1. What is the canon of proportion? (pages 4-5) 2. How can you determine whether the figures in John Singer Sargent's painting are rendered
in realistic proportions? (pages 4-5)
3. How does Robert Longo create a realistic, dynamic work? (pages 4-5)
4. How does Leonardo da Vinci create realistic works like Lady With an Ermine? (pages 6-7)
5. How can you tell that Vincent van Gogh's self-portrait is in realistic proportion? (pages 6-7)
6. How does Kehind
e Wiley use highlights and shadows along with the canon of proportion
to create a realistic portrait? (pages 6-7)
7. In what ways does the face in Girl in a Sailor's Blouse have a masklike quality (pages 8-9]
8. Whet techniques does Henri Matisse use to draw the viewer's attention to the woman's clothing
In The Romanian Blouse? (pages 8-9)
9. How does Hannah Hoch play with shape, size, and color in The Journalists? (pages 8-9)
10. How does Pablo Picasso draw attention to the guitar player's elongated fingers
In his work on page 10?
10 TEACHER

Explanation:

This morning I woke up to find that my screen wasn't up

If you're not lucky my friend who swims in the sea

Wasn't very nice

Tonight everything's great

And I don't know if it's for real

I've been waiting waiting waiting wishing on a fool

Chorus

Maybe I'm just an apologist

I was waiting waiting waiting hoping on a fool

You don't have to be anything in order to get hurt

You don't have to be anything in order to get hurt

Verse 2

There is nothing wrong with someone telling you to feel it

You don't have to be anything in order to be great

You don't have to be anything in order to be great

You don't have to be anything in order to be great

You don't have to be anything in order to be great

You don't have to be anything in order to be great

Chorus

Maybe I'm just an apologist

I was waiting waiting waiting hoping on a fool

You don't have to be anything in order to get hurt

You don't have to be anything in order to get hurt

horror and alarm

this is shown in the exserp then he beat at the door and called, but none responded, and for wrath he could have dashed the door down, but it was too stout, and he had no weapon; for his arms had been taken from him.when it was dark, suddenly it seemed to sir lancelot that the room smelled foul, as if he had been carried into the midst of the quaking marsh, and was sunk deep in the slime and weeds of a pool. then, through the arrow-slit, he saw many strange lights come, dim and blue like the wild lights that dance and flit over the lonely marshes by night; but that which made him   marvel was that these lights were two together, as if they were the eyes of evil things. and they came up to him with a breath that was cold and dank, and they seemed to peer into his face, but he could see naught of their bodies. the hair upon his head rose, and his skin went cold. they pressed all about him, and to defend himself he struck at the eyes, but his blows beat only the air. then suddenly sir lancelot felt sharp pains, as if small keen knives had been thrust into his flesh at many places. the stabs increased in number and in pain, and sir lancelot beat about himself and ran to and fro in the narrow chamber to escape   the evil eyes and the stabs, but it was in vain, and thus all night in much misery he suffered. when for sheer weariness he lay down and tried to close his eyes, the evil things would not let him, but ever they tore at him and stabbed him.

c, d, e, f, g, a, b, and c.

sometimes western music will also use solfege. the names of these are do ra me fa sol la si (or ti) and do.

to indicate a note a half step higher or lower then the original note, you would say c # (for a half a step above c) or bb (for half a step below b)