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American

Frank Lloyd Wright, "Guggenheim"

Frank Lloyd Wright

1080 710 Lines & Marks

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“You can use an eraser on the drafting table or a sledge hammer on the construction site.”

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Frank Lloyd Wright, “Guggenheim,” 1951 | Perspective | Pencil and colored pencil on tracing paper

[/vc_column_text][/vc_column][/vc_row][vc_row lk_dm=”0″ lk_thm=”0″ lk_tuo=”0″ lk_dt=” “][vc_column][vc_column_text]”It was well known that Wright visualized the building in its entirety before he or his draughtsmen even put a line on paper. Wright’s perspective drawings were often begun using mechanical projection, which meant the building’s plan is place at the bottom at an oblique angle corresponding to the angle the perspective will be drawn. Next, a horizon line with vanishing points is established above the plan. Then vertical lines are drawn at the plan’s intersections, carried upward, establish the building’s corners. In this way, the renderer does not exaggerate the true proportions of the building, leading to a clarity not present in most typical architectural drawings.” (Read more on BeLoose)[/vc_column_text][/vc_column][/vc_row][vc_row lk_dm=”0″ lk_thm=”0″ lk_tuo=”0″ lk_dt=” “][vc_column][dzs_parallaxer media=”https://secureservercdn.net/104.238.71.250/qzx.c30.myftpupload.com/wp-content/uploads/frank-lloyd-wright-s-c-johnson-son-web.jpg” clip_height=”600″ total_height=”900″][/dzs_parallaxer][vc_column_text]

Frank Lloyd Wright, “National Life Insurance Company Building, Chicago Project,” 1924-25 | Axonometric view | Colored pencil on tracing paper | 40 x 24” (101.6 x 61 cm)

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“Frank Lloyd Wright,” 1998 | A biography of the life and work of the American architect.
Documentary film directed by Ken Burns and Lynn Novick

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Frank Lloyd Wright, “The Mile High Illinois, Chicago Project,” 1956 | Pencil and colored pencil on tracing paper

[/vc_column_text][/vc_column][/vc_row][vc_row lk_dm=”0″ lk_thm=”0″ lk_tuo=”0″ lk_dt=” “][vc_column][grve_icon_box icon_size=”small” align=”center” icon_animation=”yes” icon=”copyright” icon_color=”blue” title=”Copyright Information” text_style=”subtitle” animation=”fadeInLeft” animation_delay=”50″]The images on this page are not authored by Lines & Marks. They are shared under “fair use” for non-profit, educational and reference purposes, and may be subject to copyright. If for any reason this status is contested, notify us and we will remove the image(s) immediately. All other, © Lines & Marks, 2015. [/grve_icon_box][/vc_column][/vc_row]

Anders Nilsen, Car Engine with Tires. Ink on Paper. 38" x 46"

Anders Nilsen

1080 864 Lines & Marks

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{ See Anders Nilsen’s Full Interview. }

“Anders Nilsen – Don’t Go Where I Can’t Follow, Big Questions, Rage of Poseidon—is surely one of the finest cartoonists of the last decade. Big Questions won lots of awards and helped further the cause of the graphic novel’s literary worth when it came out in 2011. The fold-out book Poseidon is an object d’art in addition to being a multi-leveled parable of humanity and divinity.” (Read more at comicsbeat.com )

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See more: Anders Nilsen Website | Blog | New York Times

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“Untitled (Flowers and Boxes in Landscape).” 20 panel accordion book, ink and gouache on paper, 100″ x 7″, 2013

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The text and images on this page are used by permission of Anders Nilsen & Drawn & Quarterly and are subject to copyright law.

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Charles Burns Black Hole, Cover #7 (4)

Charles Burns

638 1024 Lines & Marks

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“I wasn’t great at sports, I didn’t have a flamboyant personality, but I could draw.”

[/vc_column_text][/vc_column][/vc_row][vc_row heading_color=”” section_type=”fullwidth-background” flex_height=”” section_full_height=”no” bg_type=”” bg_image_type=”” pattern_overlay=”” color_overlay=”” opacity_overlay=”10″ header_feature=”” footer_feature=”” desktop_visibility=”” tablet_visibility=”” tablet_sm_visibility=”” mobile_visibility=”” seperator_indeed_locker=”Indeed Social Locker” lk_sl=”” lk_t=”” lk_la=”horizontal” lk_dc=”true” lk_dfn=”true” lk_lt=”2″ lk_etl=”0″ lk_tl=”30″ lk_nru=”0″ lk_rl=”0″ lk_lra=”30″ lk_lrt=”days” lk_io=”” lk_lp=”50″ lk_dm=”0″ lk_thm=”0″ lk_tuo=”0″ lk_dt=” “][vc_column width=”1/1″ desktop_hide=”” tablet_width=”” tablet_sm_width=”” mobile_width=””][dzs_parallaxer media=”https://secureservercdn.net/104.238.71.250/qzx.c30.myftpupload.com/wp-content/uploads/2015/03/Charles_Burns-Black_Hole7.jpg” clip_height=”650″ total_height=”1000″ mode=”normal” enable_scrollbar=”off” breakout=”off” direction=”normal”][/dzs_parallaxer][/vc_column][/vc_row][vc_row][vc_column width=”1/1″][vc_column_text animation_delay=”200″]”At the juncture of fiction and memory, of cheap thrills and horror, lies the dark world of Charles Burns’ art. His stories, appearing in alternative comics such as Raw since the early 1980s, take comic book clichés — wiseacre kids, sinister scientists and tough-as-nails detectives — and rearrange them into disturbing yet funny patterns. Beneath this interplay of familiar iconography lurks the real traumas of childhood, traumas of loss and alienation.”  (Read more on The Comics Journal)[/vc_column_text][grve_media_box media_type=”image-video-popup” video_link=”https://www.youtube.com/watch?v=vwL6TwdVXFQ” map_lat=”51.516221″ map_lng=”-0.136986″ map_zoom=”14″ map_height=”280″ align=”left” animation_delay=”200″ image=”6338″ title_link=”||”][/grve_media_box][vc_column_text animation_delay=”200″ css=”.vc_custom_1433358802745{margin-top: -28px !important;}”]

Charles Burns, “Fear(s) of the Dark/Peur(s) du noir.” (2007) WARNING: Graphic Content.

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Charles Burns, “Altoids Commercial.” (2005)

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Images courtesy of Adam Baumgold Gallery and are subject to copyright. © Charles Burns.

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