Friday, March 13, 2020

How to Draw Contour Line Art 4 Key Steps

How to Draw Contour Line Art 4 Key Steps SAT / ACT Prep Online Guides and Tips Have you heard about contour line art but aren’t sure what it is? The good news is that you’ve likely already made dozens, maybe even hundreds, of contour line drawings throughout your life without realizing it! Contour drawing is one of the easiest and most effective ways to improve your hand-eye coordination and drawing skills. In this guide, we explain what contour lines in art are and how you make contour line art. We also suggest different contour drawing exercises so you can keep improving your skills. What Is Contour Line Drawing? Contour line art is a method of drawing where you draw only the outline of an object, without any shading. â€Å"Contour† actually means â€Å"outline† in French, which is where the name comes from. For example, if you wanted to do a contour line drawing of a pear, you’d simply draw the outline of the pear, add a stem, and stop there. Some contour drawings will include outlines of important interior shapes (such as wrinkles in cloth or objects on a bookshelf), but contour drawings will never contain shading or minute details. Because you’re focusing on just the shape of an object and not any minor details, contour line art is a great drawing method for beginning artists as well as those looking for some quick drawing exercises. Children, as well as people without a lot of experience drawing, typically make contour line drawings without realizing it, simply because this method is one of the easiest and quickest ways to begin drawing. However, just because contour line art is easy to start doesn’t mean it’s only meant for beginner artists or those who don’t have the skills to do more detailed drawings. Contour line art has many uses, even for highly-experienced artists. Many artists will begin a project with a contour line drawing to get a quick sense of the piece’s composition, then they’ll later go back and add more details. Contour line art is also a good way to become more skilled at replicating the outline of an object and developing hand-eye coordination (which we’ll explain more about in the next section). If you can’t create strong and accurate outlines of an object, the piece will still look unfinished or slightly â€Å"off† even if you add in lots of details and embellishments. Professional artists have used contour art for centuries. Cartoonists often use contour art in their finished pieces, the ancient Greeks used it when decorating vases, and da Vinci frequently made contour line drawings when doing figure studies. It’s an essential skill that every artist should know and practice regularly. The image on the left is an example of contour line art. The image on the right is NOT because it includes shading. How to Draw Contour Lines in Art In order to get the most from your contour line drawing practice, follow these four steps when making contour art. Step 1: Choose What You’ll Draw and Gather Materials For your first contour drawing, we recommend choosing just one object to draw, as this will be easier to focus on than several objects. Put the object or place your seat in a spot where you have a clear view of the object. For materials, you’ll need a drawing tool (pencil or charcoal is most common), and paper or a sketchpad. If you’re using loose paper, you may want to tape it to something so it doesn’t move around while you’re drawing. Now you’re ready to begin! Step 2: Look at the Object It may surprise you to learn that, when you’re drawing contour lines, you want to spend most of your time looking at the object itself, not at your sketchpad. This can be really difficult when you first start doing it, but that’s the point! Contour drawing forces you to really notice and work to replicate the outline of an object. It trains your hand to follow what your eye sees. Start by spending about half your time looking at the object and half your time looking at your paper, and gradually work your way up to looking at the object 90% of the time. This will feel strange initially, and your first drawings will probably look a little wonky, but just keep practicing! As you develop your hand-eye coordination, it’ll feel much more natural, and your drawing skills will improve as a result. You also want to make sure that you’re capturing as much detail of the object’s outlines as possible. If there’s a notch or a warp in the object, make sure your drawing represents that. Contour art is all about replicating the form of an object as closely as possible. Step 3: Draw Long, Continuous Lines Many people new to contour art begin by drawing lots of short lines because they aren’t used to not looking at their paper, and they don’t want to make too big of a mistake by drawing a long line that doesn’t follow the object’s lines.However, you’ll improve your drawing skills more if you draw fewer, longer lines. Drawing longer lines, especially without looking at your paper, improves your hand-eye coordination and helps you become more confident when drawing. Step 4: Go Slow and Steady It can be tempting to rush through contour drawing exercises, especially if you’re used to drawing detailed pieces where the outline is only the first step. Remind yourself to slow down and concentrate on replicating the outline of the object as perfectly as you can. At the same time, don’t freeze up while you’re drawing. Especially when you first begin contour drawing, you may feel tempted to take breaks to compare your drawing to the actual object. Resist this urge! Remember, you want to spend very little time looking at your paper and more time looking at the object. Just concentrate on closely observing the object, keep drawing steadily, and pause and critique your work once you’ve finished. There’s no â€Å"correct† amount of time to spend on a contour drawing, and it’ll likely depend on what you’re drawing. However, about 5 to 20 minutes per drawing is average. Contour Line Drawing Practice Exercises Now it’s time to put all this new art knowledge to the test! In this section are eight contour line drawing exercises you can do to improve your drawing and observation skills. #1: Make a Contour Drawing of Your Hand If you aren’t sure where to start with contour line art, start with something right in front of you! Hands are a very common object to do a contour drawing of, so once you finish, you can look online or in art books for lots of other examples of contour drawings of hands to compare to your own piece. When you’re drawing, remember to aim to look at your paper only 10% of the time. #2: Copy a Contour Line Drawing by Another Artist If you’re still getting the hang of contour art and are not quite sure how to tackle a real-world object, start by replicating another artist’s contour line drawing. Remember to look more at the object than at your paper, and focus on replicating the lines as closely as possible. #3: Do a Blind Contour Drawing A blind contour drawing means that you don’t look at your paper at allnot even for a single secondfrom the time you begin your drawing until the time you finish. Cover your canvas or sketchpad if you need to.Expect your drawing to look a little funny, especially if it’s your first time doing a blind drawing, but this is a great way to improve those hand-eye-coordination skills and learn to really focus on whatever it is you’re drawing. #4: Draw the Outline of an Object With One Continuous Line This takes the concept of drawing long lines even further. For this exercise, you’ll draw the object in one continuous line, never lifting your pencil from the paper until the outline is complete. Again, these drawings will look strange at first, but as you practice, you’ll improve your drawing skills and your ability to recreate the lines you see in real life. #5: Make Five Contour Line Drawings in Less Than One Minute Each Sometimes you just need a quick exercise to get your creative juices flowing, and contour art, because it doesn’t get into the details of objects, is great for this. This exercise involves drawing five contour line pieces in less than five minutes. You can draw five different objects, draw the same object five times, or a combination. Because you’re only spending a minute on each object, you’ll need to be able to replicate its form quickly but accurately. #6: Draw an Object You Know Really Well Choose something you’re very familiar with, such as a favorite childhood toy, the dresser that you’ve looked at every day of your life, or even a pet or friend, and make a contour line drawing of the object. This may be harder than you think. Because you know the object so well, you may be tempted to add in lots of detail, but remember, contour art focuses on the outer edges of the object. This is a good way to remember what’s important in contour art and what you don’t include. #7: Use Cross Contouring to Add Dimension Cross-contour lines are a way to add depth to your contour drawings without adding shading. To add them, you’ll draw parallel lines that run across the object, similar to those you might see on a topographic map.See examples here. Cross-contour lines will help improve your observational skills and learn more about the rules of perspective by requiring you to pay close attention to the outlines of an object and how the lines run across it. The parts of the object that are closer to you will have cross-contour lines closer together, while the more distant parts of the object will have lines further apart. #8: Draw an Object That's Upside Down Once you’ve gotten the hang of contour line art, try drawing an object upside down! You won’t be able to rely on your memory as much since the object will be flipped, so this will exercise really force you to pay attention to the object’s form as you observe it. Summary: Contour Line Art Contour line definition art is a great way for any artist, whether beginning or advanced, to hone their drawing and observation skills. Contour line drawing involves only drawing the outline of an object, without any shading. When you do contour lines in art, you should spend the majority of the time looking at the object, not your paper, in order to improve your hand-eye coordination and really get a good sense of what the object looks like. Once you feel comfortable with the basics, there are many contour line art exercises you can try out to keep growing your skills! What's Next? Are you making an art portfolio to apply to art schools?Check out our guide to learn everything your art portfolio must include to stand out from the crowd! Now that you know how to create a portfolio, are you wondering what art programs you should apply to? Check out our guide on the best art schools in the United States! Want more drawing exercises? We have a guide with over 100 drawing ideas to keep your artistic skills sharp! Have friends who also need help with test prep? Share this article! Tweet Christine Sarikas About the Author Christine graduated from Michigan State University with degrees in Environmental Biology and Geography and received her Master's from Duke University. In high school she scored in the 99th percentile on the SAT and was named a National Merit Finalist. She has taught English and biology in several countries. Get Free Guides to Boost Your SAT/ACT Get FREE EXCLUSIVE insider tips on how to ACE THE SAT/ACT. 100% Privacy. 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Tuesday, February 25, 2020

Symphony of Ludwig Van Beethoven Research Paper Example | Topics and Well Written Essays - 750 words

Symphony of Ludwig Van Beethoven - Research Paper Example The sketchbook of Beethoven shows that some musical materials that were used in the symphony were written in 1811 (Nicholas 231). The symphony also came from other Beethoven’s pieces, while completion of the work on its own right shows some sense for future sketches for the symphony. The choral fantasy is basically a movement of piano concerto, which brings the vocal soloists and a chorus piano near the end of climax. In this symphony, theme is first sung by vocal forces and is played by instruments, thus making it highly reminiscent of the ninth symphony’s corresponding theme. Going further back, the theme of the choral fantasy’s earlier version has its origins from the song â€Å"Gegenliebe† which means, â€Å"Returned Love†, for high voice and piano that dates back to 1795. Scherzo’s theme was composed from fugue, which was written in 1815. The symphony’s vocal introduction part caused Beethoven to encounter very many difficulties. His friend, Anton Schindler said that his work on the fourth movement made Beethoven struggle than never before. The aim was finding out the most appropriate way of Schiller ode’s introduction. One day, he was able to get a version with the words of singing the immortal Schiller’s ode. Though he was very happy to get it, he did not retain it, but kept on writing other versions until he got its final form. This final form had the words, â€Å"O freude, nicht diese Tone, which translates into â€Å"not these sounds, oh dear friends†. ... Beethoven augmented each wind part with two players at the premiere. The woodwinds included piccolo, 2flutes, 2 oboes, 2clarinets, and 2 bassoons. Brass was composed of 2 horns, 2 trumpets, and 3 trombones. The fourth movement was sung in soprano solo, alto solo, tenor solo, baritone solo, SATB choir voices. Percussions were also used and comprised of timpani, bass drum, triangle and cymbals. Finally, his composition was accompanied by strings that included violins, viola, cellos and double basses. Form Beethoven’s symphony was in four movements: allegro, scherzo, Adagio and recitative movements. He changed the common classical symphonies patterns by placing scherzo prior to slow movements, instead of the vice versa (Hopkins 76). The first movement was in the form of sonata, which was accompanied by a stormy mood. His inspiration was felt in the opening theme, when pianissimo was played over string tremolos, to resemble orchestra sound. The theme showed clarity and power that drove the entire movement. On the other hand, the introduction employed relationships, from mediant to tonic, which distorts the key until it is played in the lowest register by the bassoon. Scherzo, the second movement, resembles the first movement in the opening theme. Written three times, its punctuation sounds like it is in a quadruple time when played with meter speed Hopkins 127). This movement made Beethoven to face various criticisms for failing to abide by standard forms of his composition. This movement has an internal structure that is very elaborate, making it a complete sonata. The third movement comprises of a lyrical slow movement in a variation form that is loose. Each variation pair then progressively elaborates the melody and rhythm. The fourth movement is a

Sunday, February 9, 2020

Game Studies - Essay Example | Topics and Well Written Essays - 1500 words

Game Studies - - Essay Example Consideration of games as the most socially acceptable medium of stress relief and fitness regulation came with the progressive trend of human culture in every aspect. As a result of the extended support from the populations of different countries across the world, games became a visible form of exchange medium of culture in course of time. When such a single game has to be identified as a reformer of the cultural and socio-economic facets of the human community over a large proportion of the world population, cricket claims its emphatic position across England and other Common Wealth nations. Cricket evolved as a game from unknown time in the history, but with the enthusiasm of more and more people to pursue this game, the popularity and the cricketing culture formed part of the world’s English dominance. The influence of literature in popularizing this game was a major contributor of the development of a new culture that promoted the expansion of cricket across various countries. More importantly, cricket evolved as a mentor of the sports culture with greater consideration for the beautification of the game by eliminating possible rivalries that sustained during the ancient sports history. As many more people entered the game with expectations of prestige-over-entertainment, the aesthetic approach to the game evolved and as a result, cricket itself had forced on people, a class-difference of involvement based on their wealth and social status. As Bateman (2009, p. 7) opines, in the early stage, cricket used to be a stage where the players classified themselves as amateurs or professionals; in which the former class opted batting as their favourite element of the game while the latter had to chose the more laborious and less glamorous area of bowling. Though this separatist views about the cosmetic image of cricket continued for a long time, it was really a synopsis of the upcoming trend

Thursday, January 30, 2020

Difference Between Management Skills and Entrepreneurship Essay Example for Free

Difference Between Management Skills and Entrepreneurship Essay What do you think is the difference between management skills and entrepreneurship?. How do they contribute to the economic success of a business? Management skills is about making an existing business work effectively and efficiently, organizing and coordinating the activities according to certain policies and achieving clearly defined objectives (i. e. vision, mission). Usually, the foundation of the business has been laid and established. It involves planning, controlling, leading and directing and the managers are usually focused on managing and growing the business Entrepreneurship is someone who transforms innovation into a business process especially for market which never exists, often associated with uncertainties. An entrepreneur will look for changes, respond to it and seize it as an opportunity. The next step is to assemble a team, locate resources, raise the needed capital and start the new business idea. An entrepreneur is flexible in adapting to the rapid changing to the market conditions and ideas which are important factors in developing strategies for a company’s growth. The economy has become more competitive and more demanding, thus the pressure of having the best management skills and entrepreneurship skills are becoming more important. Management skills will ensure that an established organization is managed effectively and efficiently towards achieving clearly defined objectives.

Wednesday, January 22, 2020

Symbols and Symbolism in Nathaniel Hawthornes The Scarlet Letter :: Scarlet Letter essays

Symbolism in The Scarlet Letter In The Scarlet Letter by Nathaniel Hawthorne, the theme revolves around a sin that has been committed. It takes places in the seventeenth century in the Massachusetts Bay Colony. Hester Prynne, who had an affair with the local Reverend Arthur Dimmesdale, commits the sin. Roger Chillingworth is Hester's husband while the affair is taking place. Because of the affair, Hester and Arthur have a daughter named Pearl. The sin that Hester commits is adultery. Hawthorne uses a variety of symbols throughout The Scarlet Letter, and he symbolizes the scarlet letter "A" in several ways. In the Puritan community, "A" is a sign of punishment, and the red "A" is worn on the chest of the offender's clothing. The "A" may mean adultery, Angel and Able. Hester, after years of helping, serving and sympathizing with the townspeople, was viewed by the Puritans to mean Able rather than adulteress; "A" meant Able; "so strong was Hester Prynne, with a woman's strength" (186). For example, when Hester has won some respect from the Puritans, "Such helpfulness was found in her, -so much... that many people refused to interpret the scarlet "A" by its original signification" (186). To the Puritans the letter "A" also symbolizes an Angel. "A great red letter in the sky, Ñthe letter A..." showed up at Governor Winthrop's death in the sky" (182). "For, as our good Governor Winthrop was made an angel this past night..." (182). The meaning of the "A" is also different to each of the characters. To Hester it is a constant reminder of humiliation and of the sin that she committed. Dimmesdale believes that the "A" reminds him of his own guilt, and there is no way that he can forgive himself. The "A" to Pearl, a young girl, is a bright and mysterious curiosity. Hester Prynne is an English woman who is punished by having to wear the embroidered scarlet letter "A" on the breasts of her clothing receives public humiliation by standing in front of the townspeople of Boston. The "A" that Hester wears is "... in fine red cloth, surrounded with an elaborate embroidery and fantastic flourishes of gold thread..." (58). Hester Prynne, through the eyes of many Puritans, is an extreme sinner; she has gone against the Puritan ways, committing adultery. For this harsh sin, she must wear a symbol of shame for the rest of her life.

Monday, January 13, 2020

And Do You Locke, Take Thee Hughes? Essay

In a comparison of the essays â€Å"The New Negro† by Alain Locke and â€Å"The Negro Artist and the Racial Mountain† by Langston Hughes, there exists both similarities and differences. But, what are most striking are the differences between the two, especially in terms of purpose, tone, and audience. Locke and Hughes wrote their essays during the heart of the Harlem Renaissance; 1925 and 1926, respectively. Both men were writing from that vantage point, and with a gaze set firmly on bettering the conditions of those they held in common – the Negro. But these similarities are, in a sense, superficial. After all, there were many writers in that era – any era really – both Black and White, who felt a moral imperative to right the racial wrongs of their time; to wring justice from the cloth of unwarranted suffering. The differences between Locke and Hughes, however, serve as a model; one that illustrates a chasm between the ideas and opinions of that era in terms of how to better their people, as well as why their condition is such that it needs tending. In â€Å"The New Negro,† Locke is saying that the so-called New Negro is already here – in fact, has been here for some time. And, by extension, he’s arguing for the integration – even assimilation – of Blacks into the larger pool that is America. This sentiment is expressed rather poignantly when he says, â€Å"The fiction is that the life of the races is separate, and increasingly so. The fact is that they have touched too closely at the unfavorable and too lightly at the favorable levels.† (20) And it is further strengthened when he says, â€Å"We realize that we cannot be undone without America’s undoing.† (22) That statement holds equally true if one were to rearrange it to read, â€Å"America cannot be undone without our undoing.† Locke has, whether happily or not, acknowledged that the Negro race – for better or for worse, and until death do they part – is indeed married to America. Thus, he is advocating for integration as a means of survival as much as a means of advancement. Hughes, on the other hand, seems to champion the cause of racial distinction insofar as the Negro should be proud to be a Negro. This desire is laid bare when he says, â€Å"But, to my mind, it is the duty of the younger Negro artist†¦ to change through the force of his art that old whispering ‘I want to be White,’†¦ to ‘Why should I want to be white? I am a Negro – and beautiful.’† (28) Perhaps Hughes, too, would acknowledge a state of matrimony between the Negro race and America. But where he seems to diverge from Locke is in his almost visceral advocacy for the spouses’ maintenance of their own identities within that marriage. With Locke, although he doesn’t use the metaphor â€Å"racial mountain† in his essay, it is apparent that such an impediment exists. His path forward – whether to the top of that mountain or around it – lies in fostering meaningful relationships between the elites of both major races. This is expressed when he says, â€Å"†¦more immediate hope rests in the revaluation by white and black alike of the Negro in terms of his artistic endowments and cultural contributions, past and prospective.† (24) And, more eloquently when he says, â€Å"He now becomes a conscious contributor and lays aside the status of a beneficiary and ward for that of a collaborator and participant in American civilization.† (24) Returning to the marriage analogy, these sentiments politely convey a sense of frustration, perhaps not unlike what many married women in that time period felt; a sense of, â€Å"I’m not feckless or helpless, and I needn’t be a ward or beneficiary; I’m sturdy and bright and equal to any task that’s laid before me; I just need the space and resource to prove it!† For Hughes, conquering the mountain is to be accomplished using a tack different from that of Locke. In Hughes’s world, victory for the Negro hinges on a tempered dissociation from the white race; not to showcase or inflame racial differences, but to highlight the unique, distinct, and high-minded attributes of his own race. In other words, the Negro should be proud of his culture and his race; the Negro is a corollary to, and a parallel of, the American body, and not merely one ingredient in a larger amalgam. As a stepping stone to accomplishing this, Hughes argues that the fabrication of the â€Å"racial mountain† is due largely to the misguided deeds of his own people – the middle-class Negro in particular. This stance is taken from the outset of his essay when chides the young Negro poet for having said, â€Å"I want to be a poet – not a Negro poet.† (25) To Hughes, such a sentiment is tantamount to wanting to be white. He goes on to say, â€Å"The road for the serious black artist, then, who would produce a racial art is most certainly rocky and the mountain is high.† (27) If one operates under the assumption that Hughes makes his case, then it can logically be said that â€Å"wanting to be white† is tantamount to denial both of â€Å"who we are† and â€Å"where we’ve been.† And that’s the rub; how can an artist be true to him or herself if they don’t even know who they are? And worse, how can they ever hope to elevate their position as a people if, by attempting to do so, they give up their very identity by hewing to the strictures of the White world? Let us not forget, â€Å"An artist must be free to choose what he does, certainly, but he must also never be afraid to do what he must choose.† (29) In terms of their respective tones, there are marked differences between Locke and Hughes. While both are persuasive in nature, Locke’s tone comes across as somehow intimate, and yet fairly matter-of-fact. Whether backed by hard truths or not, he lays out his case in such a manner. He also comes across as subtly – even warmly – patronizing; a confidant or cohort who’s merely guiding his readers to the truth. This can be seen when he says, â€Å"But while the minds of most of us†¦Ã¢â‚¬  and â€Å"Recall how suddenly the Negro spirituals revealed themselves†¦Ã¢â‚¬  His tone is like a proverbial â€Å"arm around the shoulder† and an invitation to the obvious. Hughes on the other hand is more visceral, coming across as chiding, cajoling, and cynical. Whether warranted or a fabrication of his own mind, he bursts from the gates with a thesis statement that doubles as a heavy accusation – that in wanting to be a poet, and not a Negro poet, the young man actually meant that he wanted to be white. And he leaves no room for discussion on the matter; in his mind, it is settled. He continues with this tone when he describes what he believes is â€Å"a fairly typical home of the colored middle class.† (25) And this belief – as far as any evidence offered in his essay – is predicated on no more than this one young Negro poet. He goes on to charge that â€Å"the word white comes to be unconsciously a symbol of all virtues. It holds for the children beauty, morality, and money. The whisper of ‘I want to be white’ runs silently through their minds.† (25) Locke and Hughes are also appealing – at least in part – to different audiences. Locke, while certainly writing to the Black community at large, is deliberate in his inclusion of Whites. This inclusion, in fact, is necessary for his argument to work; his argument for integration. He even addresses those who are undoubtedly white in the beginning of his essay when he says, â€Å"The Sociologist, the Philanthropist†¦Ã¢â‚¬  (17) And he leaves no doubt as to white inclusion in his audience when he says, â€Å"But while the minds of most of us, black and white†¦Ã¢â‚¬  (17) Hughes’s appeal is to the Black community at large too. But it is aimed more at the black elites, the black artists, and the black middle class far more than it is at whites. This is apparent when he cajoles the black artist by saying, â€Å"†¦it is the duty of the younger Negro artist†¦Ã¢â‚¬  (28) And it is clear when he condemns the â€Å"prominent Negro clubwoman† for paying eleven dollars to see a white singer while dismissing â€Å"a great black artist† as â€Å"that woman.† (27) Regardless of the differences in style – purpose, tone, and audience – both of these essays have merit and hold power in their respective goals, which, for the most part are one in the same: to improve the Negro’s standing within the American marriage. Works Cited Locke, Alain. â€Å"The New Negro.† Course Reader, English 1B. Ed. Kelly Vogel. Fall 2012. Print. Hughes, Langston. â€Å"The Negro Artist and the Racial Mountain.† Course Reader, English 1B. Ed. Kelly Vogel. Fall 2012. Print.

Sunday, January 5, 2020

Reconstruction and Industrialization - 1446 Words

Assignment 1: â€Å"America’s Post-Civil War Growing Pains† Reconstruction and Industrialization 1865-1900 Four years after the first shots were fired at Fort Sumter the Civil War ended with the Union’s Victory over the Confederacy. Though the war was over, there were still many problems that needed to be resolved in order to reunite the states as a nation. The time period in which steps were taken to rebuild the nation is known as reconstruction. Reconstruction lasted from 1865 until 1877. The influence of reconstruction can be seen in the society and also in politics during that time period. Following Reconstruction the nation had to rebuild its economy; industrialization brought in more factories and industries which helped to†¦show more content†¦292). The expansion of railroads was also a great advancement made during the industrial revolution. Railroads were built throughout the country and allowed for good to be transported more easily, cheaper, and more reliable (Schultz 2012, p. 293). With industrialization came more jobs, and because majority of industriali zation occurred in big cities this encouraged farmers to leave the fields and moved to cities to work in factories (Schultz 2012, p. 293). With the constant growth of businesses and manufacturers in the north, the population of northern cities grew. In a forty year time span the population on New York City grew by 1.2 million people (Schultz 2012, p. 302). This growth was called urbanization. Since the cities were growing at such a rapid pace building developers cut codes and built make shift buildings called tenements for people to reside (Schultz 2012, p.302). Tenements were low income apartment buildings. These apartments were small and cramped and sometimes referred to as railroad flats because their layout was similar to that of the box railroad cars (Apartment House, Encyclopedia Britannica). With the high demand of materials and jobs factories were being built in the same manner as the tenements. These buildings did not follow building codes and resulted in many fires (Schult z 2012, p. 303). Perhaps one of the most devastating fires was that of the Triangle ShirtwaistShow MoreRelatedEssay on Reconstruction and Industrialization1259 Words   |  6 PagesReconstruction and Industrialization After the Civil War, the nation witnessed two major social-economic movements: Reconstruction and Industrialization, which changed the country completely and made it one of the greatest industrialized countries in the world. However, it changed not only the country, but also, the society, its way of life and traditions. 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