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XX MATERIALS
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The materials in which the artist works are of the greatest importance in determining what qualities in the infinite complexity1 of nature he selects for expression. And the good draughtsman will find out the particular ones that belong to whatever medium he selects for his drawing, and be careful never to attempt more than it is capable of doing. Every material he works with possesses certain vital qualities peculiar2 to itself, and it is his business to find out what these are and use them to the advantage of his drawing. When one is working with, say, pen and ink, the necessity for selecting only certain things is obvious enough. But when a medium with the vast capacity of oil paint is being used, the principle of its governing the nature of the work is more often lost sight of. So near can oil paint approach an actual illusion of natural appearances, that much misdirected effort has been wasted on this object, all enjoyment3 of the medium being subordinated to a meretricious4 attempt to deceive the eye. And I believe a popular idea of the art of painting is that it exists chiefly to produce this deception5. No vital expression of nature can be achieved without the aid of the particular vitality6 possessed7 by the medium with which one is working. If this is lost sight of and the eye is 272tricked into thinking that it is looking at real nature, it is not a fine picture. Art is not a substitute for nature, but an expression of feeling produced in the consciousness of the artist, and intimately associated with the material through which it is expressed in his work—inspired, it may be, in the first instance, by something seen, and expressed by him in painted symbols as true to nature as he can make them while keeping in tune8 to the emotional idea that prompted the work; but never regarded by the fine artist as anything but painted symbols nevertheless. Never for one moment does he intend you to forget that it is a painted picture you are looking at, however naturalistic the treatment his theme may demand.

In the earlier history of art it was not so necessary to insist on the limitations imposed by different mediums. With their more limited knowledge of the phenomena9 of vision, the early masters had not the same opportunities of going astray in this respect. But now that the whole field of vision has been discovered, and that the subtlest effects of light and atmosphere are capable of being represented, it has become necessary to decide how far complete accuracy of representation will help the particular impression you may intend your picture or drawing to create. The danger is that in producing a complete illusion of representation, the particular vitality of your medium, with all the expressive10 power it is capable of yielding, may be lost.

Perhaps the chief difference between the great masters of the past and many modern painters is the neglect of this principle. They represented nature in terms of whatever medium they worked in, and 273never overstepped this limitation. Modern artists, particularly in the nineteenth century, often attempted to copy nature, the medium being subordinated to the attempt to make it look like the real thing. In the same way, the drawings of the great masters were drawings. They did not attempt anything with a point that a point was not capable of expressing. The drawings of many modern artists are full of attempts to express tone and colour effects, things entirely11 outside the true province of drawing. The small but infinitely12 important part of nature that pure drawing is capable of conveying has been neglected, and line work, until recently, went out of fashion in our schools.

There is something that makes for power in the limitations your materials impose. Many artists whose work in some of the more limited mediums is fine, are utterly13 feeble when they attempt one with so few restrictions14 as oil paint. If students could only be induced to impose more restraint upon themselves when they attempt so difficult a medium as paint, it would be greatly to the advantage of their work. Beginning first with monochrome in three tones, as explained in a former chapter, they might then take for figure work ivory black and Venetian red. It is surprising what an amount of colour effect can be got with this simple means, and how much can be learned about the relative positions of the warm and cold colours. Do not attempt the full range of tone at first, but keep the darks rather lighter15 and the lights darker than nature. Attempt the full scale of tone only when you have acquired sufficient experience with the simpler range, and gradually add more colours as you learn to master a few. But restraints are 274not so fashionable just now as unbridled licence. Art students start in with a palette full of the most amazing colours, producing results that it were better not to discuss. It is a wise man who can discover his limitations and select a medium the capacities of which just tally16 with his own. To discover this, it is advisable to try many, and below is a short description of the chief ones used by the draughtsman. But very little can be said about them, and very little idea of their capacities given in a written description; they must be handled by the student, and are no doubt capable of many more qualities than have yet been got out of them.
Lead Pencil

This well-known medium is one of the most beautiful for pure line work, and its use is an excellent training to the eye and hand in precision of observation. Perhaps this is why it has not been so popular in our art schools lately, when the charms of severe discipline are not so much in favour as they should be. It is the first medium we are given to draw with, and as the handiest and most convenient is unrivalled for sketch-book use.

It is made in a large variety of degrees, from the hardest and greyest to the softest and blackest, and is too well known to need much description. It does not need fixing.

For pure line drawing nothing equals it, except silver point, and great draughtsmen, like Ingres, have always loved it. It does not lend itself so readily to any form of mass drawing. Although it is sometimes used for this purpose, the offensive shine that occurs if dark masses are introduced is against its use in any but very lightly shaded work.

Plate LV.

FROM A SILVER-POINT DRAWING

275Its charm is the extreme delicacy18 of its grey-black lines.
Silver and Gold Point.

Similar to lead pencil, and of even greater delicacy, is silver-point drawing. A more ancient method, it consists in drawing with a silver point on paper the surface of which has been treated with a faint wash of Chinese white. Without this wash the point will not make a mark.

For extreme delicacy and purity of line no medium can surpass this method. And for the expression of a beautiful line, such as a profile, nothing could be more suitable than a silver point. As a training to the eye and hand also, it is of great value, as no rubbing out of any sort is possible, and eye and hand must work together with great exactness. The discipline of silver-point drawing is to be recommended as a corrective to the picturesque19 vagaries20 of charcoal21 work.

A gold point, giving a warmer line, can also be used in the same way as a silver point, the paper first having been treated with Chinese white.
Charcoal.

Two extreme points of view from which the rendering22 of form can be approached have been explained, and it has been suggested that students should study them both separately in the first instance, as they each have different things to teach. Of the mediums that are best suited to a drawing combining both points of view, the first and most popular is charcoal.

Charcoal is made in many different degrees of hardness and softness, the harder varieties being capable of quite a fine point. A chisel23-shaped point is the most convenient, as it does not wear away so quickly. And if the broad side of the chisel point 276is used when a dark mass is wanted, the edge can constantly be kept sharp. With this edge a very fine line can be drawn24.

Charcoal works with great freedom, and answers readily when forceful expression is wanted. It is much more like painting than any other form of drawing, a wide piece of charcoal making a wide mark similar to a brush. The delicacy and lightness with which it has to be handled is also much more like the handling of a brush than any other point drawing. When rubbed with the finger, it sheds a soft grey tone over the whole work. With a piece of bread pressed by thumb and finger into a pellet, high lights can be taken out with the precision of white chalk; or rubber can be used. Bread is, perhaps, the best, as it does not smudge the charcoal but lifts it readily off. When rubbed with the finger, the darks, of course, are lightened in tone. It is therefore useful to draw in the general proportions roughly and rub down in this way. You then have a middle tone over the work, with the rough drawing showing through. Now proceed carefully to draw your lights with bread or rubber, and your shadows with charcoal, in much the same manner as you did in the monochrome exercises already described.

All preliminary setting out of your work on canvas is usually done with charcoal, which must of course be fixed25 with a spray diffuser. For large work, such as a full-length portrait, sticks of charcoal nearly an inch in diameter are made, and a long swinging line can be done without their breaking.

For drawings that are intended as things of beauty in themselves, and are not merely done as a preparatory study for a painting, charcoal is per277haps not so refined a medium as a great many others. It is too much like painting to have the particular beauties of a drawing, and too much like drawing to have the qualities of a painting. However, some beautiful things have been done with it.

It is useful in doing studies where much finish is desired, to fix the work slightly when drawn in and carried some way on. You can work over this again without continually rubbing out with your hand what you have already drawn. If necessary you can rub out with a hard piece of rubber any parts that have already been fixed, or even scrape with a pen-knife. But this is not advisable for anything but an academic study, or working drawings, as it spoils the beauty and freshness of charcoal work. Studies done in this medium can also be finished with Conté chalk.

There is also an artificial charcoal put up in sticks, that is very good for refined work. It has some advantages over natural charcoal, in that there are no knots and it works much more evenly. The best natural charcoal I have used is the French make known as "Fusain Rouget." It is made in three degrees, No. 3 being the softest, and, of course, the blackest. But some of the ordinary Venetian and vine charcoals26 sold are good. But don't get the cheaper varieties: a bad piece of charcoal is worse than useless.

Charcoal is fixed by means of a solution of white shellac dissolved in spirits of wine, blown on with a spray diffuser. This is sold by the artists' colourmen, or can be easily made by the student. It lightly deposits a thin film of shellac over the work, acting27 as a varnish28 and preventing its rubbing off.

278Charcoal is not on the whole the medium an artist with a pure love of form selects, but rather that of the painter, who uses it when his brushes and paints are not handy.
Red Chalk (Sanguine).

A delightful29 medium that can be used for either pure line work or a mixed method of drawing, is red chalk. This natural red earth is one of the most ancient materials for drawing. It is a lovely Venetian red in colour, and works well in the natural state, if you get a good piece. It is sold by the ounce, and it is advisable to try the pieces as they vary very much, some being hard and gritty and some more soft and smooth. It is also made by Messrs. Conté of Paris in sticks artificially prepared. These work well and are never gritty, but are not so hard as the natural chalk, and consequently wear away quickly and do not make fine lines as well.

Red chalk when rubbed with the finger or a rag spreads evenly on paper, and produces a middle tone on which lights can be drawn with rubber or bread. Sticks of hard, pointed30 rubber are everywhere sold, which, cut in a chisel shape, work beautifully on red chalk drawings. Bread is also excellent when a softer light is wanted. You can continually correct and redraw in this medium by rubbing it with the finger or a rag, thus destroying the lights and shadows to a large extent, and enabling you to draw them again more carefully. For this reason red chalk is greatly to be recommended for making drawings for a picture where much fumbling31 may be necessary before you find what you want. Unlike charcoal, it hardly needs fixing, and much more intimate study of the forms can be got into it.

279Most of the drawings by the author reproduced in this book are done in this medium. For drawings intended to have a separate existence it is one of the prettiest mediums. In fact, this is the danger to the student while studying: your drawing looks so much at its best that you are apt to be satisfied too soon. But for portrait drawings there is no medium to equal it.

Additional quality of dark is occasionally got by mixing a little of this red chalk in a powdered state with water and a very little gum-arabic. This can be applied32 with a sable17 brush as in water-colour painting, and makes a rich velvety33 dark.

It is necessary to select your paper with some care. The ordinary paper has too much size on it. This is picked up by the chalk, and will prevent its marking. A paper with little size is best, or old paper where the size has perished. I find an O.W. paper, made for printing etchings, as good as any for ordinary work. It is not perfect, but works very well. What one wants is the smoothest paper without a faced and hot-pressed surface, and it is difficult to find.

Occasionally black chalk is used with the red to add strength to it. And some draughtsmen use it with the red in such a manner as to produce almost a full colour effect.

Holbein, who used this medium largely, tinted35 the paper in most of his portrait drawings, varying the tint34 very much, and sometimes using zinc36 white as a wash, which enabled him to supplement his work with a silver-point line here and there, and also got over any difficulty the size in the paper might cause. His aim seems to have been to select the few essential things 280in a head and draw them with great finality and exactness. In many of the drawings the earlier work has been done with red or black chalk and then rubbed down and the drawing redone with either a brush and some of the chalk rubbed up with water and gum or a silver-point line of great purity, while in others he has tinted the paper with water-colour and rubbed this away to the white paper where he wanted a light, or Chinese white has been used for the same purpose.
Black Conté and Carbon Pencil.

Black Conté is a hard black chalk made in small sticks of different degrees. It is also put up in cedar37 pencils. Rather more gritty than red chalk or charcoal, it is a favourite medium with some, and can be used with advantage to supplement charcoal when more precision and definition are wanted. It has very much the same quality of line and so does not show as a different medium. It can be rubbed like charcoal and red chalk and will spread a tone over the paper in very much the same way.

Carbon pencils are similar to Conté, but smoother in working and do not rub.
White chalk.

White chalk is sometimes used on toned paper to draw the lights, the paper serving as a half tone while the shadows and outlines are drawn in black or red. In this kind of drawing the chalk should never be allowed to come in contact with the black or red chalk of the shadows, the half tone of the paper should always be between them.

For rubbed work white pastel is better than the ordinary white chalk sold for drawing, as it is not so hard. A drawing done in this method with white pastel and red chalk is reproduced on 281page 46 [Transcribers Note: Plate IV], and one with the hard white chalk, on page 260 [Transcribers Note: Plate LIV].

This is the method commonly used for making studies of drapery, the extreme rapidity with which the position of the lights and shadows can be expressed being of great importance when so unstable38 a subject as an arrangement of drapery is being drawn.
Lithography.

Lithography as a means of artistic39 reproduction has suffered much in public esteem40 by being put to all manner of inartistic trade uses. It is really one of the most wonderful means of reproducing an artist's actual work, the result being, in most cases, so identical with the original that, seen together, if the original drawing has been done on paper, it is almost impossible to distinguish any difference. And of course, as in etching, it is the prints that are really the originals. The initial work is only done as a means of producing these.

A drawing is made on a lithographic stone, that is, a piece of limestone41 that has been prepared with an almost perfectly42 smooth surface. The chalk used is a special kind of a greasy43 nature, and is made in several degrees of hardness and softness. No rubbing out is possible, but lines can be scratched out with a knife, or parts made lighter by white lines being drawn by a knife over them. A great range of freedom and variety is possible in these initial drawings on stone. The chalk can be rubbed up with a little water, like a cake of water-colour, and applied with a brush. And every variety of tone can be made with the side of the chalk.

Some care should be taken not to let the warm finger touch the stone, or it may make a greasy mark that will print.

282When this initial drawing is done to the artist's satisfaction, the most usual method is to treat the stone with a solution of gum-arabic and a little nitric acid. After this is dry, the gum is washed off as far as may be with water; some of the gum is left in the porous44 stone, but it is rejected where the greasy lines and tones of the drawing come. Prints may now be obtained by rolling up the stone with an inked roller. The ink is composed of a varnish of boiled linseed oil and any of the lithographic colours to be commercially obtained.

The ink does not take on the damp gummed stone, but only where the lithographic chalk has made a greasy mark, so that a perfect facsimile of the drawing on stone is obtained, when a sheet of paper is placed on the stone and the whole put through the press.

The medium deserves to be much more popular with draughtsmen than it is, as no more perfect means of reproduction could be devised.

The lithographic stone is rather a cumbersome45 thing to handle, but the initial drawing can be done on paper and afterwards transferred to the stone. In the case of line work the result is practically identical, but where much tone and playing about with the chalk is indulged in, the stone is much better. Lithographic papers of different textures47 are made for this purpose, but almost any paper will do, provided the drawing is done with the special lithographic chalk.
Pen and Ink.

Pen and ink was a favourite means of making studies with many old masters, notably48 Rembrandt. Often heightening the effect with a wash, he conveyed marvellous suggestions with the simplest scribbles49. But it is a difficult medium for the young 283student to hope to do much with in his studies, although for training the eye and hand to quick definite statement of impressions, there is much to be said for it. No hugging of half tones is possible, things must be reduced to a statement of clear darks—which would be a useful corrective to the tendency so many students have of seeing chiefly the half tones in their work.

Plate LVI.

STUDY IN PEN AND INK AND WASH FOR TREE IN "THE BOAR HUNT" RUBENS (LOUVRE)

Photo Giraudon

The kind of pen used will depend on the kind of drawing you wish to make. In steel pens there are innumerable varieties, from the fine crow-quills to the thick "J" nibs50. The natural crow-quill is a much more sympathetic tool than a steel pen, although not quite so certain in its line. But more play and variety is to be got out of it, and when a free pen drawing is wanted it is preferable.

Reed pens are also made, and are useful when thick lines are wanted. They sometimes have a steel spring underneath51 to hold the ink somewhat in the same manner as some fountain pens.

There is even a glass pen, consisting of a sharp-pointed cone52 of glass with grooves53 running down to the point. The ink is held in these grooves, and runs down and is deposited freely as the pen is used. A line of only one thickness can be drawn with it, but this can be drawn in any direction, an advantage over most other shapes.
Etching.

Etching is a process of reproduction that consists in drawing with a steel point on a waxed plate of copper54 or zinc, and then putting it in a bath of diluted55 nitric acid to bite in the lines. The longer the plate remains56 in the bath the deeper and darker the lines become, so that variety in thickness is got by stopping out with a varnish the light lines when they are sufficiently57 284strong, and letting the darker ones have a longer exposure to the acid.

Many wonderful and beautiful things have been done with this simple means. The printing consists in inking the plate all over and wiping off until only the lines retain any ink, when the plate is put in a press and an impression taken. Or some slight amount of ink may be left on the plate in certain places where a tint is wanted, and a little may be smudged out of the lines themselves to give them a softer quality. In fact there are no end of tricks a clever etching printer will adopt to give quality to his print.
Paper.

The varieties of paper on the market at the service of the artist are innumerable, and nothing need be said here except that the texture46 of your paper will have a considerable influence on your drawing. But try every sort of paper so as to find what suits the particular things you want to express. I make a point of buying every new paper I see, and a new paper is often a stimulant58 to some new quality in drawing. Avoid the wood-pulp papers, as they turn dark after a time. Linen59 rag is the only safe substance for good papers, and artists now have in the O.W. papers a large series that they can rely on being made of linen only.

It is sometimes advisable, when you are not drawing a subject that demands a clear hard line, but where more sympathetic qualities are wanted, to have a wad of several sheets of paper under the one you are working on, pinned on the drawing-board. This gives you a more sympathetic surface to work upon and improves the quality of your work. In redrawing a study with which you are not quite satisfied, it is a good plan to use a thin paper, 285pinning it over the first study so that it can be seen through. One can by this means start as it were from the point where one left off. Good papers of this description are now on the market. I fancy they are called "bank-note" papers.

点击收听单词发音收听单词发音  

1 complexity KO9z3     
n.复杂(性),复杂的事物
参考例句:
  • Only now did he understand the full complexity of the problem.直到现在他才明白这一问题的全部复杂性。
  • The complexity of the road map puzzled me.错综复杂的公路图把我搞糊涂了。
2 peculiar cinyo     
adj.古怪的,异常的;特殊的,特有的
参考例句:
  • He walks in a peculiar fashion.他走路的样子很奇特。
  • He looked at me with a very peculiar expression.他用一种很奇怪的表情看着我。
3 enjoyment opaxV     
n.乐趣;享有;享用
参考例句:
  • Your company adds to the enjoyment of our visit. 有您的陪同,我们这次访问更加愉快了。
  • After each joke the old man cackled his enjoyment.每逢讲完一个笑话,这老人就呵呵笑着表示他的高兴。
4 meretricious 3CixE     
adj.华而不实的,俗艳的
参考例句:
  • A wooden building painted to look like marble is meretricious.一座漆得像大理石般的木制建筑物外表是美丽的。
  • Her room was painted in meretricious technicolour.她的房间刷着俗艳的颜色。
5 deception vnWzO     
n.欺骗,欺诈;骗局,诡计
参考例句:
  • He admitted conspiring to obtain property by deception.他承认曾与人合谋骗取财产。
  • He was jailed for two years for fraud and deception.他因为诈骗和欺诈入狱服刑两年。
6 vitality lhAw8     
n.活力,生命力,效力
参考例句:
  • He came back from his holiday bursting with vitality and good health.他度假归来之后,身强体壮,充满活力。
  • He is an ambitious young man full of enthusiasm and vitality.他是个充满热情与活力的有远大抱负的青年。
7 possessed xuyyQ     
adj.疯狂的;拥有的,占有的
参考例句:
  • He flew out of the room like a man possessed.他像着了魔似地猛然冲出房门。
  • He behaved like someone possessed.他行为举止像是魔怔了。
8 tune NmnwW     
n.调子;和谐,协调;v.调音,调节,调整
参考例句:
  • He'd written a tune,and played it to us on the piano.他写了一段曲子,并在钢琴上弹给我们听。
  • The boy beat out a tune on a tin can.那男孩在易拉罐上敲出一首曲子。
9 phenomena 8N9xp     
n.现象
参考例句:
  • Ade couldn't relate the phenomena with any theory he knew.艾德无法用他所知道的任何理论来解释这种现象。
  • The object of these experiments was to find the connection,if any,between the two phenomena.这些实验的目的就是探索这两种现象之间的联系,如果存在着任何联系的话。
10 expressive shwz4     
adj.表现的,表达…的,富于表情的
参考例句:
  • Black English can be more expressive than standard English.黑人所使用的英语可能比正式英语更有表现力。
  • He had a mobile,expressive,animated face.他有一张多变的,富于表情的,生动活泼的脸。
11 entirely entirely     
ad.全部地,完整地;完全地,彻底地
参考例句:
  • The fire was entirely caused by their neglect of duty. 那场火灾完全是由于他们失职而引起的。
  • His life was entirely given up to the educational work. 他的一生统统献给了教育工作。
12 infinitely 0qhz2I     
adv.无限地,无穷地
参考例句:
  • There is an infinitely bright future ahead of us.我们有无限光明的前途。
  • The universe is infinitely large.宇宙是无限大的。
13 utterly ZfpzM1     
adv.完全地,绝对地
参考例句:
  • Utterly devoted to the people,he gave his life in saving his patients.他忠于人民,把毕生精力用于挽救患者的生命。
  • I was utterly ravished by the way she smiled.她的微笑使我完全陶醉了。
14 restrictions 81e12dac658cfd4c590486dd6f7523cf     
约束( restriction的名词复数 ); 管制; 制约因素; 带限制性的条件(或规则)
参考例句:
  • I found the restrictions irksome. 我对那些限制感到很烦。
  • a snaggle of restrictions 杂乱无章的种种限制
15 lighter 5pPzPR     
n.打火机,点火器;驳船;v.用驳船运送;light的比较级
参考例句:
  • The portrait was touched up so as to make it lighter.这张画经过润色,色调明朗了一些。
  • The lighter works off the car battery.引燃器利用汽车蓄电池打火。
16 tally Gg1yq     
n.计数器,记分,一致,测量;vt.计算,记录,使一致;vi.计算,记分,一致
参考例句:
  • Don't forget to keep a careful tally of what you spend.别忘了仔细记下你的开支账目。
  • The facts mentioned in the report tally to every detail.报告中所提到的事实都丝毫不差。
17 sable VYRxp     
n.黑貂;adj.黑色的
参考例句:
  • Artists' brushes are sometimes made of sable.画家的画笔有的是用貂毛制的。
  • Down the sable flood they glided.他们在黑黝黝的洪水中随波逐流。
18 delicacy mxuxS     
n.精致,细微,微妙,精良;美味,佳肴
参考例句:
  • We admired the delicacy of the craftsmanship.我们佩服工艺师精巧的手艺。
  • He sensed the delicacy of the situation.他感觉到了形势的微妙。
19 picturesque qlSzeJ     
adj.美丽如画的,(语言)生动的,绘声绘色的
参考例句:
  • You can see the picturesque shores beside the river.在河边你可以看到景色如画的两岸。
  • That was a picturesque phrase.那是一个形象化的说法。
20 vagaries 594130203d5d42a756196aa8975299ad     
n.奇想( vagary的名词复数 );异想天开;异常行为;难以预测的情况
参考例句:
  • The vagaries of fortune are indeed curious.\" 命运的变化莫测真是不可思议。” 来自英汉文学 - 嘉莉妹妹
  • The vagaries of inclement weather conditions are avoided to a certain extent. 可以在一定程度上避免变化莫测的恶劣气候影响。 来自辞典例句
21 charcoal prgzJ     
n.炭,木炭,生物炭
参考例句:
  • We need to get some more charcoal for the barbecue.我们烧烤需要更多的碳。
  • Charcoal is used to filter water.木炭是用来过滤水的。
22 rendering oV5xD     
n.表现,描写
参考例句:
  • She gave a splendid rendering of Beethoven's piano sonata.她精彩地演奏了贝多芬的钢琴奏鸣曲。
  • His narrative is a super rendering of dialect speech and idiom.他的叙述是方言和土语最成功的运用。
23 chisel mr8zU     
n.凿子;v.用凿子刻,雕,凿
参考例句:
  • This chisel is useful for getting into awkward spaces.这凿子在要伸入到犄角儿里时十分有用。
  • Camille used a hammer and chisel to carve out a figure from the marble.卡米尔用锤子和凿子将大理石雕刻出一个人像。
24 drawn MuXzIi     
v.拖,拉,拔出;adj.憔悴的,紧张的
参考例句:
  • All the characters in the story are drawn from life.故事中的所有人物都取材于生活。
  • Her gaze was drawn irresistibly to the scene outside.她的目光禁不住被外面的风景所吸引。
25 fixed JsKzzj     
adj.固定的,不变的,准备好的;(计算机)固定的
参考例句:
  • Have you two fixed on a date for the wedding yet?你们俩选定婚期了吗?
  • Once the aim is fixed,we should not change it arbitrarily.目标一旦确定,我们就不应该随意改变。
26 charcoals 1847141fc38efac0f94df55dedb22265     
n.炭,木炭( charcoal的名词复数 );深灰色
参考例句:
  • Irons__red-hot charcoals were used to heat up the irons. 使用时.把烧红了的炭放在熨斗内.待热力传遍。便可用来熨衣服。 来自互联网
  • The gallery specialises in beautiful charcoals and watercolours. 这个画廊专营美丽的木炭画和水彩画。 来自互联网
27 acting czRzoc     
n.演戏,行为,假装;adj.代理的,临时的,演出用的
参考例句:
  • Ignore her,she's just acting.别理她,她只是假装的。
  • During the seventies,her acting career was in eclipse.在七十年代,她的表演生涯黯然失色。
28 varnish ni3w7     
n.清漆;v.上清漆;粉饰
参考例句:
  • He tried to varnish over the facts,but it was useless.他想粉饰事实,但那是徒劳的。
  • He applied varnish to the table.他给那张桌子涂上清漆。
29 delightful 6xzxT     
adj.令人高兴的,使人快乐的
参考例句:
  • We had a delightful time by the seashore last Sunday.上星期天我们在海滨玩得真痛快。
  • Peter played a delightful melody on his flute.彼得用笛子吹奏了一支欢快的曲子。
30 pointed Il8zB4     
adj.尖的,直截了当的
参考例句:
  • He gave me a very sharp pointed pencil.他给我一支削得非常尖的铅笔。
  • She wished to show Mrs.John Dashwood by this pointed invitation to her brother.她想通过对达茨伍德夫人提出直截了当的邀请向她的哥哥表示出来。
31 fumbling fumbling     
n. 摸索,漏接 v. 摸索,摸弄,笨拙的处理
参考例句:
  • If he actually managed to the ball instead of fumbling it with an off-balance shot. 如果他实际上设法拿好球而不是fumbling它。50-balance射击笨拙地和迅速地会开始他的岗位移动,经常这样结束。
  • If he actually managed to secure the ball instead of fumbling it awkwardly an off-balance shot. 如果他实际上设法拿好球而不是fumbling它。50-50提议有时。他从off-balance射击笨拙地和迅速地会开始他的岗位移动,经常这样结束。
32 applied Tz2zXA     
adj.应用的;v.应用,适用
参考例句:
  • She plans to take a course in applied linguistics.她打算学习应用语言学课程。
  • This cream is best applied to the face at night.这种乳霜最好晚上擦脸用。
33 velvety 5783c9b64c2c5d03bc234867b2d33493     
adj. 像天鹅绒的, 轻软光滑的, 柔软的
参考例句:
  • a velvety red wine 醇厚的红葡萄酒
  • Her skin was admired for its velvety softness. 她的皮肤如天鹅绒般柔软,令人赞叹。
34 tint ZJSzu     
n.淡色,浅色;染发剂;vt.着以淡淡的颜色
参考例句:
  • You can't get up that naturalness and artless rosy tint in after days.你今后不再会有这种自然和朴实无华的红润脸色。
  • She gave me instructions on how to apply the tint.她告诉我如何使用染发剂。
35 tinted tinted     
adj. 带色彩的 动词tint的过去式和过去分词
参考例句:
  • a pair of glasses with tinted lenses 一副有色镜片眼镜
  • a rose-tinted vision of the world 对世界的理想化看法
36 zinc DfxwX     
n.锌;vt.在...上镀锌
参考例句:
  • Brass is formed by the fusion of copper and zinc.黄铜是通过铜和锌的熔合而成的。
  • Zinc is used to protect other metals from corrosion.锌被用来保护其他金属不受腐蚀。
37 cedar 3rYz9     
n.雪松,香柏(木)
参考例句:
  • The cedar was about five feet high and very shapely.那棵雪松约有五尺高,风姿优美。
  • She struck the snow from the branches of an old cedar with gray lichen.她把长有灰色地衣的老雪松树枝上的雪打了下来。
38 unstable Ijgwa     
adj.不稳定的,易变的
参考例句:
  • This bookcase is too unstable to hold so many books.这书橱很不结实,装不了这么多书。
  • The patient's condition was unstable.那患者的病情不稳定。
39 artistic IeWyG     
adj.艺术(家)的,美术(家)的;善于艺术创作的
参考例句:
  • The picture on this screen is a good artistic work.这屏风上的画是件很好的艺术品。
  • These artistic handicrafts are very popular with foreign friends.外国朋友很喜欢这些美术工艺品。
40 esteem imhyZ     
n.尊敬,尊重;vt.尊重,敬重;把…看作
参考例句:
  • I did not esteem him to be worthy of trust.我认为他不值得信赖。
  • The veteran worker ranks high in public love and esteem.那位老工人深受大伙的爱戴。
41 limestone w3XyJ     
n.石灰石
参考例句:
  • Limestone is often used in building construction.石灰岩常用于建筑。
  • Cement is made from limestone.水泥是由石灰石制成的。
42 perfectly 8Mzxb     
adv.完美地,无可非议地,彻底地
参考例句:
  • The witnesses were each perfectly certain of what they said.证人们个个对自己所说的话十分肯定。
  • Everything that we're doing is all perfectly above board.我们做的每件事情都是光明正大的。
43 greasy a64yV     
adj. 多脂的,油脂的
参考例句:
  • He bought a heavy-duty cleanser to clean his greasy oven.昨天他买了强力清洁剂来清洗油污的炉子。
  • You loathe the smell of greasy food when you are seasick.当你晕船时,你会厌恶油腻的气味。
44 porous 91szq     
adj.可渗透的,多孔的
参考例句:
  • He added sand to the soil to make it more porous.他往土里掺沙子以提高渗水性能。
  • The shell has to be slightly porous to enable oxygen to pass in.外壳不得不有些细小的孔以便能使氧气通过。
45 cumbersome Mnizj     
adj.笨重的,不便携带的
参考例句:
  • Although the machine looks cumbersome,it is actually easy to use.尽管这台机器看上去很笨重,操作起来却很容易。
  • The furniture is too cumbersome to move.家具太笨,搬起来很不方便。
46 texture kpmwQ     
n.(织物)质地;(材料)构造;结构;肌理
参考例句:
  • We could feel the smooth texture of silk.我们能感觉出丝绸的光滑质地。
  • Her skin has a fine texture.她的皮肤细腻。
47 textures c5e62798e528da9080811018cbb27cd3     
n.手感( texture的名词复数 );质感;口感;(音乐或文学的)谐和统一感
参考例句:
  • I'm crazy about fabrics textures and colors and designs. 我喜欢各式各样的纺织物--对它的质地,色彩到花纹图案--简直是入了迷。 来自辞典例句
  • Let me clear up the point about the textures. 让我明确了一点有关的纹理。 来自互联网
48 notably 1HEx9     
adv.值得注意地,显著地,尤其地,特别地
参考例句:
  • Many students were absent,notably the monitor.许多学生缺席,特别是连班长也没来。
  • A notably short,silver-haired man,he plays basketball with his staff several times a week.他个子明显较为矮小,一头银发,每周都会和他的员工一起打几次篮球。
49 scribbles 31ca66845e0e856584b2b3ad225b47e4     
n.潦草的书写( scribble的名词复数 );乱画;草草地写;匆匆记下v.潦草的书写( scribble的第三人称单数 );乱画;草草地写;匆匆记下
参考例句:
  • The scribbles on the wall must be the work of those children. 墙壁上的涂鸦准是那几个孩子画的。 来自辞典例句
  • There are scribbles on the wall. 墙上有胡乱涂写的字迹。 来自辞典例句
50 nibs 4e6b6891fc0ecd3914703a92810bbcb3     
上司,大人物; 钢笔尖,鹅毛管笔笔尖( nib的名词复数 ); 可可豆的碎粒; 小瑕疵
参考例句:
  • They were careful not to offend his nibs. 他们小心翼翼,不敢冒犯这位大人。
  • Please tell his nibs that we'd like his help with the washing-up! 请转告那位大人,我们想请他帮助刷锅洗碗!
51 underneath VKRz2     
adj.在...下面,在...底下;adv.在下面
参考例句:
  • Working underneath the car is always a messy job.在汽车底下工作是件脏活。
  • She wore a coat with a dress underneath.她穿着一件大衣,里面套着一条连衣裙。
52 cone lYJyi     
n.圆锥体,圆锥形东西,球果
参考例句:
  • Saw-dust piled up in a great cone.锯屑堆积如山。
  • The police have sectioned off part of the road with traffic cone.警察用锥形路标把部分路面分隔开来。
53 grooves e2ee808c594bc87414652e71d74585a3     
n.沟( groove的名词复数 );槽;老一套;(某种)音乐节奏v.沟( groove的第三人称单数 );槽;老一套;(某种)音乐节奏
参考例句:
  • Wheels leave grooves in a dirt road. 车轮在泥路上留下了凹痕。 来自《简明英汉词典》
  • Sliding doors move in grooves. 滑动门在槽沟中移动。 来自《现代汉英综合大词典》
54 copper HZXyU     
n.铜;铜币;铜器;adj.铜(制)的;(紫)铜色的
参考例句:
  • The students are asked to prove the purity of copper.要求学生们检验铜的纯度。
  • Copper is a good medium for the conduction of heat and electricity.铜是热和电的良导体。
55 diluted 016e8d268a5a89762de116a404413fef     
无力的,冲淡的
参考例句:
  • The paint can be diluted with water to make a lighter shade. 这颜料可用水稀释以使色度淡一些。
  • This pesticide is diluted with water and applied directly to the fields. 这种杀虫剂用水稀释后直接施用在田里。
56 remains 1kMzTy     
n.剩余物,残留物;遗体,遗迹
参考例句:
  • He ate the remains of food hungrily.他狼吞虎咽地吃剩余的食物。
  • The remains of the meal were fed to the dog.残羹剩饭喂狗了。
57 sufficiently 0htzMB     
adv.足够地,充分地
参考例句:
  • It turned out he had not insured the house sufficiently.原来他没有给房屋投足保险。
  • The new policy was sufficiently elastic to accommodate both views.新政策充分灵活地适用两种观点。
58 stimulant fFKy4     
n.刺激物,兴奋剂
参考例句:
  • It is used in medicine for its stimulant quality.由于它有兴奋剂的特性而被应用于医学。
  • Musk is used for perfume and stimulant.麝香可以用作香料和兴奋剂。
59 linen W3LyK     
n.亚麻布,亚麻线,亚麻制品;adj.亚麻布制的,亚麻的
参考例句:
  • The worker is starching the linen.这名工人正在给亚麻布上浆。
  • Fine linen and cotton fabrics were known as well as wool.精细的亚麻织品和棉织品像羊毛一样闻名遐迩。


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