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Hatching (French: hachure) is an artistic technique used to create tonal or shading effects by drawing (or painting or scribing) closely spaced parallel lines. When lines are placed at an angle to one another, it is called cross-hatching .
[citation needed] Both tricking and hatching were applied by the Benedictine monk, philologist and historian Vincenzo Borghini (1515–1580). He drew a difference between metals and colours of arms on his woodcuts by leaving the places for metals blank; similarly, all colours were hatched the same way the colour vert is today.
Both tricking as well as hatching were applied by Vincenzo Borghini, a Benedictine monk, philologist and outstanding historian. He drew a difference between the metals and the colours on the woodcuts of his work by leaving the places blank on the arms for all metals; similarly all colours were hatched by the same way, as the colour vert is ...
Section lines are commonly referred to as "cross-hatching". phantom – (not shown) are alternately long- and double short-dashed thin lines used to represent a feature or component that is not part of the specified part or assembly. E.g. billet ends that may be used for testing, or the machined product that is the focus of a tooling drawing.
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It was the first printing process that yielded half-tones without using line- or dot-based techniques like hatching, cross-hatching or stipple. Mezzotint achieves tonality by roughening a metal plate with thousands of little dots made by a metal tool with small teeth, called a "rocker".
The cross is a combination of a Potent Cross and Quadrate Cross, which appears in the arms of the episcopal see of Lichfield & Coventry. Cross of Jeremiah: The cross of the prophet Jeremiah, also known as the "Weeping Prophet". Cross of Lazarus: A green Maltese cross associated with St. Lazarus. [7] Cross of Saint Maurice
Christ at Rest, by Hans Holbein the Younger, 1519, a chiaroscuro drawing using pen, ink, and brush, washes, white heightening, on ochre prepared paper. The term chiaroscuro originated during the Renaissance as drawing on coloured paper, where the artist worked from the paper's base tone toward light using white gouache, and toward dark using ink, bodycolour or watercolour.