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We argue that drawing s theoretical field excludes the colour, an omission that can be understood by the history of drawing and architecture. We seek to question this conception of the science of drawing strictly formed under the manifestation of the idea, valuing abstract, linear and geometric aspects. The separation of colour and drawing is heightened with the inclusion of colour in the field of painting. Its importance and value is questioned with the Quarrel that reaches its peak in the seventeenth century in France. This hegemonic discourse is sustained with the exaltation of white as absolute and abstract, as representing the purity of thought and the immaculate matter, which is extended in ideals of the modernist architecture movement and that is perpetuated to this day. Our aim is to resume the recognition of the presence of color in drawing. We consider that the use of colour enhances active relations between graphic signs, mark and ideas because every colour, and their interaction within the colour scheme, is potentially significant. When a color is assigned to an element, mark or graphic sign, it may influence what is depicted and, therefore, interfere with the creative process in two ways: by the colour itself and the established chromatic relationships.

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Rocha foi durante 17 anos deputado federal. Nove de Julho, 5. A francesa de sotaque britânico é dona de um dos rostos mais icônicos do século A cor desses olhos de musa do pintor Gustav Klimt varia entre o azul, o verde e o turquesa, e parece ter nascido antes do rosto os olhos nasceram e ficaram esperando o corporação, descreveria Manuel Bandeira. Sublinhado pelas sobrancelhas retas. Seu nariz semita é extenso, fino e levemente arrebitado; o queixo é triangular, simétrico. Fui estudar artes cênicas, mas pensando em ser cinegrafista.

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