Soccer Field Diagram Editable: Fill & Download for Free

My house burned down last year, and I lost almost all my art in the fire. I have a few photos of my past work, though. (And if you’re a professional in the arts, either a creator or critic or curator, I’d welcome your expert opinion on my work. )(Edit: Wow, thanks for all the upvotes and kind remarks! I added a few more paintings at the bottom of this post, that I dug out of my Facebook feed. Also, a big hello to Scarlet and the Squareheads! Thanks for dropping in to check out my stuff! )(Edit 2: To the commenters asking about commissions, or purchasing my work: sorry, I can’t discuss commercial queries in the Quora comments. The admins consider it spamming, and delete my answers. You’re welcome to hit me up on Facebook if you have any questions about my art - Ian Saxby - or contact me via my profile.)(Edit 3: In response to the questions about the big purple portrait from 2014, the lady in the picture is an old friend of mine from Toronto, beer critic Robin LeBlanc. I painted the picture with a 50/50 blend of beer and acrylic paint. Sadly, this painting was one of those destroyed in the fire.)(Edit 4: To those of you asking about the fire, our situation was covered fairly extensively in the news media. I won’t risk a ban by posting links to the story, but you can find the whole thing pretty easily with a quick search online.Edit 4b: I wrote a fairly detailed account of the fire in this Quora post - Ian Saxby's answer to Why couldn't you just run through a fire? Say your house is burning down, why not sprint through it for 10 seconds?)1986: Birthday card that I drew for a friend when she turned 20. I hadn’t taken up painting at this time. I used a technique inspired by the work of Reg Mombassa, drawing a black ink outline and filling it in with a coloured pencil.1987: 21st birthday card for my friend. I was fascinated by the maps in the back of the Lord Of The Rings books as a kid, and made numerous copies in the same style. Again, coloured pencils and ink.1991: My friend Nigel, walking along a raised road in the Kinchega National Park in central Australia. I was inspired by the lush colours of the Australian desert, and mostly avoided the use of black outlines in order to produce a more natural landscape.[lost in the fire]1992: Illustration from a botany assignment. Fine black outlines on the cactus, which I had to portray accurately. I took some liberties with the background, obviously :-D[lost in the fire]2010: I’d moved completely from coloured pencils to painting by 2010. I was still at the stage of building up images from small black outlined areas, and this is the period during which my work most closely resembled that of Reg Mombassa and Colin McCahon. This is also where I began experimenting with pointillism, inspired by the dot paintings of indigenous Australian artists.I painted this as a thank you to my former boss, on the top panel of his office door. If you’re ever at the Matisse Derivan headquarters at Rhodes (Sydney, Australia), it’s probably still there in the upstairs studio.2011: I love painting old houses. They’re my favourite thing in the world. This is an old 4-apartment boarding house in Toronto, Canada, that I painted after moving there with my wife at the end of 2010. It’s the last Second Empire house remaining in that part of the city, tucked in behind the huge Rogers building and surrounded by modern apartment blocks.[lost in the fire]Posing with my model, 2014: This was my first completely pointillist work, painted with a 50/50 blend of acrylic paint and Kilkenny Cream Ale. It took me thousands of hours to paint, over a period of twelve months.[lost in the fire]2015: Probably my first swirly sky painting. This is a plein air piece that I painted from the driveway of my inlaws’ house outside the village of Wolverton, southern Ontario. It was extremely windy most of the time I was out there, and I added the swirls as a nod to the weather.2016: Commission for a client in the UK. He’s a cycling fanatic who asked for a Tour de France painting set in the French countryside, with fields of sunflowers and canola. There are about twenty layers of dots in some parts of the image, and it took me about two thousand hours over six months.2017: Peak swirl. This piece is sixteen square feet, and took a year to complete. I wanted to paint something very, very complex, and built up this image from around three hundred thousand dots, layered one on top of another.2018: Quick, simplified expressionist work, inspired by the bright autumn colours of New Brunswick. This is one of the first things I painted after being released from Moncton hospital.Another quick piece, November 2018, I was still recovering from my burns at this stage, but was mostly healed.2019: Fossil coelacanth. I’d gotten a bit tired of loose expressionist painting, and returned to my black outline style.EDIT: Extra artworks . . .Therapy piece from February 2019. This is the embodiment of the physical and psychological trauma I suffered as a result of the fire. The sharp edged form in the centre is composed of solid blocks of different shades of napthol red, and the background is all soft pointillism. I like the effect I get from mashing up different styles in a single work.This piece is simply called “FIRE!”November 2018. Another, more restful work from after I was released from hospital.December 2018. Way back to my early painting roots. This is a humorous view of the landscape around the farm where I’m now living with my wife, with an expressionist sky thrown in for good measure.2010. Beelzebub. An experiment with a limited palette, using a brain scan image overlaid on a profile of my head sketched by my wife, that I projected onto the canvas with a table lamp.[lost in the fire]Coffee table, about 2010. Not much to say about this. We needed a coffee table after we moved into our Toronto apartment in 2010, so I built one and painted this design on it.[lost in the fire]Wolverton village, Ontario, autumn of 2014. House across the road from my inlaws’ property. This is one of the very few realistic paintings I’ve ever done.Wolverton in the autumn of 2014. Pointillism combined with a somewhat cartoony landscape.From my Sydney exhibition in 2010. Probably inspired by my impending move to Toronto. Five feet by four, and took two years to paint.2014. Night Soccer. Quick expressionist memory of soccer training on Tuesday nights in the mid nineties, at Curtis Oval in Sydney, Australia. The guy in the foreground wasn’t originally going to have red hair, but after I’d done the underpainting in those bright orange shades, I decided I liked the way it balanced out the red jerseys of the defenders.2018: New Canaan United Baptist Church, Route 112 in New Brunswick.[lost in the fire]2010 I found a spectacular photo of a Bird Of Paradise flower online, and used it as a visual reference to paint this heavily textured impasto piece on a three foot by four foot masonite panel. I had it framed and hanging in our living room for years,[lost in the fire]2015: Blandfordia flowers (Christmas Bells), painted with heavy impasto. Made as a thank you gift for my cousin, who helped us with our move from Ontario to New Brunswick. His wife loved the Bird Of Paradise painting, so I made this textured piece for her with a similar style and palette.2013: Toronto With Subway Spiders. Real buildings from around the top of Sherbourne St in Toronto, with a fanciful underground dimension. About 2,000 hours of work over a period of three years.2008: Windfarming. Oils with wax medium. Suburban cross section referencing my childhood in Sydney, where I’d often dig in the back yard and wonder exactly what was down there under the ground.2013: Purely expressionist image of a lovely friend of mine, who does fetish modelling in underwear and corsets. Photo credit: Vanessa von Volkova.2008: A Sunday School Night’s Dream. Oils with wax medium. I went to Sunday school as a kid, and they’d tell us about Hell, and then I’d have nightmares about Hell being under my house. This is the front of the house I lived in, although there wasn’t actually a church across the road :-D(Edit: this was my first experiment with wax medium. I’d bought a bottle just before starting to paint the Hell section, and finished the piece with wax added into the oil paint. I was impressed by the luminous melted-crayon effect, and painted a number of other pieces using the same medium).2008: Reincarnation Of The Grass Spirits. Oils with wax medium. This is one of my earliest attempts at painting, after moving away from coloured pencils. About 1200 hours of work over 18 months. This is the best thing I’ve ever done, and I’m thankful that it was at the gallery instead of in our house when the fire destroyed my other work.2020: Obstruction. I found some interesting diagrams and microscope slides while reading about arterial sclerosis, and used them as reference material for this eight square foot abstract piece.2019: Voice Of The Dreaming. Commission for the same client who purchased the Tour de France painting. This time he asked for a rear view of his parents on a desert road in central Australia, standing by their beloved MG sports car.2019–20: Ammonite. I painted this piece in 2019, and it hung around on my wall until October of 2020, when I built and painted the frame. It’s mostly sourced from a photo of a beautiful cut and polished ammonite fossil that I found online, with some additional elements that I made up as I went along. A custom frame of this type and size would’ve cost me upwards of six hundred bucks from a framing store, but the total cost to do it myself was about sixty bucks for materials and eight hours in the wood shop. (Pro tip - you can buy cheap-ass ceiling moulding from Home Depot instead of using framing materials, and cut it to size using a miter saw).2020: Haunted. Quick monochrome Halloween painting from October of 2020. It looked a bit featureless with an empty foreground, so I painted in a raccoon to give the painting a bit of interest.2020: Untitled. I keep a sketchbook and a box of coloured felt markers on my telephone table, and draw doodles while I’m talking on the phone. I was so pleased with the way this one turned out, that I made it into a painting.2020: Bringing In The Hay. Composite view built from a couple of photos that I took on the farm where I live. I really hate painting farm machinery because of all the fiddly details, but the rural stuff is popular at my gallery.Winter Blues (Nov 2020)Small acrylic piece that I dug out of my procrastination pile this week. It was a massive pain in the butt to paint.Escarpment (Jan 2021). Acrylics on 15″x30″ gallery wrap. Another VW camper van road trip piece to start the new year.As a bit of a bonus, here are some pages from my sketchbook. Every artist should keep a sketchbook - it’s where you jot down ideas, practice details, compose future artworks, and generally keep your drawing skills honed.“Fishing Bear”. I don’t usually paint wildlife or nature scenes, but they sell well in the local market. Figured I might as well bite the bullet and start producing stuff with more commercial appeal :-D

[edit] I think that after the two final games this become crystal clear. Again... nice answer considering tactics and missing players and bla bla bla, but we just saw that this was not the main reason (not even close).I don't want a guy that wants to learn a little about soccer leaving Quora thinking that a tactical adjustment and a player absence could result in this kind of sport nuclear disaster.Quora should do better than that.The simple answer to the original question is: Because Germany had the better *team* and played way (way way) better.But the question that everyone here is trying to answer really is:Why did Brazil got totally and completely destroyed and humiliated by Germany?The short answer here has little to do with tactics, gameplay, players’ qualities or positioning. No disrespect whatsoever with all the good answers so far, I really enjoyed reading them (by the way: really cool nice software for gameplay analysis). But let's not try to find in the field an answer that lies outside it.As every other brazilian, I watched all official matches for the last 20 years or so......and I'm pretty confident that emotional and psychological parts played the bigger roles yesterday. We just saw a collective team nuclear meltdown, in every way possible and imaginable. And that's it.It was not even a game. It was a team playing against a bunch of guys running the field with soccer shoes in their feet and an empty head, only waiting the final whistle to run home. They panicked. They completely panicked. In the worst humanly possible manner.And... that's it.Some clarifications:1) Nobody anticipated thisAnd I mean *nobody in the whole world*. The world would wake up with dozens of new millionaires otherwise. If you say "I knew it", you are a damn liar.2) Without any extra-field factors, none of the others 30 teams that came to the World Cup would lose a game by 7-1 in the way Brazil lost.NONE OF THEM.Not even Japan, or Camaroes, or South Korea.Hell, I can get 10 guys in a truck today and we wouldn't suffer 4 goals in 6 minutes.I'm really really confident about this one. We're talking about soccer in World Cup level, not high school olympics.3) Germany is not the best team of all time as some guys are suggesting.C'mon guys. If this was true, they would have won the game against Gana. They would have qualified before the 3rd game. They definitively would not play extra time against Algeria (*ALGERIA!!*).They are a pretty awesome good team, but they didn't do that yesterday alone.4) Brazil is not the disaster team and worst of all time as some guys are suggesting.C'mon again. In the last two years they won many good matches, including that 3-0 vs. Spain (will be back here latter). Even in this WC they played very well in some games, and still *vastly* superior to at least 20 teams in this tournament.5) As much as I loved all those diagrams and numbers, none of them matters.Any "analysis" of the game after the 2o goal (23rd min of first half) is useless. There was a game for 22 minutes, and then there was a gigantic collapse. We had 67 min of garbage time. Nobody cares about numbers in garbage time. Don't even get started.6) Missing players or players missing?This one is only true if you're talking about the mental side, i.e. team not panicking.Thiago Silva was replaced by a world class defender (equal or better than any defender that USA, Portugal, Gana or Argelia has). Neymar has no substitute, but only 3 or 4 teams in the world have a player like that (and neither team is USA, Gana or Argelia). Also, see point 2).And this is true also for the senior players that were not in the team. With yesterday mental state, they could go back in time, grab three copies of a 26 year old Pele and add to that team and *nothing* would have changed.7) Brazil was due.And this is the awful true (call karma, if you wish).For many years now Brasil has relied in wins over inferior competitions and had very good breaks against good teams (the shirt, local fans, referees little help, fortunate penalty kicks disputes, early match goals that changed the game output, single star breakthrough performance etc etc etc).As a team, has been a long time since they have not convinced anybody. They were due. For a long time.Note about last year 3-0 over Spain: if they played that game 10 times, probably they would lose 7-8 and draw the remaining. That was the most misleading victory of last year (a good initial goal, a miracle saving of a spain goal, the shirt, the fans, 1 or 2 players spetacular display) - we were due!This WC only: win over Croacia with an penalty as gift, draw against Mexico and win over possibly the worst team of WC. Then a heartbreaking win against Chile (exausthing all emotional energy left in players' tank, by the way) and a fault-filled win over Colombia (as the previous game, with goal made by a defender, totally out of context). By the way, after Colombia victory, the news that Neymar was out of WC depleted all the remaining energy from the emotional bar. The players were left rock bottom in this factor.Add this to the fact that they played at home, with huge pressure, and no habitant of this country accept any outcome other than victory and you have a collapse for the ages. And we don't even need to mention anything that happened inside the field.

I’m not sure I understand your question.Are you asking about the physical universe and dimensional space? If so, there is only one kind, as far as I know: look up “sidereal universe.” We perceive it in four measurable dimensions (the three dimensions height, breadth, and length, the x-y-z coordinates in a 3D diagram, plus the “dimension” of time, which is obviously measured very differently from the dimensions of size and place), but physicists seem pretty sure that there are actually eleven dimensions: the additional seven are measurable only in quantum physics or string theory, and we don’t consciously interact with them in daily life.But you might also be asking about social “space”, in which case the answers will get much more varied and interesting. Different theories of space and place will use different terminologies, each one helpful in different contexts. The Pearly Gates of Cyberspace: A History of Space from Dante to the Internet (Margaret Wertheim) was published way back in 2000 but it’s still an interesting primer to understand the social realities of space and place, and how our understanding of them has changed over the past several hundred years. (The history part is much more interesting than the religion part, which ironically seems stuck in a now-irrelevant time and place.)One of the most interesting and least-talked-about type of space, in my opinion, is Liminal space, the space “between” one clearly-understood situation and another clearly-understood situation where the old rules don’t apply anymore but the new rules haven’t yet settled into place either. It also describes “neutral ground” between different contexts: like the soccer pitch, where folks from all sorts of socioeconomic political & cultural identities can compete together without reference to all those other contexts, at least as long as they are on the field and the game clock is running.And we haven’t even begun to talk about things like architectural space…Is any of this helpful? Feel free to edit your question for clarity.—edited to add: I just realized what you might be asking, judging by the categories you assigned to your question! Astronomers, space development folks, space flight planners, etc. will often use certain terms to denote different areas of “space” in our solar system. Here are just a few terms you might be seeing in articles or on Quora:“Inner solar system” or “inner system” space is all the celestial bodies within the asteroid belt (plus the Belt itself): Mercury, Venus, Earth, Mars, and all the various little asteroids & comets whose aphelion lies within the orbit of the most distant asteroids classified as part of the Belt.“Outer solar system” space is everything between the asteroid belt and the orbit of Neptune. Pluto and its moons and several other objects are “trans-Neptunian” objects: their perihelion lies within the orbit of Neptune, but their aphelion lies outside Neptune’s orbit, often very far outside, crossing into the Kuiper Belt, which is sort of a second asteroid belt but even more thinly spread out.The trans-Neptunian objects (particularly Pluto) mark the outer edge of what we call “interplanetary space”, the space between the planets of our own solar system. Beyond that is the Oort Cloud, about which I remember very little, but it slowly orbits our sun too.(There must be a name for the space that isn't really “interplanetary” anymore but isn't yet outside our solar system proper, yet… but I can't think of it off the top of my head. I want to call it Oortspace. ;-)Anything past the Oort Cloud, or outside the heliopause, is considered “interstellar space”, the space between the stars in our galaxy.The space outside our galaxy is called “intergalactic space”, the space between the galaxies in our universe.Reeling back in close to home, here's another space-word you may hear frequently: “Cislunar space” is the Earth-Moon neighborhood. It includes all the space affected by the gravity wells of our Earth and Moon and the interplay between the two. Cislunar space can be considered its own “spatial frame of reference” distinct from the rest of the solar system: for instance, there are five libration points (or LaGrange points) in cislunar space where a satellite or spacecraft or any other mass can be “parked” so that it holds still, drifting in space and not “moving” relative to the Earth-Moon system anyway. Learn more about that here.Any two-body system will have these libration points, even when more than one moon is orbiting a planet, as long as the moons’ gravitational fields are weak enough or they orbit far enough away from one another so that they don't mess up one or more of the libration points.So perhaps we could speak of “cisMartian space” referring to the whole Mars/Phobos/Deimos system, even though this includes both moons— or in contrast, “cisGanymede space” might refer to the Jupiter-Ganymede system as distinct from any other gravitational environment created by Jupiter and its many moons. One’s reference word will depend on one’s focus of interest, when discussing cis-space.Is this more the sort of thing you were asking about?