in other words, as in this drawing, watercolor, we can see actual lines. they vary. you have thin lines. you have very thick lines. for example, the figures here have very agitated and excited lines. these are very straight lines. but they create the illusion and suggest volume. they suggest shape and form. line can also be implied, and that takes practice. it takes a considerable amount of work in order to be able to discern the implied lines because they're not actually drawn on the painting. they're not included there, and they're not easily discernible. the implied line, for example here, suggests the arrangement of the buildings in such a way that the artist is indicating depth. so we are addressing implied lines suggest perspective, the system of linear perspective and the way in which all the parallel lines appear to be converging towards a centric point in this work. when we look and continue with implied line, let's look at vermeer's painting of a girl seated behind a desk. there are no actual, clearly defined lines. you can identify shape. you can identify

it was a silk screen watercolor, about 8 feet long. in terms of the flatwork, i work with a lot of cloddish. so being able to cut into it come at into it, removed parts, it is part of the process of negotiating the final form. >> how do you jump from the two dimensional work that you create to the three-dimensional? maybe going back from the 3f to 2d. >> everything is in the process of becoming. things are never said or settled. the sculptures are being made while i am doing the collages, and vice versa. it becomes a part of something else. there's always this figuring out of where things belong or where they could parapets something else. at the end goal is to possibly see one of these collage plans be built out and create a structure that reflects back into the flat work. >> thank you so much for allowing "culturewire" to visit this amazing facility and to learn more about the artists in residence program. is there anything you like our viewers to know? >> we have art exhibitions every four months, and a win by the public to come out

state the salmon arm up to the event features nine hundred and sixteen restored exhibit paintings watercolor paintings bible documents in manuscripts archaeological finds weapons in julie. this is only a small part of the most interesting works of the last three years. they came back to the third for the eighteenth and nineteenth centuries the restoration center was opened in the knees in twenty years ago specialists are working in different directions graphics ceramics soft equipment would lead to bone and metal with special restoration passports where we describe the condition before the restoration me right now my current condition. what images of losses the item has a photograph or takes a photo and only then we begin to work so hard to survive what is the case in the restoration of paintings exhibition features one of my works to restore painting by cause law called shoe makers it was painted with oil and no further information is available which is the work process is very interesting i notice and images on the painting in ebit to be restored. we still work very carefully with these wo

night my family, which was quite dysfunctional, would go see a painter and he teaches painting and watercolornd it was kind of magical you know. but also very much underlying very difficult. and this is a trip where i took this picture of my parents in a virginia beach. and my parents sort of came back together again with a a great amount of love and affection and made me really happy. when i see that picture and experience it i really am very proud of it. >> you said you learned from diane and said to take photographs you need courage. >> yes. >> what's the courage you need to take a photograph? >> most photographers are very very shy. to have a camera in front of you really helps you a lot. this is crazy. my dog goes swimming in the water and i love to photograph him under the water. i can hold my breath for the longest time under the water with my camera. if i was just swimming around with my pals, i wouldn't be able to do it very long. i'm not that athletic. >> is that because you're not focused on your breath because you're focused on what you're doing you're not thinking about that? >>

the watercolors he brought back from wyoming, the first color images of yellowstone, played a key role in the creation of the national parks system. yellowstone had long been familiar to american indians, mountainmen, traders and trelers. legendary,eemingly unbelievable stories made their way east. the canyon was said to be a "fearful chasm the river a "frightful torrent," the sulfur springs wre "diabolical," the place where "hell bubbled up." while the eruption of old faithful was said to be "the most magnificent sight ever witnessed." in 1870, a group of private citizens from montana led by henry washburn, had ventured into yellowstone to see if these stories were true. an account of their experiences appeared in scribner's monthly llowing ng. the editors ha hired younmora to turn field sketches made by amateur artists in the party into publishable illustrations. this commission introduced moran to a landscape he had not yet seen, and changed the course of his career. his interest piqued, moran arranged to join an upcoming expedition to yellowstone led by ferdinand hayden, a geologis