of the subject matter. As well as adding texture, the white acrylic imparts a luminosity to the painting later on, when coloured glazes made from diluted acrylic inks are applied over it.

During the next stage, with a fresh look at the location drawing, and where appropriate exploiting the divisions, marks and surface effects that are now part of the painting, I start to resolve the essential elements. As you can see in Stage 4, I have now defined the main house, using white acrylic paint, and with black acrylic ink offset from the edge of a piece of card, I am putting in some fencing posts. The challenge is to balance areas that give meaning and definition with those that are left as textural, abstract qualities.

Finally, as shown in Stage 5, I draw with a dip pen and some black or brown acrylic ink to add any further outlines and details that I think are necessary.

An artist can control line weight in a drawing to make the subject appear realistic by

An artist would want to vary the line weight in a drawing so as:

If Jacob drew the outer edge of a rabbit's ears, then he drew an:

If Melanie drew a black silhouette of a house, then she draw:

If Miguel drew the form of a cluster of grapes with highlights on a few single grapes facing the light source, then he drew an:

If Andrew painted a picture of a child looking into her mother's eyes with the child's arm stretched out and hand pointing at the mother, with the mother's eyes are focused directly on the viewer. Then the implied line in this composition is:

If Carrie drew a picture of a man whose foot pointed in the direction of the woman sitting beside him. The woman's feet are tucked under her long skirt. Both the man and woman gaze at the viewer of the drawing. Then the implied line in this composition is:

If Jordan drew a picture of a farm scene, with a rifle pointed in the direction of a group of chickens pecking corn on the ground in front of a barn. Then the viewer's eye going to be directed:

The following that is true about line direction in any work of art is:

If Mike is drawing the path that electrical wires follow through the building of his company. Then the type of line that his drawing would most likely consist of is:

Read more here:

https://brainly.com/question/1096990

Answer:

Explanation:

the guy above me is wrong on question 1

1. Varying line thickness throughout the drawing & Varying line value throughout the drawing

Answer:

Ornamentation, in music, the embellishment of a melody, either by adding notes or by modifying rhythms.

Answer:

In music, ornaments (or embellishments) are musical "flourishes"— usually added notes—that are not usually needed/essential to carry the overall line/pattern of the melody, but are used instead to decorate or "ornament" that line, add extra interest and variety, and give the performer the opportunity to add expressiveness to a song or instrumentation.

Explanation:

Hope it helps!

Answer:

Tempera

Explanation:

I think that would be best for lines and precise details as others may be a little less precise and a hint is tempera doesn't darken with age. I hope this helps!

Answer:

C. Oil

Hope this helps

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Answer:

Explanation:

Just keep on trying :)

Answer:

1. Go draw something. Repeat.

2. Look at drawings.

3. Draw from drawings.

4. Draw from photographs.

5. Draw from life.

6. Take a class.

7. Keep a sketchbook

8. Be intentional.

Explanation: Draw for fun not the result :)

Answer:

Ornamentation is  the embellishment of a melody, either by adding notes or by modifying rhythms.