Rachel Gartenberg Portfolio by rachel.gartenberg

Rachel gartenberg ARCHITECTURE PORTFOLIO: Selected Academic Work

Contact Information: Rachel L. Gartenberg 732-539-6372 Rachel.gartenberg@gmail.com 2016-2019 pratt institute GAUD 2012-2016 Yeshiva University 2014 Syracuse University Florence

Design Studio IV Incinerator and Bazaar. Cairo, Egypt

design studio iii: housing Housing tower design

design studio ii: context middle school design

design studio I performance space

design Studio V design research: seeing Double

Anamorphoused crystalline Media i project 1: Hybrid Object

PHOTOGRAPHY, DRAWING, GRAPHIC DESIGN

Ocula Media i project 2: Hybrid Object

Reconstructing seagram Media iI : Hybrid drawing

OTHER WORKS

Design Studio IV: CAP Professor: Erich Schoenenberger Team: aprg (2018) The goal of this project is to create waste disposal center and recycling facility in the Mokattam Heights of Cairo, Egypt for the Zabbaleen who currently collect and sort all of Cairoâ&#x20AC;&#x2122;s trash. The program of this building includes a Waste to Energy incineration facility, workshops, and a bazaar space. The Zabbaleen will be able to recycle materials into products they can sell at the bazaar. The incineration process takes place on the top plateau level of the site while the bazaar activities take place along a ramp that brings visitors from the top to bottom of the cliff. The building is a series of terraces which provide plenty of shade for those walking through.

Site Plan 5

PLAN C

PLAN C 75’

60’

PLAN B

PLAN B 45’

30’

15’ PLAN A

PLAN A 0’ 15’ 1

Section A

15’ 2

15’ 3

15’ 4

15’ 5

15’ 6

15’ 7

15’ 8

15’ 9

15’ 10

15’ 11

15’ 12

15’ 13

15’ 14

15’ 15

15’ 16 16

15’ 17 17

18 18

Se Sc

PLAN C

PLAN C 75’

60’

PLAN B

PLAN B 45’

30’

15’ PLAN A

PLAN A 0’

SECTION 3 SCALE: 1/16”=1’-0

Section B

60'

75'

15'

30'

45'

PLAN B- 48’ Plan B @ 48’ Scale 1/16”=1’-0”

Slab Cantilevered Concrete Supporting Steel Tube Glass Louvers

Trusses

Cantilever

design studio IIi: housing/ Materials & assemblies Professor carlos arnaiz/ henry smith-miller (2017) This project is about different scales of connectivity. It relates to the idea that the site, New York City, has different type of connections. The first, is a metropolitan connection to other cities around the world. The second, is that of internal connections between boroughs and neighborhoods. A grid was created for the project using important roads that surround the site, those that connect Brooklyn to Manhattan via the Brooklyn Bridge and Manhattan Bridge. The grid helped bring to life a series of exterior courtyardssome public and some private. This housing tower is a vertical neighborhood where families can have a balance of private and communal life in a busy city.

Brooklyn Bridge Blvd.

Flatbush Ave.

Wiloughby St. Site: Downtown Brooklyn Scale 1â&#x20AC;?=192â&#x20AC;&#x2122;

site Plan Floor Plan A Floor Plan b

Plan B Scale 1”= 32”

Plan A Scale 1”= 32”

Site Plan Scale 1”= 32”

Floor Plan c Floor Plan d top floor plan

Top Floor Plan

Plan D Scale 1”= 32”

Plan C Scale 1”= 32”

grid constraints 15’

50’

75’

28’

100’

11’

30’

15’

30’

15’ 15’

24’

20’

28’

20’ 12’

30’

30’ 15’

30’

15’ 15’

48’

36’

A B

C D

vertical module:residential circulation, amenity & Hotel space horizontal module:residential Axon

PAINTED METAL COPING PANEL

3 A-400

PAINTED METAL COPING PANEL

BATT INSULATION

BATT INSULATION AIR-VAPOR BARRIER

BALCONY PAVERS INSULATION CONCRETE PARAPET

4'-2" PARAPET

2'-8" 0'-6"

1'-0"

WINDOW MULLION

METAL DECKING W CONCRETE FILL

STEEL "I" BEAM

1'-0"

EL.315'-0"

0'-8"

2A A-400

CURTAIN WALL FACADE

AIR-VAPOR BARRIER 3'-9"

2'-8"

B2A A-400

C A

3'-9"

D B

0'-6"

EL.315'-0"

E C

3'-0"

0'-8"

PAINTED METAL COPING PANEL

CURTAIN WALL FACADE

1'-8"

4'-2" PARAPET

1'-8"

PAINTED METAL COPING PANEL

3 A-400

CURTAIN WALL FACADE

1'-8"

CURTAIN WALL FACADE

PAINTED METAL COPING PANEL

4 A-400

WINDOW MULLION

METAL DECKING W CONCRETE FILL BATT INSULATION

2A WALL SECTION SCALE 1/2"=1'-0"

4 A-400

WINDOW MULLION 0'-6" 0'-8"

CURTAIN WALL FACADE

STEEL "I" BEAM

CURTAIN WALL FACADE

2'-8"

METAL DECKING W CONCRETE FILL BATT INSULATION

1'-0"

STEEL "I" BEAM

2'-8"

A-400

SCALE 1/2"=1'-0" A-400

SCALE 1/2"=1'-0"

CANT STRIP

4 DETAIL 42 DETAIL 2 A-400

A-400

SCALE 3"=1'-0"

3'-0"

3 DETAIL 1

CURTAIN WALL FACADE

AIR GAP

5 A-400

CURTAIN WALL FACADE

1'-4"

4" RIGID INSULATION 8" CONCRETE WALL 0'-6"

PARGING R 20 BATT INSULATION

ANCHOR RIGID INSULATION

INTERIOR FLOOR FINISH

PROJECT NAME:

PROJECT LOCATION:

2'-8"

WINDOW MULLION

0'-6"

GRADE LEVEL

0'-2"

4" RIGID INSULATION

DRAWN BY:

SECTION + DETAILS SECTION + DETAILS

DRAWN BY:

DRAWING NUMBER:

RACHEL GARTENBERG

4" RIGID INSULATION

8" CONCRETE WALL

8" CONCRETE WALL PARGING

R 20 BATT INSULATION

R 20 BATT INSULATION GRADE LEVEL

A-400.00

WALL SECTION 2C2C WALL SECTION 2C WALL

A-400

SCALE 1/2"=1'-0"

A-400

SCALE 1/2"=1'-0" A-400

SECTION

SCALE 1/2"=1'-0"

A-400.00

CRITIC:

HENRY SMITH-MILLERHENRY SMITH-MILLER M+A FACULTY M+A FACULTY

CRITIC:

CONCRETE SUBHENRY SMITH-MILLER CONCRETE SUB GRADE WALL M+A FACULTY GRADE WALL

CONCRETE SUB GRADE WALL

FOR:

5 DETAIL 3 A-400

SCALE 1 1/2"=1'-0"

12.15.2017 SOURCES: SMITH-MILLER + HAWKINSON ARCHITECTS.

FOR:

GAUD. FALL 2017. GAUD. FALL 2017. MATERIALS + ASSEMBLIES MATERIALS + ASSEMBLIES

BATT INSULATION BATT INSULATION FOR: GAUD. FALL 2017. ASSEMBLIES GRADE LEVEL MATERIALS +GRADE LEVEL

BATT INSULATION

SUBMISSION DATE:

SCALE 1"=16'-0"

DRAWING NUMBER:

A-400.00

DRAWING NUMBER:

A-400 SCALE 1"=16'-0" A-400 SCALE 1"=16'-0"

DRAWN BY:

RACHEL GARTENBERG RACHEL GARTENBERG

PROJECT LOCATION:

BOERUM PLACE + FULTON STREET BROOKLYN, NEW YORK

SECTION + DETAILS

PARGING

GRADE LEVEL

PROJECT LOCATION:

BOERUM PLACE + BOERUM PLACE + FULTON STREET FULTON STREET BROOKLYN, NEW YORK BROOKLYN, NEW YORK

PROJECT NAME:

DOWNTOWN BROOKLYN HOUSING TOWER

INTERIOR FLOOR FINISH

PROJECT NAME:

DOWNTOWN BROOKLYN DOWNTOWN BROOKLYN HOUSING TOWER HOUSING TOWER

ANCHOR RIGID INSULATION

GRADE LEVEL

SECTION A A 1 SECTION 11 ASECTION A-400

1'-4"

2C A-400

WINDOW MULLION

1'-4"

WINDOW MULLION 0'-6"

AIR GAP

INTERIOR FLOOR FINISH INSULATION

5 A-400

2C A-400

0'-2"

2C A-400

AIR GAP

INTERIOR FLOOR FINISH INSULATION

0'-6"

2'-8"

CURTAIN WALL TERMINATION

ANCHOR

0'-6"

5 A-400

0'-6"

2'-8"

CURTAIN WALL FACADE

CURTAIN WALL TERMINATION RIGID INSULATION

CURTAIN WALL TERMINATION

0'-2"

SCALE 3"=1'-0"

SCALE 1/2"=1'-0"

SCALE 3"=1'-0"

4 DETAIL 2 A-400

STEEL "I" BEAM

SCALE 3"=1'-0" A-400

WINDOW MULLION

3 DETAIL 31 DETAIL 1

A-400

SCALE 3"=1'-0"

2B WALL SECTION

SCALE 3"=1'-0" A-400

BALCONY PAVERS METAL DECKING W CONCRETE FILL

A-400

METAL DECKING W CONCRETE FILL BATT INSULATION

1'-0"

INSULATION

CEILING FINISH

INTERIOR FLOOR FINISH INSULATION

0'-6"

2B WALL SECTION 2B WALL SECTION 0'-8"

9 12

CANT STRIP

WINDOW MULLION CONNECTION

"i"BEAM

3'-0"

0'-6"

WINDOW MULLION

0'-8"

INTERIOR FLOOR FINISH INSULATION

AIR GAP 2B A-400

BALCONY PAVERS METAL DECKING W CONCRETE FILL

GLASS PANEL

WINDOW MULLION 0'-6" 1'-0"

CURTAIN WALL FACADE

INSULATION

CANT STRIP CEILING FINISH BALCONY PAVERS METAL DECKING W CONCRETE FILL

GLASS PANEL

AIR GAP

INTERIOR FLOOR FINISH INSULATION

0'-8"

2'-8"

2B A-400

WINDOW MULLION CONNECTION

INSULATION

AIR GAP

AIR GAP 2B A-400

WINDOW MULLION CONNECTION

"i"BEAM

METAL DECKING W CONCRETE FILL BATT INSULATION

GLASS PANEL

INTERIOR FLOOR FINISH INSULATION

AIR GAP

GLASS PANEL BATT INSULATION

CEILING FINISH 3'-8"

A-400

CONCRETE PARAPET

GLASS PANEL

CONCRETE PARAPET

3'-0"

1216

METAL DECKING W CONCRETE FILL

AIR GAP

1'-0"

METAL DECKING W CONCRETE FILL

"i"BEAM

BATT INSULATION

METAL DECKING W CONCRETE FILL

CURTAIN WALL FACADE

15 20

AIR VAPOR BARRIER

BATT INSULATION WINDOW MULLION CONNECTION

GLASS PANEL

AIR VAPOR BARRIER

ANCHOR

WINDOW MULLION CONNECTION

ATTACHMENT PIECE

INSULATION ANCHOR

INSULATION

CONCRETE PARAPET

STEEL "I" BEAM

3'-0"

ATTACHMENT PIECE

GLASS PANEL

ATTACHMENT PIECE

AIR VAPOR BARRIER

AIR GAP GLASS PANEL

AIR GAP

WINDOW MULLION CONNECTION

GLASS PANEL

AIR GAP GLASS PANEL

GLASS PANEL

STEEL "I" BEAM

1'-0"

AIR GAP

INTERIOR FLOOR FINISH INSULATION

0'-6"

0'-8"

STEEL "I" BEAM 3'-0"

WINDOW MULLION METAL DECKING W CONCRETE FILL

1'-0"

AIR GAP

INTERIOR FLOOR FINISH INSULATION 3'-8"

4 A-400

EL.315'-0"

AIR-VAPOR BARRIER BALCONY PAVERS INSULATION CONCRETE PARAPET

0'-8"

SCALE 1/2"=1'-0"

1'-0"

2'-8"

SCALE 1/2"=1'-0" A-400

4'-2" PARAPET

A-400

3'-0"

2A A-400

3'-8"

3'-0"

0'-6"

0'-8"

GLASS PANEL

ANCHOR

0'-6"

3'-9"

2A WALL SECTION 2A WALL SECTION

ANCHOR

SEALANT

BATT INSULATION

SEALANT

ANCHOR

STEEL "I" BEAM

INSULATION

PAINTED METAL COPING PANEL

SEALANT

3'-0"

3 A-400

A-400

SUBMISSION DATE:

12.15.2017

SOURCES:

5 DETAIL 53 DETAIL 3

+ HAWKINSON ARCHITECTS. SMITH-MILLER + HAWKINSON ARCHITECTS. SCALE 1 1/2"=1'-0" 1/2"=1'-0" A-400 SCALE 1SMITH-MILLER

design studio II: context: Sunset park middle school Professor theoharis david (2017) This middle school was designed after looking at museums as a precedent for conductive learning environments. The way a visitor can meander around a museum and leave with vasts amounts of knowledge was the inspiration behind the design of this building. The appearance of the facade in section represents the wandering aspect of education. It serves as the main circulatory element of the school which takes students from the very front of the building to the top floor. The glass boxes which protrude from the facade feature the art and science departments. Other programmatic elements include an auditorium, cafeteria, library, and classrooms.

floor plan 00

floor plan 01

floor plan 05

floor plan 06

floor plan 02

floor plan 03

23 floor plan 07

floor plan 08

floor plan 04

Design studio 1: Performance Space Professor Alexandra barker (2016) This performance space began as a material study using a pattern etched on to bristol paper. The forms initially created were put into digital media where surfaces were manipulated to create elements of aperture, interior space, and circulation. The site location of this project is a Privately Owned Public Space (POPS) at 345 Park Avenue, NYC.

pattern transformation

plan 00

plan 01

plan 02 33

section a

section b

Advanced Studio V: Seeing double Professor: Thomas Leeser (2018) The goal of this studio is to use different methods of visualization to influence architectural designs. I worked with anamorphic projection, reflection, and perspective to manipulate different lines of site to create an image that can warp and bring a viewer to a point where they become unexpectedly aware of what they are seeing.

Anamorphoused Crystalline Media i project 1: Hybrid Object Professor Bridget Rice (2016) The pieces from a disassembled flashlight have been reassembled to create a new hybrid object. Each of the hybrid objects created feature repetition to reflect and preserve the original flashlights integrity.

Ocula Media i project 2: Hybrid Object Professor Benjamin martinson (2016) This project uses individual parts of a flashlight to create hybrid objects using Maya. The process involved experimenting with different themes such as repetition, nesting, and mirroring. The final hybrid was developed using a combination of these elements.

reconstructing Seagram Media iI : Hybrid drawing Professor Jason vigneri-beane (2017) In this project, Revit was used to model the Seagram Building and construct plans, elevations, and sections from that model. This project continued to use Revit with an abstract approach. The model was exported to 3DS Max and Maxwell to create renderings and animations. The combination of the drawing and modeling softwares with photography led to the creation of a â&#x20AC;&#x153;hybrid drawingâ&#x20AC;? where details from the original Seagram Building were used to create a new building design.

Animation frames 45

Titles, Year Medium. Description Paragraph/sentence.

looking up (2014) original photographs from Rome, Venice, Jerusalem, & new York

(L) ,

(R) 2015

Typeface Two typeface designs inspired by original photographs of the floor mosaics in the Cathedral of Siena, Italy. â&#x20AC;&#x153;Monsterâ&#x20AC;?, uses an abstract approach where certain lines of the mosaics were traced to create each letter. Portional is a mathematical approach, where a rotated square was repeated in different scales and angles.

T H E O R Y OF COLOURS

J O H A N N WOLFGANG V

G O E T H E

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CONSIDERATIONS DERIVED FROM THE EVIDENCE OF Description EXPERIENCE AND HISTORY. 845 845 845 845 845 845 845 845Paragraph/sentence. 845 845 845 845 845 845 845 845 845 845 845 845 845 845 8 ETHETIC INFLUENCE. CHIARO-SCURO. 845 845 845 845 845 845 845 845 845 845 845 845 845 845 845 845 845 845 845 845 845 845 8 TENDENCY TO COLOUR. KEEPING. 845 845 845 845 845 845 845 845 845 845 845 845 845 845 845 845 845 845 845 845 845 845 8 COLOURING. COLOUR IN GENERAL NATURE. 845 845 845 845 845 845 845 845 845 845 845 845 845 845 845 845 845 845 845 845 845 845 8 COLOUR OF PARTICULAR OBJECTS. 845 845 845 845 845 845 845 845 845 845 845 845 845 845 845 845 845 845 845 845 845 845 8 845 845 845 845 845 845 845 845 845 845 845 845 845 845 845 845 845 845 845 845 845 845 8 845 845 845 845 845 845 845 845 845 845 845 845 845 845 845 845 845 845 845 845 845 845 8

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G O E T H E

CHIARO-SCURO. TENDENCY TO COLOUR. KEEPING. COLOURING. COLOUR IN GENERAL NATURE. COLOUR OF PARTICULAR OBJECTS.

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natio like838 the838 English The of the south 836 836 836 836 836colours 836 836 836 836dresses. 836 836 836 836circumstance 836 836 836 836of 836 836 836 836 838 838 838 838 838 838 838stra 838 838 838 8 838 838 838 838 838 838 838 838 838 833 833 833 833 833 833 833 833 833 833 833 833 833 833 833 833 833 833 833 833 833 833 and838 Germans, wear coloured or838 leather-coloured brilliant for836 their The 836 836 836 836 procuring 836 836 836 silk 836 836 836 836 836 836 836is836 836 836 836to836 836 836 838 838 838 838 838 838 838 838with 838 838 8 838 838Nations 838 838 838 838 838 838 838 838 838 833 833 833 yellow accopanied dark blue. aiming their stuffs at a836 cheap rate favourable 833 833 833 833 833 833 833 833 833 833 833 833 833 833 833 833 833 833 833 833 836 836 836 836propensity. 836 836 836 836 836 836especially, 836 836 836 836 836 bright836 836 836 836 836 838 838 838 838 838 838 838 838the 8 838 838 838 838and 838 Iilians 838 838for 838 838 838 838 838 833 833 833 833 833 833of 833 833harmony 833 833 833of833 833 833 833 833 833 833 833 833 833 dignity of 838 appearance, Spaniards this The836 women, with836 their The833 principles the colours 836 836 836 836 836 836 836 836and 836ribbons, 836 836 836 836 836 836in836 836 836 836 836 836 836 838 838 838 838 838 suffer 838 838the 838 8redcolour 838 838 838 838mantles 838 838 838 838 838 834 834 834 834 834 834 834 834far 834defined, 834 834 834 834 834be 834 834 834 834 834 834 834 instance, of838 their to838 incline to 838 838 coloured bodices are always harmony having been thus it 834 may not 836 836 836 836the 836 scenery, 836 836 836since 836 836 836cannot 836 836 possibly 836 836 836surpass 836 836 836 838 838side. 838 8 838 838 838 838 838 838 838 838 838 838 838 838 838 838 834 834 834 834 834 834 834 834 834 834 834 834 834 834 in 834 834 834 834 834 834 the838 passive with they the836 836 836 838 838 838 irrelevant to834 review what has834 been adduced 836 836 836 836 836 836 836 836 836 836 836 836 836 836 836 836 836 836 836 836 836 836 838 838 838 838 838 838 838 838 838 838 838 838 838 838 838 838 838 838 838 838 838 838 834 834 834 834 834 834 834 834 834 834 834 834 834 834 834 834 834 834 834 834 834 834 splendour of the sky and landscape. connexion with experience and historical examples. 839 839 839 839 839 839 839 839 3839 839 839 839 839 839 39 839 839 839 839 839 836 836 836 836 836 836 836 836 836 836 836 836 836 836 836 836 836 836 836 836 836 836 839 839 839 834 834 834 834 834 834 834 834 834 834 834 834 834 834 834 834 834 834 834 834 834 834 In dress we839 associate the839 character ti colour the 836 836 836 837836 836 836 836 836 836 836 836 836 836 836 836 836 836 836 836 836 836 836 839 839 839 839 3839 839 839 839 39 839 839of839 839 839 with 839 839 839 839 3839 834 834 834 834 834 834 834 834 834 834 834 834 834 834 834 834 834 834 834 834 834 834 834 character of839 the839 person. thus the839 relation 837 837 837 837history 837 837 of 837dyeing 837 837teaches 837 837 837 837 837 837technical 837 837 837 837 837 837 839 839 839 The us837 that certain 839 839 39 839 839Vmay 839 839 839observe 839 839 3839 839 839of839 839 39 834 834 834 834 834 834in834 834 834 834 834 been 834 834derived 834 834 834 834 the 834 834 834 834 The834 principles question have from colours sing] in combination, to839 the839 colour the coi 837 837 837 837 837 837 837and 837advantages 837 837 837 837 837 837 837 837 837 837 837 837 837 839 839 839 conveniences have had837 great influence 839 839 839 and 839 839 839 3839 839 839 839 39of 839 839 839 839 839 839 834 834 834 834 834 834 834 834 834 834 834 834 834 834 834 834 834 834 834 834 834 834 constitution of our nature and the constant relations plexion, age, 837 837 837 837 837 837 837 837 837 837that 837 837 837 837 837 837 837 837 839 839 839 on837 the837 costume of nations. We837 find the837 Germans wear 3839 839 839and 839station. 839 839 39 839 839 839 839 839 839 839 839 839 3839 839 835 835 835 835 835 835 835 835 835 835 835 835 835 835 835 835 835 835 835 835 835 835 which are found to obtain in chromatic phenomena. 837 837 837 837Very 837 837 837 837 837 837 837it837 837 837 837 colour 837 837 in 837 837 837 837 839 839 839 839 39 839 839 839 839 839 839 839 839 839 3839 839 839 839 839 839 839 839 blue generally because is 837 a permanent 835 835 835 835 835 835 835 835 835 835 835 835 835 835 835 835 835 835 835 835 835 835 In experience we find is in with 840 840 840 840 840 840 840 840 840 840 840 840 840 840 840 840 840 840 840 840 837 837 837 837 837 837 837districts 837 837 837 837 837people 837 837wear 837 837 837 837 837 840 840 840 cloth ; so837 in many all 837 the837 country 835 835 835 835 835 835 835 835 835 much 835 835that 835 835 835conformity 835 835 835 835 835 835 835 835 The840 female sex youth is attached ros colour and these principles, and is opposed them. 837 837 837 837 837 837because 837 837 837 837material 837 837 837 837 837 837 837dye 837well. 837 837 green twill, that takes a green If 837 837 840 840 840 840 840 840in840 840 840 840 840 840to840 840 840 840 840sea840 840 840 840 835 835 835 835 835 835 835 835 835much 835 835that 835 835 835 835 835to 835 835 835 835 835 835 green, in age and green. The840 fair-haired prefer 837 837 837 837 837 837 837 837 837 837 837 837 837 837 837circumstances, 837 837 837 837 837 837 837 840 840 840 a traveller were to pay attention to these 840 840 840 to 840violet 840 840 840darl 840 840 840 840 840 840 840 840 840 840 840 835 835 835 835 835 835 835 835 835 835 835 835 835 835 835 835 835 835 835 835 835 835 835 violet, as opjposi to light yellow, the as840 840 840 840 837 837 837 837 837 837 837 837 amusing 837 837 837and 837 curious 837 837 837 837 837 837 837 837 837 840 840 840 he837 might collect some facts. 840 840 840 840 840 840 840 840 840 840brunettes, 840 840 840blue, 840 840 835 835 835 835 835 835 835 835 835 835 835 835 835 835 835 835 835 835 835 835 835 835 Men a state nature, nations, children, oppose to840 yellow-red, and on840 good grounds. Roman 837 837 837 837 837 837 837 837 837 837 837 837 837 837 837 837 837 837 837 837 837 837 840 840 840 840 840 840 840 840 840all 840 840 840 840 840Ti840 840 840 840 840 840 835 835 835 835in835 835 835of 835 835 835 uncivilised 835 835 835 835 835 835 835 835 835 835 835 835 emperors were their purple. have great fondness for835 colours their utmost 837 837 837 837 837 837 837 837 837 837 837 837 837 837 837 837 837 837 837 837 837 837 840 840 840 840 840 840 840extremelyjealous 840 840 840 840 840wi 840regard 840 840to 840 840 840 840 840 840 840 835 835 835 835a835 835 835 835 835 835 835 835in 835 835 835 835 835 835 835 835 835 The840 robe the Emperor is orange embroideredwith : they are835 also brightness, 837 837 837 837 837 837 837 837 837 837 837 837 837 837 837 837 837 837 837 837 837 837 840 840 840 840of 840 840Chine 840 840 840 840 840 840 840 840 840 840 840 840 840 840 840 835 835 835 835 835 835and 835especially 835 835 835 for 835 yel 835low-red 835 835 835 835 835 835 835 835 835 red840 ; h attendants and religion pleased the835 motley. 837 837 837 837 837 837 837 837 837 837 837 837 837 837 837 837 837 837 837 837 837 837 840 840 840 840 840 840 840 840the 840ministers 840 840 840of 840 840 840we 840citron840 840 840 840 840 835 835 835 835 835with 835 835 835 835 835 835 835 835 835 835 835 835 835 835 835 835 yellow. By 835 this835 expression we 835 understand juxtaposition 837 837 837 837 837 837 837 837 837 837 837 837 837 837 837 837 837 837 837 837 837 837 840 840 840 840 840 840 840 840 840 840 840 840 840 840 840 840 840 840 840 840 840 840 835 835 835 835 835 835 835 835 835 835 the 835 835 835 835 835 835 835 835 835 837 837 837 837 837 837 837 837 837 837 837 837 837 837 837 837 837 837 837 837 837 837 840 840 840 840 840 840 840 840 840 840 840 840 840 840 840 840 840 840 840 840 840 840 of vivid colours harmonious balance ; but 835 835 835 835 835 835 835 without 835 835 835an 835 835 835 835 835 835 835 835 835if835 835 835 837 837 837 837 837 837 837 837 837 837 837 837 837 837 837 837 837 837 837 837 837 837 840 840 840 840 840 840 840 840 840 840 840 840 840 840 840 840 840 840 840 840 840 840 835 835 835 835 835 835 835 835 835 835 835 835instinct 835 835 835 this835 balance is observed, through or 835 835 835 835 835 835 837 837 837 837 837 837 837 837 837 837 837 837 837 837 837 837 837 837 837 837 837 837 840 840 840 840 840 840 840 840 840 840 840 840 840 840 840 840 840 840 840 840 840 840 835 835 835 835 835 835 835 835 835 835 835 835 be 835 produced. 835 835 835 835 835 835 835 835 accident, an 835 agreeable effect may 837 837 837 837 837 837 837 837 837 837 837 837 837 837 837 837 837 837 837 837 837 837 840 840 840 840 840 840 840 840 840 840 840 840 840 840 840 840 840 840 840 840 840 840 835 835 835 835 835 835a835 835 835 835 835 835 835 835 835 835 835 835 835 835 835 835 I remember Hessian officer, returned from America 837 837 837 837 837 837 837 837 837 837 837 837 837 837 837 837 837 837 837 837 837 837 840 840 840 840 840 840 840 840 840 840 840 840 840 840 840 840 840 840 840 840 840 840 835 835 835 835 835 835 835 835his 835 face 835 835 835 the 835 835 835 835 colours, 835 835 835 who had painted with positive in835 835 835 837 837 837 837 837 837 837 837 837 837 837 837 837 837 837 837 837 837 837 837 837 837 840 840 840 840 840 840 840 840 840 840 840 840 840 840 840 840 840 840 840 840 840 840 835 835 835 835 835of 835the 835Indians 835 835 835 835of835 835 835 835 835 835 the835 manner ; a835 kind completeness or 835 835 835 837 837 837 837 837 837 837 837 837 837 837 837 837 837 837 837 837 837 837 837 837 837 840 840 840 840 840 840 840 840 840 840 840 840 840 840 840 840 840 840 840 840 840 840 835 835 835 835 835 835 835thus 835 835 835 835 835the 835effect 835 835 of 835which 835 835 835 835 835 due835balance was produced, 837 837 837 837 837 837 837 837 837 837 837 837 837 837 837 837 837 837 837 837 837 837 840 840 840 840 840 840 840 840 840 840 840 840 840 840 840 840 840 840 840 840 840 840 835 835 835 835 835 835 835 835 835 835 835 835 835 835 835 835 835 835 835 835 835 835 was not disagreeable. 837 837 837 837 837 837 837 837 837 837 837 837 837 837 837 837 837 837 837 837 837 837 840 840 840 840 840 840 840 840 840 840 840 840 840 840 840 840 840 840 840 840 840 840 835 835 835 835 835 835 835 835 835 835 835 835 835 835 835 835 835 835 835 835 835 835 837 837 837 837 837 837 837 837 837 837 837 837 837 837 837 837 837 837 837 837 837 837 840 840 840 840 840 840 840 840 840 840 840 840 840 840 840 840 840 840 840 840 840 840 835 835 835 835 835 835 835 835 835 835 835 835 835 835 835 835 835 835 835 835 835 835 837 837 837 837 837 837 837 837 837 837 837 837 837 837 837 837 837 837 837 837 837 837 840 840 840 840 840 840 840 840 840 840 840 840 840 840 840 840 840 840 840 840 840 840 835 835 835 835 835 835 835 835 835 835 835 835 835 835 835 835 835 835 835 835 835 835 837 837 837 837 837 837 837 837 837 837 837 837 837 837 837 837 837 837 837 837 837 837 840 840 840 840 840 840 840 840 840 840 840 840 840 840 840 840 840 840 840 840 840 840 835 835 835 835 835 835 835 835 835 835 835 835 835 835 835 835 835 835 835 835 835 835 837 837 837 837 837 837 837 837 837 837 837 837 837 837 837 837 837 837 837 837 837 837 840 840 840 840 840 840 840 840 840 840 840 840 840 840 840 840 840 840 840 840 840 840 835 835 835 835 835 835 835 835 835 835 835 835 835 835 835 835 835 835 835 835 835 835 849837 849837 849837 849837 849837 849837 849837 849837 849 849 849 849 849 849 849 854 840 854 840 854840 854840 854840 854840 854840 854840 854840 854840 854 85440 846 41 841 841 841 841 841 841 841 841 846 837 837 837 837 837 837 837 837849 837849 837849 837849 837849 837849 837854 840854 840854 840854 840854 840854 840 854 840 854 840 854 840 840 8408 835846 835846 835846 835846 835846 835846 835846 835846 835846 835846 835846 835846 835846 835846 835846 835846 835846 835846 835846 835846 835849 835 846849 849 849 849 849 849 849 849 849 849 849 849 849 849 849 849 849 849 849 849 849 854 854 854 854 854 854 854 854 854 854 854 854 854 854 854 854 854 854 854 854 854 41 841 841 841 841 841 841 841 841 846 846 846 846 846 846 846 846 846 846 846 846 846 846 846 846 846 846 846 846 846849 846849 849 849 849 849 849 849 849 849 849 849 849 849 849 849 849 849 849 849 849 849 854 854 854 854 854 854 854 854 854 854 854 854 854 854 854 854 854 854 854 854 854 41 841 841 841 841 841 841 841 841 846 846 846 846 846 846 846 846 846 846 846 846 846 846 846 846 846 846 846 846 846849 846849 849 849 849 849 849 849 849 849 849 849 849 849 849 849 849 849 849 849 849 849 854 854 854 854 854 854 854 854 854 854 854 854 854 854 854 854 854 854 854 854 854 41 841 841 841 841 841 841 841 841 846 846 846 846 846 846 846 846 846 846 846 846 846 846 846 846 846 846 846 846 846849 ETHETIC INFLUENCE. ENCE 846 846 846 846 846 846 846 846 846 846 846 846 846 846 846 846 846 846849 846849 849CHIARO-SCURO. 41 841 841 AND 841 841 841 841 841 841 846 846 846 849 849 849 849 849 849 849 849 849 849 849 849 849 849 849 849 849 849 849 854 854 854 854 854 854 854 854 854 854 854 854 854 854 854 854 854 854 854 854 854 846849 849 849 849 849 849 849 849 849 849 849 849 849 849 849 849 849 849 849 849 849 854 854 854 854 854 854 854 854 854 854 854 854 854 854 854 854 854 854 854 854 854 41 841 841 841 841 841 841 841 841 846 846 846 846 846 846 846 846 846 846 846 846 846 846 846 846 846 846 846 846 846849 846849 849849 41 841 841 841 841 841 841 841 841 846 846 846 846 846 846 846 846 846 846 846 846 846 846 846 846 846 846 846 846 846849 849 849 849 849 849 849 849 849 849 849 849 849 849 849 849 849 849 849 849 854 854 854 854 854 854 854 854 854 854 854 854 854 854 854 854 854 854 854 854 854 854 846849 849We 41 841 841 841 841 841 841 841 841 846 846 846 846 846 846 846 846 846 846 846 846 846 846 846 846 846 846 846 846 846849 849apply 849 849 849term 849 849 849 849 849 (Helldunkel) 849 849 849 849 the chiaro-scuro to849 the849 849 849 849 849 854 854 854 854 854 854 854 854 854 854 854 854 854 854 854 854 854 854 854 854 854 globe is well adapted for the general emplification of 846849 849appearance 41 841 841 841 841 841 841 841 841 846 846 846 846 846 846 846 846 846 846 846 846 846 846 846 846 846 846 846 846 846849 849 849 849 849 849 849objects 849 849 when 849 849the 849mere 849 849 849 849 849 849 849 854 The 854 854 854 854 854 854 854 854 854 854 854 854 854 854 854 854 854 854 854 854 of 849 material effect nature of chiaro-scuro, it is not altogether sufficient. 846850 850produced 41 841 841 841 841 841 841 841 841 846 846 846 846 846 846 846 846 846 846 846 846 846 846 846 846 846 846 846 846 846850 850 850 850on 850 850 850 850 850 850shade 850 850 850 850 850 850 850 850 850 854 the 854 854 854 854 854 854 854 854 854 854 854 854 854 854 854 854 854 854 854 854 them by light and is850 considered. softened unity of such complete rotundity tends to the 846850 850 850 850 850 850 850 850 850 850 850 850 850 850 850 850 850 850 850 850 850 854 The 42 842 842 842 842 842 842 842 842 846 846 846 846 846 846 846 846 846 846 846 846 846 846 846 846 846 846 846 846 846850 854 854 854 854 854 854 854 854 854 854 854 854 854 854 854 854 854 854 854 854 846 and in order to serve as a principle for effects 846 846 846 846 846 846 846 846 846 846 846 846 846 z 846 846 846 846 846 42 842 842 842 842 842 842 842 842 846 846 846 850 850 850850 850 850 850 850 850 850 850 850 850 850 850 850 850 850 850 850 850 850 850 854 vapoury, 854art, 854it854 854 854 854 854 854 854 854surfaces, 854 854 854 It is also to be remarked that ladies, in wearing positive should be854 composed of plane so854 as 854 to 854 854 854 854 on to colours. This 847850 850In850 42 842 842 842 842 842 842 842 842 847 847 847 847 847 847 847 847 847 847 847 847 847 847 847 847 847 847 847 847 847850 a narrower a mass shadow is 850 850 855 of 850 850 850sense 850 850 850 850of850 850 850lighted 850 850 by 850reflexes 850 850 850 855 855 the 855 855 855 855 855 855 855 855 855 855 855 855 855 855 855 855 855 855 clours, are847 in danger of making a complexion which may define more. t, 842 partly 847 847 847 847 847 847 847 847 847 847 847 847 847 847 847 847 847850 847850 850often 42 842 to 842the 842 842 842 842 842 847 847 847 thus designated; but we here use the expression in 850 850 850 850 850 850 850 850 850 850 850 850 850 850 850 850 850 850 850 855 855 855 855 gradations 855 855 855 855 855 855 855 855 855 855 855 855 855 855 855 855 855 not847 be 847 very bright still thus preserve a due s42refuge absolute 847 847 847 847less 847 so, 847 and 847 847 847to 847 847 847 847 847 847 847851 847851 851its 842 842in 842 842 842 842 842 842 847 847 847 first and851 more general sense. 851 851 851 851 851 851 851 851 851 851 851 851 851 851 851 851 851 851 855 855 855 855 855 855 855 855 855 855 855 855 855 855 855 855 855 855 855 855 855 855 balance with brilliant they versally white 847 847 847 such 847 847 847 847 accompaniments, 847 847 847 847 847 847 847are 847 847 847 847851 847851 851 851 851 851 851 851 851 851 851 851 851 851 851 851 851 851 851 851 851 851 42 842 842 in 842 842 842 842 842 842 847 847 847 855 855 855 855 855 855 855 855 855 855 855 855 855 855 855 855 855 855 855 855 855 The Italians call this manner “ il piazzos;” in German it might induced to heighten their complexions artific 847851 851851 43 843 843 843 843 843 843 843 843 847 847 847 847 847 847 847 847 847 847 847 847 847 847 847 847 847 847 847 847 847851 851 851 851 851 851 851 851 851 851 851 851 851 851 851 851 851 851 851 851 If,855 therefore, the855 sphere is a 855called 855 855“das 855 Flachen855 855 855hafte.” 855 855 855 855 855 855 855 855 855 855 855 847851 851 851 851 851 851 851 851 851 851 851 851 851 851 851 851 851 851 851 851 851 855 be 43 843 843 843 843 843 843 843 843 847 847 847 847 847 847 847 847 847 847 847 847 847 847 847 847 847 847 847 847 847851 example natural a polygon would 855 855 855 855 855of 855 855 855chiaro-scuro, 855 855 855 855 855 855 855 855 855 855 855 855 of light and from appearance of 851 851 851 855 perfect 847851 851The 43 843 843 843 843 843 843 843 843 847 847 847 847 847 847 847 847 847 847 847 847 847 847 847 847 847 847 847 847 847851 851 separation 851 851 851 851 851 851 851dark 851 851 851all851 851 851 851 851 the855 artist-like treatment in which all855 kinds of lights, 855 exhibit 855 855 855 855 855 855 855 855 855 855 855 855 855 855 855 855 855 855 e, 843 may not is possible and necessary. The artist will solve the 847851 851colour 43 843 843be 843 843 843 843 843 847 847 847 847 847 847 847 847 847 847 847 847 847 847 847 847 847 847 847 847 847851 851 851 851 851 851 851 851 851 851 851 851 851 851 851 851 851 851 851 851 856 half-lights, shadows, and reflexions, would be appreciable. 856 856 856 856 856 856 856 856 856 856 856 856 856 856 856 856 856 856 856 856 rous as he is of mystery of imitation sooner by first considering light 847851 851 851 851 851 851 851 851 851 851 851 851 851 851 851 851 851 851 851 851 851 44 844 844 844 844 844 844 844 844 847 847 847 847 847 847 847 847 847 847 847 847 847 847 847 847 847 847 847 847 847851 o44be lost 856 856 856 856 856 856 856 856 856 856 856 856 856 856 856 856 856 856 856 856 856 dark independently of colour, and making himself 847851 851and 844 844among 844 844 his 844 844 844 844 847 847 847 847 847 847 847 847 847 847 847 847 847 847 847 847 847 847 847 847 847851 851 851 851 851 851 851 851 851 851 851 851 851 851 851 851 851 851 851 851 856 856 856 856 856 856 856 856 856 856 856 856 856 856 856 856 856 856 856 856 856 856 with it in its whole extent. 847851 851acquainted 44 844 844 844 844 844 844 844 844 847 847 847 847 847 847 847 847 847 847 847 847 847 847 847 847 847 847 847 847 847851 The bunch of grapes is recognised as a good example of a 851 851 851 851 851 851 851 851 851 851 852 852 852 852 852 852 852 852 852 856 856 856 856 856 856 856 856 856 856 856 856 856 856 856 856 856 856 856 856 856 847852 852 852 852 85 852 852 852 852 852 852 85 852 852 852 852 852 852 85 852 852 44 844 844 844 844 844 844 844 844 847 847 847 847 847 847 847 847 847 847 847 847 847 847 847 847 847 847 847 847 847852 picturesque completeness in chiaro-scuro, the more so as 852 856 856 856 856 856 856 856 856 856 856 856 856 856 856 856 856 856 856 856 856 856 44 844 844 844 844 844 844 844 844 847 847 847 847 847 847 847 847 847 847 847 847 847 847 847 847 847 847 847 847 847 847 it is fitted, from its form to represent a principal group; but 852 852 852 852 85 852 852 852 852 852 852 85 852 852 852 852 852 852 85 852 852 852 an noblemen of 856 856 856 856 856 856 856 856 856 856 856 856 856 856 856 856 856 856 856 856 856 45 845 845 845 845 845 845 845 845 847 847 847 847 847 847 847 847 847 847 847 847 847 847 847 847 847 847 847 847 847 848 it is only available for the master who can see in it what he 852 852 852Chiaro-scuro 85 852 852 852 exhibits 852 852 852 85substance 852 852 852 as 852substance, 852 852 85 852 852 852 852 the 856 has 856 856 856 856 856 856 856 856 856 856 856 856 856 856 856 856 856 856 856 45 845 845 845 845 845 845 845 845 848 848 848 848 848 848 848 848 848 848 848 848 848 848 848 848 848 848 848 848 848 848 the856 power of producing. 852 852 85 852 852 852 as 852light 852 852 85shade 852 852inform 852 852us 852 852 852of 852 852 852 inasmuch and as852 to 85 degrees 45 845 845 845 845 845 845 845 845 848 848 848 848 848 848 848 848 848 848 848 848 848 848 848 848 848 848 848 848 848 848 856 856 856 856 856 856 856 856 856 856 856 856 856 856 856 856 856 856 856 856 856 852 85 852 852 852 852 852 852 85 852 852 852 852 852 852 85 852 852 852 852 852 852 85 density. 848 848 848 848 848 848 848 848 848 848 848 848 848 848 848 848 848 848 848 848 848 848 45 845 845 845 845 845 845 845 845 857 857 857 857 857 857 857 857 857 857 857 857 857 857 857 857 857 857 857 857 857 857 rn climates 852 852 852 852 852 852 85 852 852 852 852 852 852 852 852 853 853 853 853 853 853 853 845 845 845of 845 845 845 845 845 848 848 848 848 848 848 848 848 848 848 848 848 848 848 848 848 848 848 848 848 848 848 857 In 857order 857 857 857the 857first 857 857 857 857 857 857to857 857 857 857 857 857 857 to 857 make idea intelligible the857 beginner, y45also admit 853 853 853853 853 853 853 853 853 853 853 853 853 853 853 853 853 853 853 853 853 853 853 45 845 845 845 845 845 845 845 845 848 848 848 848 848 848 848 848 848 848 848 848 848 848 848 848 848 848 848 848 848 848 857 857 857 857to857 857 857 it 857 857 857 857 857 857in 857 it is857 difficult consider abstractedly even a 857 857 857 857 857 here consider the853 highest light, the853 middle 853 853 853We 853have 853 853 853to 853 853 853 853 853 853 853 853 853 853 853 853 853 857 (for 45 845 845 845 845 845 845 845 845 848 848 848 848 848 848 848 848 848 848 848 848 848 848 848 848 848 848 848 848 848 848 a cube, the three sides which 857 857 857we 857may 857 take 857 857 857 857 857 857 857 857of 857 857 857 857 857 857 857 and853 the853 shadow, in the the853 the853 shadow the 853 853 853tint, 853 853 853 853and 853 853 853last 853 853 853 853of853 853 853 853 857 polygon,) 45 845 845 845 845 845 845 845 845 848 848 848 848 848 848 848 848 848 848 848 848 848 848 848 848 848 848 848 848 848 848 are857 seen the middle tint, the857 857 857 857 857 that 857 857 857represent 857 857 857the 857light, 857 857 857 857 857 857and 857 857 object itself, the shadow it casts on other objects, and the 848853 853 853 853 853 853 853 853 853 853 853 853 853 853 853 853 853 853 853 853 853 857 shadow 845 845 845 845 845 845 845 845 848 848 848 848 848 848 848 848 848 848 848 848 848 848 848 848 848 848 848 848 848853 y45soon in distinct order. 857 857 857 857 857 857 857 857 857 857 857 857 857 857 857 857 857 857 857 857 illumined shadow or reflexion. 848853 853 853 853 853 853 853 853 853 853 853 853 853 853 853 853 853 853 853 853 853 857 857 857 857 857 857 857 857 857 857 857 857 857 857 857 857 857 857 857 857 857 45 845 845 845 845 845 845 845 848 848 848 848 848 848 848 848 848 848 848 848 848 848 848 848 848 848 848 848 848853 al,845 subdued, 853 853 853 853 853 853 853 853 853 853 853 853 853 853 853 853 853 853 853 853 853 853 45 845 845varying 845 845 845 845 845 845 848 848 848 848 848 848 848 848 848 848 848 848 848 848 848 848 848 848 848 848 848 848 finitely 857 857 857 857 857 857 857 857 857 857 857 857 857 857 857 857 857 857 857 857 857 848853 853 853 853 853 853 853 853 853 853 853 853 853 853 853 853 853 853 853 853 853 857 857 857 857 857 857 857 857 857 857 857 857 857 857 857 857 857 857 857 857 857 45 845 845 845 845 845 845 845 845 848 848 848 848 848 848 848 848 848 848 848 848 848 848 848 848 848 848 848 848 848853 not unpleasing. 848853 853 853 853 853 853 853 853 853 853 853 853 853 853 853 853 853 853 853 853 853 45 845 845 845 845 845 845 845 845 848 848 848 848 848 848 848 848 848 848 848 848 848 848 848 848 848 848 848 848 848853 857 857 857 857 857 857 857 857 857 857 857 857 857 857 857 857 857 857 857 857 857 848853 853 853 853 853 853 853 853 853 853 853 853 853 853 853 853 853 853 853 853 853 45 845 845 845 845 845 845 845 845 848 848 848 848 848 848 848 848 848 848 848 848 848 848 848 848 848 848 848 848 848853 857 857 857 857 857 857 857 857 857 857 857 857 857 857 857 857 857 857 857 857 857 848853 853 853 853 853 853 853 853 853 853 853 853 853 853 853 853 853 853 853 853 853 45 845 845 845 845 845 845 845 845 848 848 848 848 848 848 848 848 848 848 848 848 848 848 848 848 848 848 848 848 848853 857 857 857 857 857 857 857 857 857 857 857 857 857 857 857 857 857 857 857 857 857 848853 853 853 853 853 853 853 853 853 853 853 853 853 853 853 853 853 853 853 853 853 45 845 845 845 845 845 845 845 845 848 848 848 848 848 848 848 848 848 848 848 848 848 848 848 848 848 848 848 848 848853 857 857 857 857 857 857 857 857 857 857 857 857 857 857 857 857 857 857 857 857 857 848853 853 853 853 853 853 853 853 853 853 853 853 853 853 853 853 853 853 853 853 853 45 845 845 845 845 845 845 845 845 848 848 848 848 848 848 848 848 848 848 848 848 848 848 848 848 848 848 848 848 848853 853 853 853 853 853 853 853 853 853 853 853 853 853 853 853 853 853 853 853 853 853 853 857 857 857 857 857 857 857 857 857 857 857 857 857 857 857 857 857 857 857 857 857 45 845 845 845 845 845 845 845 845 848 848 848 848 8 848 848 848 848 848 848 848 848 848 848 848 848 848 848 848 8 848 848 853 853 853 85353 853 853 853 853 853 853 853 853 853 853 853 853 853 853 853 853 853 857 857 857 857 857 857 857 857 857 857 857 857 857 857 857 857 857 857 857 857 857 848865 848865 45 845 845 845 845 845 845 845 845 848 848 848 848 848 848 848 848 848 848 848 848 848 848 848 848 848 848 848 848865 867 867 867 867 867 867 867 867 867 867 867 867 867 867 867 867 867 867 867 867 867 867 865 865 865 865 865 865 865 865 865 865 865 865 865 865 865 865 865 865 865 865 865857 857 857 857 857 857 857 857 857 857 857 857 857 857 857 857 857 857 857 857 857 853 853 853 853 853 853 853 853 853 853 853 853 853 853 853 853 853 853 853 853 853 865 865 865 865 865 865 865 865 865 865 865 865 865 865 865 865 865 865 865 865 865 865 865 865867 867 867 867 867 867 867 867 867 867 867 867 867 867 867 867 867 867 867 867 867 867 865 865 865 865 865 865 865 865 865 865 865 865 865 865 865 865 865 865 865 865 865 865 865 865867 867 867 867 867 867 867 867 867 867 867 867 867 867 867 867 867 867 867 867 867 867 865 865 865 865 865 865 865 865 865 865 865 865 865 865 865 865 865 865 865 865 865 865 865 865867 867 867 867 867 867 867 867 867 867 867 867 867 867 867 867 867 867 867 867 867 867 O O G O O O KEEPING. 867 867 867 867 867 867 867 867 867 867 867 867 867 867 867 867 867 867 867 865 865 865 865 865 865 865 865 865 865 865 865 865 865 865 865 865 865 865 865 865 865 865 865867 867 867 865 865 865 865 865 865 865 865 865 865 865 865 865 865 865 865 865 865 865 865 865 865 865 865867 867 867 867 867 867 867 867 867 867 867 867 867 867 867 867 867 867 867 867 867 867 865 865 865 865 865 865 865 865 865 865 865 865 865 865 865 865 865 865 865 865 865 865 865 865867 867 867 867 867 867 867 867 867 867 867 867 867 867 867 867 867 867 867 867 867 867 865 865 865 865 865 865 865 865 865 865 865 865 865 865 865 865 865 865 865 865 865 865 865 865867 867 867 867 867 867 867 867 867 867 867 867 867 867 867 867 867 867 867 867 867 867 865 865 865 865 865 865 865 865 865 865 865 865 865 865 865 865 865 865 865 865 865 865 865 865867 867 867 867 867 867 867 867 867 867 867 867 867 867 867 867 867 867 867 867 867 867 867 868 868 868 868 868 868 868 868 868 868 868 868 868 868 868 868 868 868 868 865 865 865 865 865 865 865 865 865 865 865 865 865 865 865 865 865 865 865 865 865 865 865 865868 868 868 If linear perspective displays the gradation of objects 865 865 865 865 865865 865 865 865 865 865 865 865 865 865 865 865 865 865 865 865 865 865 865 865 868 868 868 868 868 868 868 868 868 868 868 868 868 868 868 868 868 868 868 868 868 868 in their apparent size as868 affected 868 868 868 868 868 868 868 868 by 868distance, 868 868 868aerial 868 868 868 868 868 868 866 866 866 866 866 866it866 866 866 866 866 866men 866 866 866at866 866 866 866 866 866868 868 868 In866 general may be866 observed that have all866 times perspective their gradation in greater or less 868 868 868shows 868 868us 868 868 868 868 868 868 868 868 868 868 868 868 868 868 866 866 866 866 866 866 866 866 866 866 866 866 866 866 866 practice 866 866 866of866 866 866 866 866 866868 868 868 instinctively striven after colour in the the art. distinctness, as affect cause. 868 868 868 868 868 868by 868the 868same 868 868 868 868 868 868 868 868 868 868 868 866 866 866 866 866 866 866 866 866 866 866 866how 866 866 866amateurs 866 866 866proceed 866 866 866 866 866 866868 868 868 We need only observe daily, soon 866 866 866 866 866 866 866 866 866 866 866materials. 866 866 866Paolo 866 866Uccello 866 866 866 866 866 866 866868 868 868 868 868 868 868 868 868 868 868 868 868 868 868 868 868 868 868 868 868 868 from colourless to 866 coloured 868 866 866 866 866 866 866 coloured 866 866 866landscapes 866 866 866 866 866 866 866 866 866 866 866 866 866 866 866869 869 869 869 869 869 869 869 869 869 869 869 869 869 869 869 869 869 869 869 869 869 painted to colourless figures. Although from the nature of the organ sight, we cannot 866 866 866 866 866 866 866 866 866 866 866 866 866 866 866 866 866 866 866 866 866 866 866 866869 869 869 869 869 869 869 869 869 869 869 869 869 869 869 869 869 869 869 869 869 869 see distant objects so distinct as nearer ones, yet aerial 866866 866 866 866 866 866 866 866 866 866 866 866 866 866 866 866 866 866 866 866 869 869 869 869 869 869 869 869 869 869 869 869 869 869 869 869 869 869 869 869 869 869 866 866 866 866 perspective is ground strictly on the important fact that all 866 866 866 866 866 866 866 866 866 866 866 866 866 866 866 866 866 866 866 866 866 866 866 866869 869 869 869 869 869 869 869 869 869 869 869 869 869 869 869 869 869 869 869 869 869 mediui called transparent are in some degree dim. Even the866 sculpture of the ancients not 866 866 866 866 866 866 866 866 866 866 866 866 866could 866 866 866 866 866 866 866 866 866 866869 869 869 869 869 869 869 869 869 869 869 869 869 869 869 869 869 869 869 869 869 869 be866 exempt the influence of 866 this866 propensity. 866 866 866 866 866 866from 866 866 866 866 866 866 866 866 866 866 866 866 866 866 866869 869 869 869 869 869 869 869 869 869 869 869 869 869 869 869 869 869 869 869 869 869 869 The their ; statues 869 869 869 869 869 869 869 869 869 869 869semi869 869 869 869 869 869 869 866 866 866 866 866Egyptians 866 866 866 painted 866 866 866 866 bas-reliefs 866 866 866 866 866 866 866 866 866 866 866 866869 869 869 The869 atmosphere is thus always, more or lei had of 866 coloured Porphyry 870 870 870 This 870 870 870 870 870 870 870in870 870 870 870 870 870 870 870 866 866 866 866 866eyes 866 866 866 866stones. 866 866 866 866 866 draperies 866 866 866were 866 866 866 866 866 866870 870 870 transparent. quality is 870 remarkable southern added to866 marble heads and and 870 870even 870 870 870 870 870 870 870 870the 870weather 870 870 870 870 870 870 866 866 866 866 866 866 866 866 866 866 866extremities, 866 866 866 866 866variegated 866 866 866 866 866 866 866870 870 870 climates, when the870 barometer is870 high, dry, stalactites used for 866 the866 pedestals of busts. 870cloudless 870 870 870 870 870 870 870 870 870 870 870 870 866 866 866 866 866 866 866were 866 866 866 866 866 866 866 866 866 The 866 866 866 866 866 866870 870 870 and870 the870 sky for a 870 very pronounced gradation is 870 870 870 Jesuits fail866 to compose S. Luigi, 870 870 870 870 870 870 870 870 870little 870 870 870 870 from 870 870 870 870 870 870 866 866 866 866 866 866did 866 not 866 866 866 866 866the 866statue 866 866 of 866their 866 866 866 866 866 866 866870 870 870 observable between objects but removed each in866 Rome, in this manner, 870 870 870 870 870 870 870 870 870 870 870 870 870 870 870 870 870 870 870 866 866 866 866 866 866 866 866 866 866and 866the 866 most 866 866modern 866 866 sculpture 866 866 866 866 866 866 866870 870 870 other. distinguishes from drapery by866 866 866 866 866 866 866 866870 870 870 870 870 870 870 870 870 870 870 870 870 870 870 870 870 870 870 870 870 870 866 866 866 866 866 866 866 866the 866flesh 866 866 866 the 866 866 866 866 staining the866 latter. 866 866 866 866 866 866 866 866 866 866 866 866 866 866 866 866 866 866 866 866 866 866 866870 870 870 870 870 870 870 870 870 870 870 870 870 870 870 870 870 870 870 870 870 870 870 870 870 870 on 870a870 870 scale 870 870is870 870 870 870 870 870 870 870 870 866 866 866 866 866 866 866 866 866 866 866 866 866 866 866 866 866 866 866 866 866 866 866 866870 870 870 The870 appearance large known every one870 ; the 870 870 870 870 870 870or 870 870 870 870 870 870 870gradation 870 870 870 870 870 870 866 866 866 866 866 866 866 866 866 866 866 866 866 866 866 866 866 866 866 866 866 866 866 866870 870 870 painter, however, sees believes he sees, the 870slights 870 870 varieties 870 870 870of 870 870 870 870 870 870 870it870 870 870 870 870 866 866 866 866 866 866 866 866 866 866 866 866 866 866 866 866 866 866 866 866 866 866 866 866870 870 870 in the distance. He870 exemplifies 870 870 870 870 870 870 870 870 870 870 870 870 870 870 870 870 870 866 866 866 866 866 866 866 866 866 866 866 866 866 866 866 866 866 866 866 866 866 866 866 866870 870 870 practically by870 making a 870 distinction, for instance, the 870 870of 870 870 870 870 870 870 870relative 870 870 870 870 870as 870 870 870 870 866 866 866 866 866 866 866 866 866 866 866 866 866 866 866 866 866 866 866 866 866 866 866 866870 870 870 features a face according to870 their position 870 870 870plane 870 870 870 870The 870 direction 870 870 870of 870 870light 870 870 870 870 866 866 866 866 866 866 866 866 866 866 866 866 866 866 866 866 866 866 866 866 866 866 866 866870 870 870 regards the of870 the870 picture. the 870 870 870 870 870 870 870This 870 870 870 870 870 870 870 870 870 870 870 866 866 866 866 866 866 866 866 866 866 866 866 866 866 866 866 866 866 866 866 866 866 866 866870 870 870 is attended to870 in like manner. is considered to produce 870 870 870from 870 870 870 870while 870 870 870 870 has 870 870 870 870 870 870 870 866 866 866 866 866 866 866 866 866 866 866 866 866 866 866 866 866 866 866 866 866 866 866 866870 870 870 a gradation side to870 side, keeping reference 870 870to 870the 870comparative 870 870 870 870distinctness 870 870 870 870 870and 870 870 870 870 870 866 866 866 866 866 866 866 866 866 866 866 866 866 866 866 866 866 866 866 866 866 866 866 866870 870 870 to depth, of870 near 870 870 870 870 870 870 870 870 870 870 870 870 870 870 870 870 870 870 870 866 866 866 866 866 866 866 866 866 866 866 866 866 866 866 866 866 866 866 866 866 866 866 866870 870 870 distant things. 866 866 866 866 866 866 866 866 866 866 866 866 866 866 866 866 866 866 866 866 866 866 866 866870 870 870 870 870 870 870 870 870 870 870 870 870 870 870 870 870 870 870 870 870 870 866 866 866 866 866 866 866 866 866 866 866 866 866 866 866 866 866 866 866 866 866 866 866 866870 870 870 870 870 870 870 870 870 870 870 870 870 870 870 870 870 870 870 870 870 870 866 866 866 866 866 866 866 866 866 866 866 866 866 866 866 866 866 866 866 866 866 866 866 866870 870 870 870 870 870 870 870 870 870 870 870 870 870 870 870 870 870 870 870 870 870 866 866 866 866 866 866 866 866 866 866 866 866 866 866 866 866 866 866 866 866 866 866 866 866870 870 870 870 870 870 870 870 870 870 870 870 870 870 870 870 870 870 870 870 870 870 877 877 877 877 877 877 877 877 877 877 877 877 877 877 877 877 877 877 877 877 877 877 870873 870873 870873 870873 870873 870873 870873 870873 870873 870873 870873 870873 870873 870873 870873 870873 870873 870873 870873 870873 870873 870 866 866 866 866 866 866 866 866 866 866 866 866 866 866 866 866 866 866 866 866 866 866 866 866 873 873 873 873 873 873 873 873 873 873 873 873 873 873 873 873 873 873 873 873 873 873 873 877 877 877 877 877 877 877 877 877 877 877 877 877 877 877 877 877 877 877 877 877 877 873 873 873 873 873 873 873 873 873 873 873 873 873 873 873 873 873 873 873 873 873 873 877 877 877 877 877 877 877 877 877 877 877 877 877 877 877 877 877 877 877 877 877 877 873 873 873 873 873 873 873 873 873 873 873 873 873 873 873 873 873 873 873 873 873 873 877 877 877 877 877 877 877 877 877 877 877 877 877 877 877 877 877 877 877 877 877 877 COLOUR PARTICULAR 873 873 873 873 873 873 873OF 873 873 873 873 873 873 873 873 873 873 873 873 873 873 873 877 877 877 877 877 877 877 877 877 877 877 877 877 877 877 877 877 877 877 877 877 877 O O G O O G 877 877 877 877 877 877 877 877 877 877 877 877 877 877 877 877 877 877 877 877 877 877 873 873 873 873 873 873 873 873 873 873 873 873 873 873 873 873 873 873 873 873 873 873 OBJECTS. 873 873 873 873 873 873 873 873 873 873 873 873 873 873 873 873 873 873 873 873 873 873 877 877 877 877 877 877 877 877 877 877 877 877 877 877 877 877 877 877 877 877 877 877 873 873 873 873 873 873 873 873 873 873 873 873 873 873 873 873 873 873 873 873 873 873 877 877 877 877 877 877 877 877 877 877 877 877 877 877 877 877 877 877 877 877 877 877 873 873 873 873 873 873 873 873 873 873 873 873 873 873 873 873 873 873 873 873 873 873 877 877 877 877 877 877 877 877 877 877 877 877 877 877 877 877 877 877 877 877 877 877 873873 873 873 873 873 873 873 873 873 873 873 873 873 873 873 873 873 873 873 877 877 877 877 877 877 877 877 877 877 877 877 877 877 877 877 877 877 877 877 877 877 877 873 873 873 877 art 877 of 877the 877painter 877 877 877 877 877 to 877imitate 877 877 the 877 877 877 877 877 877 Local colours are composed the The877 chief is always actual 874 874 874 874 874 874 874 874 874 874 874of 874 874general 874 874 elementary 874 874 874 874 874 874 874 877 877 877 878 878 878of 878 878definite 878 878 878 878 878 878 878with 878 878 colours; these or874 specified according to 874 874 878 878 878 appearance the hue, doing away the878 878 878 878 878 874 874 874 874 874 but 874 874 874are 874 determined 874 874 874 874 874 874 874 874 874 874 878 878 878of 878 878elementary 878 878 878 878 878 878 878of878 878 878 878 878 878 878 the properties substances and874 surfaces on which recollection the ingredients colour. This 874 874 874 874 874 874 874of 874 874 874 874 874 874 874 874 874 874they 874 874 874 874 878 878 878 878 878 is 878in878 878 878greater 878 878 878 878in878 878 878 878 878 878 878 878 appear: specification is infinite. difficulty no 878 instance than the imitation 874 874 874 874 874this 874 874 874 874 874 874 874 874 874 874 874 874 874 874 874 874 874 878 878 878 878 surface 878 878 878 878 878 878 878 878 878 878 878 878 878 878 878 878 of the of 878 the878 human figure. 874 874 874 874 874 874 874 874 874 874 874 874 874 874 874 874 874 874 874 874 874 874 878 878 878 874874 874 874 874 874 874 874 874 874 874 874 874 874 874 874 874 874 874 874 878 878 878 878 878 878 878 878 878 878 878 878 878 878 878 878 878 878 878 878 878 878 874 874 874 Thus, there at874 once great difierence between and874 874 874 878 878 878 878 878 878 878 878 878 878 878 878 878 878 878 878 878 878 878 878 878 878 878 874 874 874 874 874 874 is 874 874a874 874 874 874 874 874 874 874 silk 874 874 The878 colour of 878 flesh, whole, belongs the active side, wool dyed. Everykind of875 preparation texture 878 878 878as 878a878 878 878 878 878to878 878 878 878 878 878 878 878 875 875 875 875 similarly 875 875 875 875 875 875 875 875 875 875 875and 875 875 875 875 875 875 878 878 878 yet879 the879 bluish of the passive side with The produces corresponding Roughness, 879 879 879 879 879 879 879mingles 879 879 879 879it.879 879colour 879 879 879 879 875 875 875 875 875 875 875 875 875 875modifications. 875 875 875 875 875 875 875 875 875 875 875 875 879 879 879 is altogether the879 elementary smoothness, polish, all875 are875 to 875 be considered. 879 879 879 removed 879 879 879from 879 879 879 879 879 state 879 879and 879 879 879 879 879 875 875 875 875 875 875 875 875 875 875 875 875 875 875 875 875 875 875 875 879 879 879 neutralised organisation. 879 879 879by 879 879 879 879 879 879 879 879 879 879 879 879 879 879 879 879 875 875 875 875 875 875 875 875 875 875 875 875 875 875 875 875 875 875 875 875 875 875 879 879 879 875 875 875 875 875 875 875 875 875 875 875 875 875 875 875 875 875 875 875 875 875 875 875 879 879 879 879 879 879 879 879 879 879 879 879 879 879 879 879 879 879 879 879 879 879 It is therefore one of the pernicious prejudice of art that 879 875 875 875 875 875 875 875 875 875 875 875 875 875 875 875 875 875 875 875 875 875 875 879 879 879 879 879 879 879 879 879 879 879 879 879 879 879 879 879 879 879 879 879 879 To bring the colouring of general nature into harmony the skilful painter must never attend to the material of 875 875 875 875 875 875 875 875 875 875 875 875 875 875 875 875 875 875 875 875 875 875 879 879 879 879 879 879 879 879 879 879 879 879 879 879 879 879 879 879 879 879 879 879 with the colouring of a given object, will perhaps be more draperies, but always represent, as it were, only abstract 875 875 875 875 875 875 875 875 875 875 875 875 875 875 875 875 875 875 875 875 875 875 879 879 879 879 879 879 879 879 879 879 879 879 879 879 879 879 879 879 879 879 879 879 attainable for the judicious artist after the consideration folds. Is not a characteristic variety thus done away with, 875 875 875 875 875 875 875 875 875 875 875 875 875 875 875 875 875 875 875 875 875 875 879 879 879 879 879 879 879 879 879 879 879 879 879 879 879 879 879 879 879 879 879 879 of what has been pointed out in the foregoing theory. For and is the portrait of Leo X. less excellent because 875 875 875 875 875 875 875 875 875 875 875 875 875 875 875 875 875 875 875 875 875 875 879 879 879 879 879 879 879 879 879 879 879 879 879 879 879 879 879 879 879 879 879 879 the most fancifully beautiful and varied appearances may velvet, satin, and moreen, are imitated in their 876 876 876 876 876 876 876 876 876 876 876 876 876 876 876 876 876 876 876 876 876 876 879 879 879 879 879 879 879 879 879 879 879 879 879 879 879 879 879 879 879 879 879 879 still be made true to the principles of nature. relative effect ? 876 876 876 876 876 876 876 876 876 876 876 876 876 876 876 876 876 876 876 876 876 876 879 879 879 879 879 879 879 879 879 879 879 879 879 879 879 879 879 879 879 879 879 879 879 879 879 879 879 879 879 879 879 879 879 879 879 879 879 879 879 879 879 879 879 879 876 876 876 876876 876 876 876 876 876 876 876 876 876 876 876 876 876 876 876 876 876 876 876 876 876 876 876 876 of 876nature, 876 876 colours 876 876 876 876 876 876 876 876 876 876 876 879 879 879 879 879 879 879 879 879 879 879 879 879 879 879 879 879 879 879 879 879 879 In 876 the876 productions appear more or less 879 879 879 879 879 879 879 879 879 879 879 879 879 879 879 879 879 879 879 879 879 879 876 876 876 876 876 876 876 876 876 876 individualised 876 876 876 876 876 876may 876 876 modified, specified, even : this be 876 876 876 876 879 879 879 879 879 879 879 879 879 879 879 879 879 879 879 879 879 879 879 879 879 879 876 876 876 876 876 876 876 876 876 876 876 876 876 876 876 876 876 876 876 876 876 876 readily observed in minerals and plants, in the feathers of 876 876 876 876 876 876 876 876 876 876 876 876 876 876 876 876 876 876 876 876 879 879 879 879 879 879 879 879 879 879 879 879 879 879 879 879 879 879 879 879 879 879 birds and876 the876 skins of beasts. 876 876 876 876 876 876 876 876 876 876 876 876 876 876 876 876 876 876 876 876 876 876 879 879 879 879 879 879 879 879 879 879 879 879 879 879 879 879 879 879 879 879 879 879 876 876 876 876 876 876 876 876 876 876 876 876 876 876 876 876 876 876 876 876 876 876 879 879 879 879 879 879 879 879 879 879 879 879 879 879 879 879 879 879 879 879 879 879 876 876 876 876 876 876 876 876 876 876 876 876 876 876 876 876 876 876 876 876 876 876 879 879 879 879 879 879 879 879 879 879 879 879 879 879 879 879 879 879 879 879 879 879 876 876 876 876 876 876 876 876 876 876 876 876 876 876 876 876 876 876 876 876 876 876 879 879 879 879 879 879 879 879 879 879 879 879 879 879 879 879 879 879 879 879 879 879 876 876 876 876 876 876 876 876 876 876 876 876 876 876 876 876 876 876 876 876 876 876 879 879 879 879 879 879 879 879 879 879 879 879 879 879 879 879 879 879 879 879 879 879 876 876 876 876 876 876 876 876 876 876 876 876 876 876 876 876 876 876 876 876 876 876 879 879 879 879 879 879 879 879 879 879 879 879 879 879 879 879 879 879 879 879 879 879 876 876 876 876 876 876 876 876 876 876 876 876 876 876 876 876 876 876 876 876 876 876 879 879 879 879 879 879 879 879 879 879 879 879 879 879 879 879 879 879 879 879 879 879 876 876 876 876 876 876 876 876 876 876 876 876 876 876 876 876 876 876 876 876 876 876 879 879 879 879 879 879 879 879 879 879 879 879 879 879 879 879 879 879 879 879 879 879 876 876 876 876 876 876 876 876 876 876 876 876 876 876 876 876 876 876 876 876 876 876 879 879 879 879 879 879 879 879 879 879 879 879 879 879 879 879 879 879 879 879 879 879 876 876 876 876 876 876 876 876 876 876 876 876 876 876 876 876 876 876 876 876 876 876 879 879 879 879 879 879 879 879 879 879 879 879 879 879 879 879 879 879 879 879 879 879

THEORY OF COLOURS PR NT (2015) Page ayou and g aph c des gn o se ec ed chap e s o Goe he s Theo y o Co ou s The 15 pages a e des gned o ma ch he 15 e e s o he e “Theo y o Co ou s ” Beh nd he co o ed e e s a e numbe s n gh g ey ha nd ca e Goe he s “ u e” ound on ha page The cove was des gned n g eysca e o c ea e a sense o ony The e s a ux apos on be ween he des gn o he cove w h he book s con en O O O

O O

On Road an po a on n NYC

I represent 1,000 metric tons of carbon dioxide.

I represent 1,000 metric

I represent 1,000 metric tons of carbon dioxide.

an an po a on n NYC

I represent 1,000 metric tons of carbon dioxide.

G G N C

Info-graphic PRINT (2016) These posters graphically depict statistics about waste in New York City.

Solid Waste in NYC

This represents 102,120 tons of carbon dioxide that are released from landfills every year.

The other 2,003,760 tons of carbon dioxide come from solid waste.

There are 2.1 million tons of carbon dioxide released from NYCâ&#x20AC;&#x2122;s solid waste. That is more than liquid and gas waste combined.

Liquid Waste in NYC

N2O wastewater is responsible for 77,270 tons of carbon dioxide each year

CH4 wastewater is responsible for 140,760 tons of carbon dioxide each year.

Every year there are .22 million tons of carbon dioxide released from NYCâ&#x20AC;&#x2122;s water waste.

Gas Waste in NYC

100,000 tons of carbon dioxide 10,000 tons of carbon dioxide 1,000 tons of carbon dioxide 100 tons of carbon dioxide

176,640 million tons of carbon dioxide are released from electric waste every year. That is almost half of the 259,440 million tons of carbon dioxide released from CH4 natural gas waste.

(2014)

Untitled, 2015 Charcoal. 16” x 24” Drawing from observation, focusing on crosscontour.

Three Chairs. Charcoal (2015)

Pisa. Pen (2015)

Ulysses book cover design. Print (2015)

sections, and threes in Italy. , patterns, public and ct the actions that alazzo Ruccelai, La

Courtyards and Piazzas-Site Sketches original Sketches of Florence, Italy (2014) These sketches analyze courtyards and piazzas in Florence, Italy. The courtyard is a place for private familial gatherings, while the piazza is a public meeting place for colleagues. These sketches seek to analyze different layers of social activities.

Certosa, Villa Giulia, Piazza Della Signoria, Piazza Santa Maria Novella (and Train Station), and Piazza San Lorenzo (Mercato Centrale`).

Sketches from Italy, 2014 Graphite. A range of analytical plans, elevations, sections, and threedimensional on site sketches from cities in Italy. These analyses explore different shapes, patterns, public and private spaces, and how the plans reflect the actions that take place within them. Sites include: Palazzo Ruccelai, La

Certosa, Villa Giulia, Piazza Della Signoria, Piazza Santa Maria Novella (and Train Station), and Piazza San Lorenzo (Mercato Centrale`).

Sketches from Italy, 2014 Graphite. A range of analytical plans, elevations, sections, and threedimensional on site sketches from cities in Italy. These analyses explore different shapes, patterns, public and Certosa, Villa Giulia, Piazza Della Signoria, Piazza Santa Maria private spaces, and how the plans reflect the actions that Novella (and Train Station), and Piazza San Lorenzo (Mercato take place within them. Sites include: Palazzo Ruccelai, La Centrale`).

Certosa, Villa Giulia, Piazza Della Signoria, Piazza Santa Maria Novella (and Train Station), and Piazza San Lorenzo (Mercato Centrale`).