Have you heard about chalk markers? You may have because they have been increasing in popularity in the here and now. As a matter of fact, they are so popular and useful that they are being used at home, events, restaurants, schools and parties, just to name a few places. There is no doubt that chalk markers are poplar but there are still a lot of people who have no idea how to use them properly. If you want to know how to use them, we suggest that you follow the tips given below. How To Activate Before you go ahead and use the marker, the first thing that you need to do is shake the marker, pump and then start drawing. It's as easy as you have read. Follow the steps given below to get it done.
1. Your first step is to hold the chalk marker diagonally. You don't need to remove the cap. Instead, you should leave the cap on and then start shaking the marker.
2. Next, you should choose a flat surface, press the chalk tip on it lightly and then release it. Don't press it more than a second. You may want to keep repeating this step until the tip of the chalk is filled up with the ink. Typically, it may take between 20 and 40 pumps. Just be careful not to damage the tip of the marker.
3. Once you can see the ink in the tip, you should choose a surface and then start drawing. Tips To Draw The Right Way · When pumping, you may want be careful not to put too much pressure on the marker tip. If too much pressure is applied, the tip may get deformed. As a result, you may have to buy another chalk marker.
· After use, you may want to store the pen in upright position with the cap on. · Don't forget to check the cap to make sure it is tight. · Before drawing, make sure that the writing surface is clean. · When erasing, we suggest that you make use of a damp and clean piece of clothing. · Remember: the ink will take a while to dry. · You need to keep in mind that chalk markers work on surfaces that are non-porous like slate chalkboards, porcelain chalkboards, metal and glass, just to name a few. · Also, you should know that some chalkboards don't work with chalk markers, such as MDF boards that are chalk-painted.
· Before you use the markers on a whole surface, you may want to carry out a spot test, which will help you find out if the surface is suitable for the chalk marker. How Do You Remove Chalk Marker? If you need to remove the chalk marker, follow the tips given below. You can try out a Magic Eraser for cleaning the target surface. As a matter of fact, these removers work great but you should test it first. Baby wipe is another good alternative. Another good solution is an ammonia-based solution. They also work great. So, you may want to use these tips if you want to use a chalk marker.
Use of Colorants in the Plastic Industry
Pigment orange, pigment blue, pigment green; you name it and you have an attractive piece of plastic ware with that colour tint in some store or the other. However, in today's times the scope of pigments and dyes in plastics are not limited merely to lending hues and shades. They also make an impact on sustainability, processability and compliance. The question often arises as to which among the two; dyes or pigments are best suited for use in the plastics industry. Dyes are used to shade or tint a resin and as such they have to be transparent, strong and exhibit good heat stability. However, dyes are compatible with only a few resins and therefore their use in quite limited in this industry. Pigments on the other hand provide more options to the manufacturer due to their wider chrome range, pacifying ability and better heat stability for a large number of resins.
The base polymer actually decides the kind of colorant that will be most suitable for the application. Pigments work best with polyolefins while dyes give good results with polystyrene, poly carbonate and acrylic. All said and done, the basic determining factor for choice of colorant is its compatibility with the base resin. There are a few other factors that have to be kept in mind as well such as the method of dispersion, processing temperature, heat stability, gloss, weather fastness, application etc. A slight error in making the choice can drastically change the features of the plastic and therefore, a good selection of the colorant assumes great importance. Today, there is more emphasis placed on using pigments that are less toxic and cause minimum harm to the environment.
Millions of dollars are spent on research by several organisations in developing such pigments. Their efforts have not gone in vain and one of them has been successful in replacing lead based materials in pigments. Lead chromate pigments were banned from use in consumer plastics and in its place, organic yellow pigments have been developed which have better tint strengths in PVC and polyethylene. Another new development is with respect to pigment blue. The name of the new pigment is YInMn blue which stands for its chemical content namely yttrium, manganese, indium and oxygen.
This pigment is also superior to the traditional cobalt blue pigments and has high reflectivity and high ultraviolet absorbance in the near-infrared area. Colorants contribute to a number of performance aspects in plastics; however, lending colour will always remain their major contribution. When one sees the attractive world of colourful plastic ware one realises the important contribution made by colorants to this industry. At the same time, every individual connected with using and developing colorants for this industry has to try and make a difference to the colouring technology whereby Mother Earth is not harmed in any way whatsoever!
The base polymer actually decides the kind of colorant that will be most suitable for the application. Pigments work best with polyolefins while dyes give good results with polystyrene, poly carbonate and acrylic. All said and done, the basic determining factor for choice of colorant is its compatibility with the base resin. There are a few other factors that have to be kept in mind as well such as the method of dispersion, processing temperature, heat stability, gloss, weather fastness, application etc. A slight error in making the choice can drastically change the features of the plastic and therefore, a good selection of the colorant assumes great importance. Today, there is more emphasis placed on using pigments that are less toxic and cause minimum harm to the environment.
Millions of dollars are spent on research by several organisations in developing such pigments. Their efforts have not gone in vain and one of them has been successful in replacing lead based materials in pigments. Lead chromate pigments were banned from use in consumer plastics and in its place, organic yellow pigments have been developed which have better tint strengths in PVC and polyethylene. Another new development is with respect to pigment blue. The name of the new pigment is YInMn blue which stands for its chemical content namely yttrium, manganese, indium and oxygen.
This pigment is also superior to the traditional cobalt blue pigments and has high reflectivity and high ultraviolet absorbance in the near-infrared area. Colorants contribute to a number of performance aspects in plastics; however, lending colour will always remain their major contribution. When one sees the attractive world of colourful plastic ware one realises the important contribution made by colorants to this industry. At the same time, every individual connected with using and developing colorants for this industry has to try and make a difference to the colouring technology whereby Mother Earth is not harmed in any way whatsoever!
Types of Female Modeling Jobs
Everybody believe all females models are like Gisele Bundchen, Heidi Klum or Naomi Campbell, but fact is there are several types of famous models, who you probably ignore, who are making an excellent income. Most of them are working what's called 'behind the scenes' as fit, showroom and commercial models. They're working in a wide range of companies, I can name some of them here: pharmaceutical, fitness, suppliers, manufacturers, airlines and many others. You can certainly fit into these categories, it doesn't matter if you cannot be in the supermodel category, I'm going to list you all types of modeling so you can identify yourself in one or several of them: Fashion Editorial. Fashion models or also known as editorial models are the kind of models you see in magazines like: Harper's Bazaar, Vogue, Elle, etc.
They work for top fashion designers like: Prada, Gucci, Giorgio Armani, Marc Jacobs among others. These kind of professionals are 5' 9" to 6' 0" tall and also very slim. Their measurements are bust 33", waist 23", hips 33". Most of the times, modeling agencies look for what they called 'the complete package' when deciding if they can be editorial models, nonetheless don't be down in case you don't meet the exact stats they ask for. Runway or Catwalk. These models use to be 5' 9", anyways 5' 10'' - 5' 11'' is considered much better. They have to have the exact measurements, because they have to fit the clothes the designers are going to show to their respective clients. Most of the times the measurements of these models are no more than 34'' - 23'' - 34''. The designers hire models to fit the clothes they made for their respective collections, so they don't make their clothes to fit the model, they only exception of this rule is when the model is someone like Naomi Campbell.
Commercial. These kind of professionals can be any age, any height or any size. They practically can do everything, as long as it's not related to what is known as high fashion. Some examples: food products, tech devices, travel industry, etc. Plus Size. This is a market that has become a real important part of the fashion and commercial model industry. Fashion agencies have special division for these kind of modeling. There actually exist very famous plus size supermodels. These kind of professionals are most of the time determined by the size instead of exact measurements, like size 12. Size 12 is not considered a plus size model in the real world but in modeling it is. Petite. These kind of professionals are most of the times 5' 7'' and under. Most of the times These kind of professionals don't do runway work, they are booked for lingerie and swimsuit and also parts modeling. Because These kind of professionals have smaller glove and show sizes, they are hired as hand and also foot models. Lingerie and Swimsuit.
These kind of professionals are more curvier and also more voluptuous than the editorial models. Swimsuit Models have a wide range of work possibilities, they're always hired to do Swimsuit modeling. The can model undergarments, summer wear, sleep wear, lingerie, etc. They also can be other types of models like fit models. Glamour. These kind of professionals are most of the times even more curvy than editorial fashion models. They also work in the swimsuit and lingerie modeling too. The type of modeling refers to the type of posing the models do in their photos. Glamour modeling is considered sexually suggestive and also alluring compared to fashion modeling. Girls who pose for playboy magazines, for example, are glamour models. Fitness. These kind of professionals are fit, athletic and toned.
A lot of these models start as trainers or athletes and included fitness modeling in their CV. They work for: supplement manufacturers, athletic wear companies and fitness companies. They're, most of the times, commercial models too. Fit. It's important not to confuse These kind of professionals with fitness models. Fit models work behind the scenes. They work with garment manufacturers and fashion houses. These companies use these models to make sure that fit and sizing are actually maintained in what is called as 'the clothing manufacturing process'. Garment manufacturers companies need a wide range of sizes and also shapes from these models, so that they can fit their garments correctly before they reach the final consumer. If you're a woman who can maintain your measurements, these type of modeling is perfect for you. Body Parts.
These kind of professionals work modeling specific body parts: feet, hands, eyes, and legs. Hand: can work for nail, jewelry and also beauty related products. Client use to hire these models in film or print. Foot: get hired by shoe companies primarily, but also by beauty and nail products. Also anywhere else the perfect feet is required. Most of the times, petite models get hired by part models, because of their smaller body parts. Promotional. These kind of professionals promote service and products at trade shows, live events and conventions. These girls must have an outgoing personality and also friendly. They have to deeply understand the client's product, so that the can explain it to clients and answer question to potential customers.
They work for top fashion designers like: Prada, Gucci, Giorgio Armani, Marc Jacobs among others. These kind of professionals are 5' 9" to 6' 0" tall and also very slim. Their measurements are bust 33", waist 23", hips 33". Most of the times, modeling agencies look for what they called 'the complete package' when deciding if they can be editorial models, nonetheless don't be down in case you don't meet the exact stats they ask for. Runway or Catwalk. These models use to be 5' 9", anyways 5' 10'' - 5' 11'' is considered much better. They have to have the exact measurements, because they have to fit the clothes the designers are going to show to their respective clients. Most of the times the measurements of these models are no more than 34'' - 23'' - 34''. The designers hire models to fit the clothes they made for their respective collections, so they don't make their clothes to fit the model, they only exception of this rule is when the model is someone like Naomi Campbell.
Commercial. These kind of professionals can be any age, any height or any size. They practically can do everything, as long as it's not related to what is known as high fashion. Some examples: food products, tech devices, travel industry, etc. Plus Size. This is a market that has become a real important part of the fashion and commercial model industry. Fashion agencies have special division for these kind of modeling. There actually exist very famous plus size supermodels. These kind of professionals are most of the time determined by the size instead of exact measurements, like size 12. Size 12 is not considered a plus size model in the real world but in modeling it is. Petite. These kind of professionals are most of the times 5' 7'' and under. Most of the times These kind of professionals don't do runway work, they are booked for lingerie and swimsuit and also parts modeling. Because These kind of professionals have smaller glove and show sizes, they are hired as hand and also foot models. Lingerie and Swimsuit.
These kind of professionals are more curvier and also more voluptuous than the editorial models. Swimsuit Models have a wide range of work possibilities, they're always hired to do Swimsuit modeling. The can model undergarments, summer wear, sleep wear, lingerie, etc. They also can be other types of models like fit models. Glamour. These kind of professionals are most of the times even more curvy than editorial fashion models. They also work in the swimsuit and lingerie modeling too. The type of modeling refers to the type of posing the models do in their photos. Glamour modeling is considered sexually suggestive and also alluring compared to fashion modeling. Girls who pose for playboy magazines, for example, are glamour models. Fitness. These kind of professionals are fit, athletic and toned.
A lot of these models start as trainers or athletes and included fitness modeling in their CV. They work for: supplement manufacturers, athletic wear companies and fitness companies. They're, most of the times, commercial models too. Fit. It's important not to confuse These kind of professionals with fitness models. Fit models work behind the scenes. They work with garment manufacturers and fashion houses. These companies use these models to make sure that fit and sizing are actually maintained in what is called as 'the clothing manufacturing process'. Garment manufacturers companies need a wide range of sizes and also shapes from these models, so that they can fit their garments correctly before they reach the final consumer. If you're a woman who can maintain your measurements, these type of modeling is perfect for you. Body Parts.
These kind of professionals work modeling specific body parts: feet, hands, eyes, and legs. Hand: can work for nail, jewelry and also beauty related products. Client use to hire these models in film or print. Foot: get hired by shoe companies primarily, but also by beauty and nail products. Also anywhere else the perfect feet is required. Most of the times, petite models get hired by part models, because of their smaller body parts. Promotional. These kind of professionals promote service and products at trade shows, live events and conventions. These girls must have an outgoing personality and also friendly. They have to deeply understand the client's product, so that the can explain it to clients and answer question to potential customers.
The Good News at the Right Time
When you have a Damascus experience like Paul, it changes your life radically. Before, Paul killed Christians; now he supports the other side 100%. He is driven to use all his energy to tell people about Jesus. When you meet Jesus face to face, everything changes to completely. No prison can stop Paul. No stick that hits his body, no shouting or spitting by a soldier will stop him. His passion to save others from eternal fire burns constantly and nothing can put it out, 4... that God will open doors for telling the mystery of Christ, even while I'm locked up in this jail. Pray that every time I open my mouth I'll be able to make Christ plain as day to them. I'm embarrassed by my own little fire. It is so easily extinguished or put out. So easily I keep quiet and rather say nothing, because nowadays we have to give everyone space to believe as they like. I take my hat off to a number of teachers in my son's school. They saw the need to help dads to connect to their sons and started a movement called Engage. Any father and son are welcome.
They know many are not Christians. They are careful and try not to offend. But they are not afraid to say exactly who they believe in. Even the head boy who talked directly to the young boys stated clearly that he had made a choice for Jesus in his life. How wonderful it was when this same head boy concluded the evening with a prayer and blessed everybody. Here one could see that today there are still people like Paul who cannot keep quiet. The secret must be revealed. The risk doesn't matter, whether it is imprisonment or the government or losing your friends, every person must hear the good news. I think they know how to tell the right thing at the right time. Yes, they are sensitive and give space. But that doesn't mean that they don't speak up. By hook or by crook, the secret must out! I realise that we cannot make it work on our own. Paul knows that too.
I suspect that Paul's personality is more a "turn or burn" technique, and, therefore, he asks for reinforcements. We are too weak. Either our fire is extinguished or we are insensitive and drives people away before we get a chance to give the message. God must help us. We need God's Spirit to guide us so that we can say and do the right thing at the right time. May it be so. May we be sensitive to the guidance of the Spirit. Let us strive to follow Paul's example. May we be like the teachers at my son's school and burn like the head boy to tell the good news and may God's Spirit guide us to do it in the right way at the right time.
They know many are not Christians. They are careful and try not to offend. But they are not afraid to say exactly who they believe in. Even the head boy who talked directly to the young boys stated clearly that he had made a choice for Jesus in his life. How wonderful it was when this same head boy concluded the evening with a prayer and blessed everybody. Here one could see that today there are still people like Paul who cannot keep quiet. The secret must be revealed. The risk doesn't matter, whether it is imprisonment or the government or losing your friends, every person must hear the good news. I think they know how to tell the right thing at the right time. Yes, they are sensitive and give space. But that doesn't mean that they don't speak up. By hook or by crook, the secret must out! I realise that we cannot make it work on our own. Paul knows that too.
I suspect that Paul's personality is more a "turn or burn" technique, and, therefore, he asks for reinforcements. We are too weak. Either our fire is extinguished or we are insensitive and drives people away before we get a chance to give the message. God must help us. We need God's Spirit to guide us so that we can say and do the right thing at the right time. May it be so. May we be sensitive to the guidance of the Spirit. Let us strive to follow Paul's example. May we be like the teachers at my son's school and burn like the head boy to tell the good news and may God's Spirit guide us to do it in the right way at the right time.
Museums and the Marathon Man
The Washington Post article by Christopher Ingraham (June 13th, 2014) says it all "There are more museums in the U.S. than there are Starbucks and McDonald's - combined." Quite accurately we think of museums as important cultural and educational institutions; however, they are also quiet superstars of the entertainment industry. According to The American Alliance of Museums (AAM), with over 800 million live visits annually, their attendance exceeds that of all theme parks and major sporting events combined. But America's museums are much more than popular and numerous; they are cultural and educational gems that play a vital role. They are community elders that tell the stories of our American neighborhoods. Mamie Bittner with The Institute of Museum and Library Studies (IMLS) stated in the Washington Post article: "Many of these institutions, particularly in small towns and rural areas, are historical societies and history museums. We are in love with our history - at a very grassroots level we care for the histories of our towns, villages and counties," The story of how I came to visit and admire so many small museums begins nearly eight years ago when I faced a scary scenario.
Diagnosed with prostate cancer my doctor's instructions were clear and blunt. "We caught this thing very early; lose some weight but by year's end take care of this." Taking care of this meant either an operation or radiation. He was confident that either procedure would be sufficient; nevertheless, I was scared as hell. When you hear that diagnosis, "you have cancer", a thousand things race through your mind all at once, yet somehow the whole world stops at the same time. What are the treatment options... I have to research each treatment... I have to research the surgeons... what if I don't make it... what happens to my wife... what happens to my family... I want this thing out of me... how do you research this stuff... I want this done before the end of the year... why me... why not me. My mind was racing, racing, racing. Who do I tell? When do I tell them? Should I tell them? My mind was just racing, racing, racing. It was June 2010. I was 54 years old, a professor, husband and father.
Earlier that year my wife had been hospitalized for 34 days. Should I tell my wife? Would this aggravate her condition? She was already worried about being unemployed. Do I tell her? Our three sons were all in high school and doing reasonably well; the oldest would start college in the fall. Out of worry would my oldest boy forgo his athletic scholarship to stay home with his ailing parents? Even if he did go to college, if he knew I was battling cancer how would this affect him academically? Who should I tell? Do I tell my boys? Do I tell everyone? Do I tell no one? I once heard somewhere that "we grow up and become our parents." How true that is. Although it didn't occur to me at the time, I'd seen this situation play out before in 1969; I was 12. One day my dad asked me to come with him to his doctor. This was strange; he had never asked me to go to a doctor with him before.
We went to St. Nicholas Park, Mount Morris Park, Central Park, baseball games, museums and grocery stores. On Sundays we walked to newsstands to buy the New York Times and Daily News. Afterwards we'd come back home and eat big southern style Sunday breakfasts - smothered chicken, smothered pork chops, grits, gravy and biscuits, never rolls - always biscuits. We did a lot, but he had never asked me to go to a doctor with him. I should have known that something was up, but I didn't. The doctor's appointment took place on an early evening. The office was located on the first floor of an apartment building and it was dark outside. I sat in the waiting area while my dad met privately with the doctor. That day his doctor told him he had six months to live. My dad a tall, quiet, dignified WWII vet said nothing.
We went home and he acted as if nothing had happened. He kept it all to himself. Yet twenty one years later, and long after his doctor had died, my dad was still alive. He told no one this frightening secret for all of those years. Finally, in 1990 he spoke with me about what had happened on that day way back in 1969. When I asked him why he hadn't said anything he had a classic answer, "Hell, I wasn't gonna die to just to make the doctor look good." To this day I still don't know if he ever told anyone else. In 2010, 41 years after my dad was told he had six months to live and said nothing to the family, I became my dad - absent the courage and dignity of the WWII vet. Initially I told no one. I did however listen to my doctor's advice and began power-walking aggressively to lose the weight. I weighed 308 pounds.
This was the beginning of a journey. Little did I know it would transform my health, my body and to a great degree my soul. I elected for a robotic prostatectomy as treatment. Recognizing that I would be hospitalized for several days I was forced to say something to my wife. Every married man knows that disappearing for several days without telling your wife is a guaranteed death sentence; cancer is only potentially lethal. We sat down on the living room sofa on a Sunday around 7pm. It was the evening before I'd be admitted to the hospital. This scenario gave her very little time to dwell on the matter; I had to be at the hospital early the next day. As I had feared, she broke down and began to cry and as soon I uttered the word cancer.
We agreed not to tell our sons; we both thought it might cause them to worry. Fortunately the operation was a success. Neither chemotherapy nor radiation was required. Several months later I resumed my power-walking. Over time a routine evolved. I prefer walking outdoors in parks (no matter the temperature) to treadmills and tracks, mornings are better than evenings, warmups last 5 - 7 minutes, weekday walks last 45 - 50 minutes, weekend sessions last a minimum of 90 minutes and finally, almost all sessions end with 7- 8 minutes of stretching. I walk 4 times per week during cold months and 4 - 5 times per week during warm months, I also found a very reliable partner, music from the 70s, 80s and 90s. My partner also gets along fabulously with an ancient Sony Walkman. Who knows, perhaps this partner is my subconscious whispering to remind me of long lost youth. While I do not claim to be a very religious person, being outdoors in parks (which are after all tiny forests) sweating, breathing and among the general splendor of God's nature is often a spiritual event. The cancer has now been gone for nearly eight years.
Over that time 70 pounds have melted away and my diabetes seems to have disappeared, or at the very least be well controlled. Along the way I began to enter races; I power-walk but compete against runners. Half marathons (13.1 miles) and 10Ks (6.2 miles) are my favorites. Being somewhat vain, before entering my first race I checked the times of the runners to make sure I would not finish last. At first I entered local races. Later a colleague, who is a runner, told me about the Philadelphia "Love Marathon" which I competed in. This lead me to research races in other locations. Now, I travel to participate I races. However, journeying to different cities only to participate in a single race seemed hardly to be an efficient use of time and travel.
I needed another activity to compliment the racing. This is how I developed an interest in small museums. I had some experience with researching museums. Years ago I had begun exploring museums as field trip venues for high school students. At the time I supervised a college program that provided various activities for at-risk high school students. The American Alliance of Museums (AAM) provided a great deal of information for our program. Later, as I began to look for museums in the cities and towns I would be racing in, AAM and several other museum related organizations such as The Institute of Museum and Library Service (IMLS) and Museums of the World (MOW) have become valuable resources.
One fact that immediately became clear is that America is the undisputed museum capitol of the world. According to MOW there were an estimated 55,000 museums located in 202 countries in 2014. IMLS, (a U.S. agency) states there are 35,144 active museums in the United States alone. Assuming these data are accurate, over 63% of the world's museums are located in America. The IMLS 2012-16 Strategic Plan points out "There are more than 4.5 billion objects held in public trust by museums, libraries, archives and other institutions in the U.S."
Diagnosed with prostate cancer my doctor's instructions were clear and blunt. "We caught this thing very early; lose some weight but by year's end take care of this." Taking care of this meant either an operation or radiation. He was confident that either procedure would be sufficient; nevertheless, I was scared as hell. When you hear that diagnosis, "you have cancer", a thousand things race through your mind all at once, yet somehow the whole world stops at the same time. What are the treatment options... I have to research each treatment... I have to research the surgeons... what if I don't make it... what happens to my wife... what happens to my family... I want this thing out of me... how do you research this stuff... I want this done before the end of the year... why me... why not me. My mind was racing, racing, racing. Who do I tell? When do I tell them? Should I tell them? My mind was just racing, racing, racing. It was June 2010. I was 54 years old, a professor, husband and father.
Earlier that year my wife had been hospitalized for 34 days. Should I tell my wife? Would this aggravate her condition? She was already worried about being unemployed. Do I tell her? Our three sons were all in high school and doing reasonably well; the oldest would start college in the fall. Out of worry would my oldest boy forgo his athletic scholarship to stay home with his ailing parents? Even if he did go to college, if he knew I was battling cancer how would this affect him academically? Who should I tell? Do I tell my boys? Do I tell everyone? Do I tell no one? I once heard somewhere that "we grow up and become our parents." How true that is. Although it didn't occur to me at the time, I'd seen this situation play out before in 1969; I was 12. One day my dad asked me to come with him to his doctor. This was strange; he had never asked me to go to a doctor with him before.
We went to St. Nicholas Park, Mount Morris Park, Central Park, baseball games, museums and grocery stores. On Sundays we walked to newsstands to buy the New York Times and Daily News. Afterwards we'd come back home and eat big southern style Sunday breakfasts - smothered chicken, smothered pork chops, grits, gravy and biscuits, never rolls - always biscuits. We did a lot, but he had never asked me to go to a doctor with him. I should have known that something was up, but I didn't. The doctor's appointment took place on an early evening. The office was located on the first floor of an apartment building and it was dark outside. I sat in the waiting area while my dad met privately with the doctor. That day his doctor told him he had six months to live. My dad a tall, quiet, dignified WWII vet said nothing.
We went home and he acted as if nothing had happened. He kept it all to himself. Yet twenty one years later, and long after his doctor had died, my dad was still alive. He told no one this frightening secret for all of those years. Finally, in 1990 he spoke with me about what had happened on that day way back in 1969. When I asked him why he hadn't said anything he had a classic answer, "Hell, I wasn't gonna die to just to make the doctor look good." To this day I still don't know if he ever told anyone else. In 2010, 41 years after my dad was told he had six months to live and said nothing to the family, I became my dad - absent the courage and dignity of the WWII vet. Initially I told no one. I did however listen to my doctor's advice and began power-walking aggressively to lose the weight. I weighed 308 pounds.
This was the beginning of a journey. Little did I know it would transform my health, my body and to a great degree my soul. I elected for a robotic prostatectomy as treatment. Recognizing that I would be hospitalized for several days I was forced to say something to my wife. Every married man knows that disappearing for several days without telling your wife is a guaranteed death sentence; cancer is only potentially lethal. We sat down on the living room sofa on a Sunday around 7pm. It was the evening before I'd be admitted to the hospital. This scenario gave her very little time to dwell on the matter; I had to be at the hospital early the next day. As I had feared, she broke down and began to cry and as soon I uttered the word cancer.
We agreed not to tell our sons; we both thought it might cause them to worry. Fortunately the operation was a success. Neither chemotherapy nor radiation was required. Several months later I resumed my power-walking. Over time a routine evolved. I prefer walking outdoors in parks (no matter the temperature) to treadmills and tracks, mornings are better than evenings, warmups last 5 - 7 minutes, weekday walks last 45 - 50 minutes, weekend sessions last a minimum of 90 minutes and finally, almost all sessions end with 7- 8 minutes of stretching. I walk 4 times per week during cold months and 4 - 5 times per week during warm months, I also found a very reliable partner, music from the 70s, 80s and 90s. My partner also gets along fabulously with an ancient Sony Walkman. Who knows, perhaps this partner is my subconscious whispering to remind me of long lost youth. While I do not claim to be a very religious person, being outdoors in parks (which are after all tiny forests) sweating, breathing and among the general splendor of God's nature is often a spiritual event. The cancer has now been gone for nearly eight years.
Over that time 70 pounds have melted away and my diabetes seems to have disappeared, or at the very least be well controlled. Along the way I began to enter races; I power-walk but compete against runners. Half marathons (13.1 miles) and 10Ks (6.2 miles) are my favorites. Being somewhat vain, before entering my first race I checked the times of the runners to make sure I would not finish last. At first I entered local races. Later a colleague, who is a runner, told me about the Philadelphia "Love Marathon" which I competed in. This lead me to research races in other locations. Now, I travel to participate I races. However, journeying to different cities only to participate in a single race seemed hardly to be an efficient use of time and travel.
I needed another activity to compliment the racing. This is how I developed an interest in small museums. I had some experience with researching museums. Years ago I had begun exploring museums as field trip venues for high school students. At the time I supervised a college program that provided various activities for at-risk high school students. The American Alliance of Museums (AAM) provided a great deal of information for our program. Later, as I began to look for museums in the cities and towns I would be racing in, AAM and several other museum related organizations such as The Institute of Museum and Library Service (IMLS) and Museums of the World (MOW) have become valuable resources.
One fact that immediately became clear is that America is the undisputed museum capitol of the world. According to MOW there were an estimated 55,000 museums located in 202 countries in 2014. IMLS, (a U.S. agency) states there are 35,144 active museums in the United States alone. Assuming these data are accurate, over 63% of the world's museums are located in America. The IMLS 2012-16 Strategic Plan points out "There are more than 4.5 billion objects held in public trust by museums, libraries, archives and other institutions in the U.S."
Being A Human Whisperer
We have the Ghost Whisperer, Dog Whisperer, Cat Whisperer, Horse Whisperer, but have we thought about being the Mother of all whisperers? The Human Whisperer? I know this sounds funny but it is the most basic life skill set we all must strive to possess. And we think that as humans, we know how to do this? Nope. The number ONE challenge that almost all of my clients have is to be able to communicate effectively. Whether it is with their family, loved ones, colleagues, clients or subordinates, this is ONE BIG CHALLENGE. Over the course of the last two to three weeks, it made me realise that most of the work that I have been doing is really about teaching people how to communicate effectively.
It is not about speaking well or having good diction. It is about communicating with each individual or group in such a way that they get what I am saying. Sometimes, I am required to be tough/stern, others times I am required to be soft and loving, and other times, it is important to be humorous. TIMING to do what and when is really the key. Some of the key challenges that most people face include: communicating with self? Is there effective self talk that one has clarity in the direction they are heading? communicating with others - Are your needs understood? Are you being heard? is using voice better than touch? Or vice versa? how to communicate effectively with a crowd so that you are rallying them towards something positive does being a leader automatically make you an effective communicator? Or is it the other way around? If our communication skills are effective, then we will certainly have less of a challenge in our relationship with others. It is a fundamental skill that we must have.
However, it is also one of the most challenging to learn, and a skillset that is challenging to impart. To effectively learn this skill, attending a workshop for the masses on tactics, techniques etc is not sufficient. Simply because we are all different. One must learn to adapt these skills to different life situations and with different people. I have found that certain communication skills I have coached one client on, will not work on another as effectively. As the facilitator, I am required to adapt to each of the needs of my clients. Now, keep in mind that as a coach, it is necessary for me to have this skill set. But the reality is, everyone should have these skill sets too. We need one another, that goes without saying, so our need for one another requires us to communicate.
If this skill is missing, not only are our own needs not being met, you will not be able to meet the needs of others as well, whether it is in an intimate relationship, social relationship or work relationship. I just googled "how to communicate your sexual needs to your partner". And there are over 7 million results. This just goes to show that even the most basic human need is not being met. Couples are having real difficulties communicating their basic needs to their partners. If this is a challenge, what about other needs?
It is not about speaking well or having good diction. It is about communicating with each individual or group in such a way that they get what I am saying. Sometimes, I am required to be tough/stern, others times I am required to be soft and loving, and other times, it is important to be humorous. TIMING to do what and when is really the key. Some of the key challenges that most people face include: communicating with self? Is there effective self talk that one has clarity in the direction they are heading? communicating with others - Are your needs understood? Are you being heard? is using voice better than touch? Or vice versa? how to communicate effectively with a crowd so that you are rallying them towards something positive does being a leader automatically make you an effective communicator? Or is it the other way around? If our communication skills are effective, then we will certainly have less of a challenge in our relationship with others. It is a fundamental skill that we must have.
However, it is also one of the most challenging to learn, and a skillset that is challenging to impart. To effectively learn this skill, attending a workshop for the masses on tactics, techniques etc is not sufficient. Simply because we are all different. One must learn to adapt these skills to different life situations and with different people. I have found that certain communication skills I have coached one client on, will not work on another as effectively. As the facilitator, I am required to adapt to each of the needs of my clients. Now, keep in mind that as a coach, it is necessary for me to have this skill set. But the reality is, everyone should have these skill sets too. We need one another, that goes without saying, so our need for one another requires us to communicate.
If this skill is missing, not only are our own needs not being met, you will not be able to meet the needs of others as well, whether it is in an intimate relationship, social relationship or work relationship. I just googled "how to communicate your sexual needs to your partner". And there are over 7 million results. This just goes to show that even the most basic human need is not being met. Couples are having real difficulties communicating their basic needs to their partners. If this is a challenge, what about other needs?
Mind Mapping for Creating Characters
Whether you consider it using flow charts, whiteboards or even just free association, Mind Mapping has been around for some time now. People have used it for taking notes, brainstorming, and problem-solving. A Mind Map is a tool used to visually organize information or ideas. As a writer, it can be used for solving writer's block or creating a workable outline. Today I am going to show you how to create a character sketch. Character sketches can be very basic or incredibly detailed. It can include eye and hair color or blood type and your heroes first kiss. Many writers go online and look for pre-made character sketches that include hundreds of questions that may not apply to your work. This is where the idea of a mind map comes in handy.
For those who are not familiar with the process, don't worry creating a mind map is not complicated. It can be done on a piece of paper, a whiteboard or using software programs. It doesn't have to be expensive. There are several FREE programs that will do an excellent job, including xmind.net, mindmaple.com, and freemind.sourceforge.net. Some of these programs have paid versions, but as a writer, the free versions will do everything you need. To create a mind map on any subject there are 4 basic steps. Step 1 - Start by writing a single concept in the middle of a blank page. Step 2 - Add related ideas to this concept and use lines to connect them. Step 3 - Branch off each of these ideas to expand and create new thoughts. Step 4 - Use different colors, symbols, and images to make each branch unique.
To help visualize this process I will use one of my own characters as an example. Every character you create will be different, but if you use these points as a starting place, it will be much easier. My starting point is always very specific. I use my character's name and a photo of what I think he or she will look like. Why do I add a photo? Because as the saying goes, "a picture IS worth a thousand words." Personally, I put the name and photo inside a red circle at the center of the page, like a bullseye. I add new ideas to focus on around my character. Each idea is placed in its own circle and connected by a wavy line. Why a wavy line? Because straight lines are boring and analytical, I am trying to tap into the creative side of my brain. I will also use a different color for each circle and the line that connects it, for the same reason.
I focus on six main points with each character. These include Family, Friends, Work, Skills, Physical and Secrets. At this point, it might be hard to come up with a photograph for each category, but you can use symbols like a question mark for the section that says Secrets. This is where the fun begins. Under each main point listed, I include 5 additional sub-ideas. For example, under Family, I would list Mother, Father, Siblings, Other and History. Each of these would also have their own circle, and I would color that circle the same as the primary idea Family. I can already hear someone saying this won't work for me, my character's parents are dead, or my character is an orphan. So? This is only to spark ideas. If the mother is dead, this will remind you of that and be a memory for your character to ponder about. If she's not, you can describe what he liked or disliked about her the most. The same idea applies to Siblings, if he has them he can tell stories of when his brother did this, or his sister did that.
If he never had one, did he ever wonder what it would be like to have a brother or sister? You might wonder why I included the word Other. Whether your character's parents are living or not at some point someone else had a major impact on his life. That could be a babysitter, a scout leader or a teacher. All of us are created by those we have interacted with. History would include things like who was the black sheep of the family, are all the women in this family short, have there always been anger issues? These are the things the character himself may not even realize affect his (or her) way of thinking. I could write an entire article on how your character's family affects the way they act or think or believe. That's kind of the point of a mind map, you can go as deep as you want. By keeping it simple, (one word at a time) it allows your mind to keep filling in the blanks. Don't believe me? Just say the word Mother out loud and see what images and thoughts pop into your head. Most of the categories I listed are obvious, but I do want to take a moment to talk about Secrets.
Every person on the planet has them and if you think you can create a character without them, you are sadly mistaken. It could be as simple as they never learned to swim, or as dramatic as they killed their own sister. This is also a good place to include habits. For example, if you wrote Taps, it could remind you when he gets nervous he always taps his fingers. If you wrote the word Ring, you would know she twists her ring when upset. You don't have to write the whole reason why she twists her ring just write the word to keep your imagination going. Key points to remember: 1st point - Keep is simple. One word at a time. You are not writing the story you are capturing ideas to include in the story. 2nd point - Use color. Bright, vibrant colors stimulate the mind.
The more stimulated the mind, the easier it is to be creative. 3rd point - Use curved lines to connect thoughts. Why? Because if you just use straight lines, the brain gets bored quickly. 4th point - Add images whenever possible. Why? Because if a picture is worth a thousand words, then 10 pictures are worth ten thousand words. By using a word AND an image you engage both sides of the brain without limiting your potential. Once you start using mind mapping to write, ideas will flow one after another. It's actually very hard to have writer's block if ideas come so fast you can't keep up. It may not solve all your writing problems, but it will make things easier.
For those who are not familiar with the process, don't worry creating a mind map is not complicated. It can be done on a piece of paper, a whiteboard or using software programs. It doesn't have to be expensive. There are several FREE programs that will do an excellent job, including xmind.net, mindmaple.com, and freemind.sourceforge.net. Some of these programs have paid versions, but as a writer, the free versions will do everything you need. To create a mind map on any subject there are 4 basic steps. Step 1 - Start by writing a single concept in the middle of a blank page. Step 2 - Add related ideas to this concept and use lines to connect them. Step 3 - Branch off each of these ideas to expand and create new thoughts. Step 4 - Use different colors, symbols, and images to make each branch unique.
To help visualize this process I will use one of my own characters as an example. Every character you create will be different, but if you use these points as a starting place, it will be much easier. My starting point is always very specific. I use my character's name and a photo of what I think he or she will look like. Why do I add a photo? Because as the saying goes, "a picture IS worth a thousand words." Personally, I put the name and photo inside a red circle at the center of the page, like a bullseye. I add new ideas to focus on around my character. Each idea is placed in its own circle and connected by a wavy line. Why a wavy line? Because straight lines are boring and analytical, I am trying to tap into the creative side of my brain. I will also use a different color for each circle and the line that connects it, for the same reason.
I focus on six main points with each character. These include Family, Friends, Work, Skills, Physical and Secrets. At this point, it might be hard to come up with a photograph for each category, but you can use symbols like a question mark for the section that says Secrets. This is where the fun begins. Under each main point listed, I include 5 additional sub-ideas. For example, under Family, I would list Mother, Father, Siblings, Other and History. Each of these would also have their own circle, and I would color that circle the same as the primary idea Family. I can already hear someone saying this won't work for me, my character's parents are dead, or my character is an orphan. So? This is only to spark ideas. If the mother is dead, this will remind you of that and be a memory for your character to ponder about. If she's not, you can describe what he liked or disliked about her the most. The same idea applies to Siblings, if he has them he can tell stories of when his brother did this, or his sister did that.
If he never had one, did he ever wonder what it would be like to have a brother or sister? You might wonder why I included the word Other. Whether your character's parents are living or not at some point someone else had a major impact on his life. That could be a babysitter, a scout leader or a teacher. All of us are created by those we have interacted with. History would include things like who was the black sheep of the family, are all the women in this family short, have there always been anger issues? These are the things the character himself may not even realize affect his (or her) way of thinking. I could write an entire article on how your character's family affects the way they act or think or believe. That's kind of the point of a mind map, you can go as deep as you want. By keeping it simple, (one word at a time) it allows your mind to keep filling in the blanks. Don't believe me? Just say the word Mother out loud and see what images and thoughts pop into your head. Most of the categories I listed are obvious, but I do want to take a moment to talk about Secrets.
Every person on the planet has them and if you think you can create a character without them, you are sadly mistaken. It could be as simple as they never learned to swim, or as dramatic as they killed their own sister. This is also a good place to include habits. For example, if you wrote Taps, it could remind you when he gets nervous he always taps his fingers. If you wrote the word Ring, you would know she twists her ring when upset. You don't have to write the whole reason why she twists her ring just write the word to keep your imagination going. Key points to remember: 1st point - Keep is simple. One word at a time. You are not writing the story you are capturing ideas to include in the story. 2nd point - Use color. Bright, vibrant colors stimulate the mind.
The more stimulated the mind, the easier it is to be creative. 3rd point - Use curved lines to connect thoughts. Why? Because if you just use straight lines, the brain gets bored quickly. 4th point - Add images whenever possible. Why? Because if a picture is worth a thousand words, then 10 pictures are worth ten thousand words. By using a word AND an image you engage both sides of the brain without limiting your potential. Once you start using mind mapping to write, ideas will flow one after another. It's actually very hard to have writer's block if ideas come so fast you can't keep up. It may not solve all your writing problems, but it will make things easier.
The Wheel of Destiny
Are we the product of our actions, or do the dictates of destiny control us? Do we get everything by effort, or does fate have a different story to tell? Read on. PK Mahanandia, an artist from Delhi, was sketching portraits of people for a modest fee. Along came Charlotte Von Schedvin, intrigued by the claims of a gentleman with ruffled hair, and dark mustache, that he could sketch in 10 minutes. Flashback years ago: Little Mahanandia from Orissa, India, was told by his mother that he would marry a girl from Royalty, from a faraway land, the possessor of a musical ear, and the owner of a forest. She would belong to the Sun Sign Taurus. Present Era 1975 A.D., New Delhi: Charlotte was not pleased with the rendition of the portrait. She came back a day later, but wasn't satisfied. Offhand Mahanandia asked her if she owned a forest, and if she was a Taurean.
She replied in the affirmative. She had come from Sweden to India along the Hippie trail of the 70's, running across Turkey, Iran, and Afghanistan. She, along with Mahanandia, visited the Sun Temple in Konark, which has the famous giant stone wheel. Charlette exclaimed in surprise, that she had a similar miniature version of the wheel, back home in Sweden. He promised her that he would come to Sweden, but being an artist of modest means, he bought a bicycle. From thereon, started his journey of love, on his bicycle, along the hippie-trail across the various countries that Charlette traversed. He worked as an artist drawing portraits for people, who shared money, food, and shelter with him.
Those days, in the 70's, one did not need a visa to travel across many of these countries. Afghanistan, a landlocked country surrounded by mountains, was a peace-loving country, with a taste for music, art, and culture. He would traverse 70 kilometers (approximately 40 miles every day)on his bicycle till his legs hurt. He finally reached Germany, and from there, took the train to reach his destination in Sweden. Charlotte helped him get over the cultural shock he experienced in Sweden, was accepted by her parents, and he married her, all for love-that love, as per him, had not diminished since 1975, when the now 64-year-old gentleman got married to Charlotte. They have two children; her piano continues to play the tune of eternal love.
They have their forest; he continues to sketch, and they live happily ever after. So coming back to the question, are we the product of our actions, or do the dictates of destiny control us? Maybe both- Little Mahanandia being told of his musical Princess, the owner of a forest, and believing it, Charlotte relating to the miniature version stone wheel of the Sun Temple of Konark, as part of her collection, and the coming together of the two individuals in Delhi. However, without his action of cycling across countries, would they have got married? Who knows? Who can explain the inexplicable? It was all just for love.
She replied in the affirmative. She had come from Sweden to India along the Hippie trail of the 70's, running across Turkey, Iran, and Afghanistan. She, along with Mahanandia, visited the Sun Temple in Konark, which has the famous giant stone wheel. Charlette exclaimed in surprise, that she had a similar miniature version of the wheel, back home in Sweden. He promised her that he would come to Sweden, but being an artist of modest means, he bought a bicycle. From thereon, started his journey of love, on his bicycle, along the hippie-trail across the various countries that Charlette traversed. He worked as an artist drawing portraits for people, who shared money, food, and shelter with him.
Those days, in the 70's, one did not need a visa to travel across many of these countries. Afghanistan, a landlocked country surrounded by mountains, was a peace-loving country, with a taste for music, art, and culture. He would traverse 70 kilometers (approximately 40 miles every day)on his bicycle till his legs hurt. He finally reached Germany, and from there, took the train to reach his destination in Sweden. Charlotte helped him get over the cultural shock he experienced in Sweden, was accepted by her parents, and he married her, all for love-that love, as per him, had not diminished since 1975, when the now 64-year-old gentleman got married to Charlotte. They have two children; her piano continues to play the tune of eternal love.
They have their forest; he continues to sketch, and they live happily ever after. So coming back to the question, are we the product of our actions, or do the dictates of destiny control us? Maybe both- Little Mahanandia being told of his musical Princess, the owner of a forest, and believing it, Charlotte relating to the miniature version stone wheel of the Sun Temple of Konark, as part of her collection, and the coming together of the two individuals in Delhi. However, without his action of cycling across countries, would they have got married? Who knows? Who can explain the inexplicable? It was all just for love.
The Reality of Reality Shows
The concept of reality shows Reality television is a television programming genre that displays usually unscripted overdramatic or hilarious situations, documents actual events, and usually features ordinary people instead of trained actors, sometimes in a competition or other circumstances where a prize is awarded. Shows in the Reality TV are called as reality shows that are often produced as series. The people are either engaged in competition with each other or in an awkward situation or spied on in their daily lives. Reality TV is a buzzword of the day. Watching reality shows have become our favourite past time and a source of fun and enjoyment. It is a real program cast with real people not with actors. Though the term reality television is chiefly used to categories shows that have arisen since the year 2000, the history of reality TV shows goes back farther than we can think. Television has been depicting the lives of people through dating shows, contests and pranks for a very long time. It has a great history which most people didn't know considering modern reality television and its boom in popularity in recent years.
The reality TV show started in the year 1948, Producer-host Allen Funt's Candid Camera, in which unsuspecting people were drops into funny and unusual situations gets filmed with hidden cameras, was first aired in the year 1948. The show is seen as a prototype of reality television programming. Different kind of reality shows There are various types of reality shows that are running on TV. These shows broke the boredom of the traditional scripted shows and started showing the real-life situations. Reality shows cater to different age groups and tastes because of the availability of the wide range of themes. In many reality shows, participants are often placed in exotic locations or in abnormal situations. Some of the reality shows cover a person or a group of people improving their lives.
They represent a modified and highly influenced form of reality to attract its viewers. Documentaries and nonfictional shows for example news and sports are not categorized under reality shows. Some types of reality shows are as written below: • Documentaries or Documentary Series Out of all the subgenres of reality TV, the documentary subgenre is possibly the most general one. The core difference between documentaries and a documentary series is that while documentaries are every so often constrained to one episode, documentary series span a series in its entireness, following a series of arc-like scripted television. The subgenre would also cover most social experiment shows, where different kinds of interactions are observed just for the sake of a new experiment. • Competition or Elimination Reality programs that are based on a elimination or competition format are just about getting eliminated by the annoying housemate or having the best participant become the winner. They are all about winning something important overcoming your competitors. The competition may be among all the other participants, or against time/money. • Makeover or Renovation Same as the name itself says this type of shows either about Makeover of a person's appearance or make a renovation of your old house. • Dating This one is the most significant subgenre of reality TV where the boy meets girl and the audience stick to know 'will they or won't they' aspect of the story. • Hidden Camera Starting with Candid Camera, this is possibly the longest-running reality subgenre.
It is all about capturing the reactions of innocent people placed in unexpected situations. This subgenre also covers shows which rely on amateur submitted content. • Supernatural The most common types of the show in this subgenre are programs that investigate paranormal occurrences. The subgenre also encompasses shows which focus on hunting down famous mythical creatures. • Travel or Aspirational Since most audiences can't afford to travel to the faraway lands for a vacation, many of us settle on enjoying these destinations through this type of travel shows where a person, couple or group goes to a trip and film all of their experiences for the viewers. Besides all these shows celebrity talk shows or competitions like talent hunt, adventure, game shows or fear-based shows are also mentionable. Reality Shows in India The very first reality show of any kind on Indian TV was a quiz contest Titled- Bournvita Quiz Contest.
It was hosted by the famous Derek O'Brien in the year 1972. But first, it featured a live show in various cities initially, then went on air as a radio show. In the year 1992, it became the first reality show to be featured on ZEE TV and Indian Television. Then came "Sansui Antakshari" in the year 1993 which was hosted by Annu Kapoor on ZEE TV and It became the first Indian singing reality show that ran till 2006. Came in different versions of Star One and SAB TV with the same host after 2006. ZEE TV made its name to bring about home-grown reality shows rather adapting international reality shows on Indian TV. Singing reality show Sa Re Ga Ma Pa came in the year 1995 hosted by the famous singer of Bollywood Sonu Nigam and the dancing reality show that changed the whole scenario of dancing shows Dance India Dance came in the year 2009. Sony Entertainment Television launched India's first dance reality show titled- Boogie Woogie it was created by Naved Jaffrey in the year 1996 and hosted and judged by Javed Jaffrey.
It was as an immediate hit for the channel. In the year 2000, Star Plus aired "Kaun Banega Crorepati" with Amitabh Bachchan (an adaptation of "Who wants to become a millionaire") which went on to become India's favourite and most watched reality show. To give competition ZEE TV launched another game show titled- Sawal Dus Crore Ka and Sony TV launched Jeeto Chappar Phhad Ke but KBC's popularity didn't deter; making it the most successful reality show in Indian television. Sony India came up with Indian Idol in 2004 which was an adaptation to the popular international reality show "American Idol". After its success with grown-ups, they came with kids participants in the show which helped the show to gain love by all.
The production team of Endemol India came up with popular reality show Big Brother's Indian version of Bigg Boss and Fear Factor on Sony TV in 2006. It became India's most popular international adapted show after KBC. It was moved to Colors TV making it India's most watched Hindi Television due to its backing on Bigg Boss, Fear Factor competing with the likes of Star Plus and ZEE TV. Next revolution reality shows in India came with an adaptation of other famous international shows like The Voice India and So You Think You Can Dance on &TV. These shows changed the concept of singing and dance shows on Indian Television. Other popular reality shows based on foreign shows are like MTV Roadies, India's Got Talent etc.
The actual reality of reality shows It's generally accepted that reality TV is really kind of terrible. What was once considered innovative in the entertainment world, has devolved into unintentional comedies starring the most horrible and awkward people imaginable. Nowadays real is the last thing that strikes you about reality shows. Whether it is a dance show where lesser-known faces of telly world vie for the best dancer tag or the Bigg Boss's house in which racial slurs and catfights are a part of the process to decide winners, much goes into presenting a reality show as real. There is a vast majority of reality television shows that are not 100 percent real, as there is a high degree of manipulation in order to achieve sustained audience attention. Results are in reality shows mostly controlled by producers/directors.
They want to keep audience believe it is random and unpredictable, to convey this most of the time some candidate is told what to do, how to do. They are even told to behave in certain ways. And in the end nobody will show you all things, things will get edited and aired show may be far from actual reality. Reality Television is a genre more of an exact description of the shows themselves. Producer's fake shots and even re-stage dramatic moments that happened when the cameras weren't rolling- pretty much everything is actually plotted and planned out like the normal scripted show. Most of the reality shows still hold a basic level of truth, however, portraying events that really did happen, even if they're acted again for the cameras.
These shows feature people living their lives and doing their jobs, even if a lot has been smoothed out of their day-to-day routine in order to edit out the boring bits. Most of the talent hunt, singing, dancing even in shows based on general knowledge like "Kaun Banega Crorepati" participants has to go through a long struggle. Most of the time voting is absolutely rigged and the winner gets decided as per his or her capability of keeping TRP's high. Most of the contestants of the reality shows, especially the winners, might get disappointed soon after their win, the attention shifts to the winner of the next season. The limelight being taken away from them doesn't agree with many young people. Some contestants might get frustrated as they harbour false hopes that once they win the contest, their future is set for good.
Impact of reality shows on society New boys & girls who are becoming reality TV celebrity stars does not succeed on talent but use melodrama to always remain in the news. One of the worst effects of their action is on teens who try to emulate their behaviour. All the stunts that are done on these TV shows under organized conditions are copied by the people in reality and resulting in death. Some of the shows where contestants participate to win prizes show them in poor light as they use meanness and greed to outdo each other. The negative traits can manifest themselves in the audiences and create behavioural problems. Liberal doses of abuses are hurled on the shows because the directors think that more and more people will watch them. It is a huge mistake because bad words are caught by teens and kids affecting their personality as well as behaviour.
Although kids' reality shows like Sa Re Ga Ma Pa Lil Champs, Sabse Bada Kalakaar, Junior Masterchef India and many other shows attract the audiences and gains good ratings, it is not advisable to put children under stressful situations in the early years of their lives! Small children have been forced to participate in reality shows, they have wrenched away from all normal activities and thrown into a single-minded devotion to lending their voices to these reality shows. They are compelled to shoot for long hours, sometimes in scorching hot non-air conditioned rooms. Even Parents also pressurise their children to excel on reality shows, small children become victims of a system that fosters and encourages unrealistic ambitions. Some reality shows show participants taking extreme risks and putting themselves in bizarre or dangerous situations.
Since younger children mostly learn through imitation, watching such programmes may put them at risk of physical injury. A study published in the Journal of Experimental Child Psychology indicated that children who viewed high-risk TV programmes increased their self-reported risk-taking behaviour significantly more than children who were exposed to low-risk TV or watched less TV. Reality shows that are focussed on some people and their day-to-day lives are a big nuisance and parents need to draw a line when it comes to children watching such shows. They portray everything in an exaggerated manner which is not at all a reflection of real life. This should be made clear to our children. Reality talent shows, on the other hand, make parents feel that their own children are inadequate. Article Source: http://EzineArticles.com/9937465
The reality TV show started in the year 1948, Producer-host Allen Funt's Candid Camera, in which unsuspecting people were drops into funny and unusual situations gets filmed with hidden cameras, was first aired in the year 1948. The show is seen as a prototype of reality television programming. Different kind of reality shows There are various types of reality shows that are running on TV. These shows broke the boredom of the traditional scripted shows and started showing the real-life situations. Reality shows cater to different age groups and tastes because of the availability of the wide range of themes. In many reality shows, participants are often placed in exotic locations or in abnormal situations. Some of the reality shows cover a person or a group of people improving their lives.
They represent a modified and highly influenced form of reality to attract its viewers. Documentaries and nonfictional shows for example news and sports are not categorized under reality shows. Some types of reality shows are as written below: • Documentaries or Documentary Series Out of all the subgenres of reality TV, the documentary subgenre is possibly the most general one. The core difference between documentaries and a documentary series is that while documentaries are every so often constrained to one episode, documentary series span a series in its entireness, following a series of arc-like scripted television. The subgenre would also cover most social experiment shows, where different kinds of interactions are observed just for the sake of a new experiment. • Competition or Elimination Reality programs that are based on a elimination or competition format are just about getting eliminated by the annoying housemate or having the best participant become the winner. They are all about winning something important overcoming your competitors. The competition may be among all the other participants, or against time/money. • Makeover or Renovation Same as the name itself says this type of shows either about Makeover of a person's appearance or make a renovation of your old house. • Dating This one is the most significant subgenre of reality TV where the boy meets girl and the audience stick to know 'will they or won't they' aspect of the story. • Hidden Camera Starting with Candid Camera, this is possibly the longest-running reality subgenre.
It is all about capturing the reactions of innocent people placed in unexpected situations. This subgenre also covers shows which rely on amateur submitted content. • Supernatural The most common types of the show in this subgenre are programs that investigate paranormal occurrences. The subgenre also encompasses shows which focus on hunting down famous mythical creatures. • Travel or Aspirational Since most audiences can't afford to travel to the faraway lands for a vacation, many of us settle on enjoying these destinations through this type of travel shows where a person, couple or group goes to a trip and film all of their experiences for the viewers. Besides all these shows celebrity talk shows or competitions like talent hunt, adventure, game shows or fear-based shows are also mentionable. Reality Shows in India The very first reality show of any kind on Indian TV was a quiz contest Titled- Bournvita Quiz Contest.
It was hosted by the famous Derek O'Brien in the year 1972. But first, it featured a live show in various cities initially, then went on air as a radio show. In the year 1992, it became the first reality show to be featured on ZEE TV and Indian Television. Then came "Sansui Antakshari" in the year 1993 which was hosted by Annu Kapoor on ZEE TV and It became the first Indian singing reality show that ran till 2006. Came in different versions of Star One and SAB TV with the same host after 2006. ZEE TV made its name to bring about home-grown reality shows rather adapting international reality shows on Indian TV. Singing reality show Sa Re Ga Ma Pa came in the year 1995 hosted by the famous singer of Bollywood Sonu Nigam and the dancing reality show that changed the whole scenario of dancing shows Dance India Dance came in the year 2009. Sony Entertainment Television launched India's first dance reality show titled- Boogie Woogie it was created by Naved Jaffrey in the year 1996 and hosted and judged by Javed Jaffrey.
It was as an immediate hit for the channel. In the year 2000, Star Plus aired "Kaun Banega Crorepati" with Amitabh Bachchan (an adaptation of "Who wants to become a millionaire") which went on to become India's favourite and most watched reality show. To give competition ZEE TV launched another game show titled- Sawal Dus Crore Ka and Sony TV launched Jeeto Chappar Phhad Ke but KBC's popularity didn't deter; making it the most successful reality show in Indian television. Sony India came up with Indian Idol in 2004 which was an adaptation to the popular international reality show "American Idol". After its success with grown-ups, they came with kids participants in the show which helped the show to gain love by all.
The production team of Endemol India came up with popular reality show Big Brother's Indian version of Bigg Boss and Fear Factor on Sony TV in 2006. It became India's most popular international adapted show after KBC. It was moved to Colors TV making it India's most watched Hindi Television due to its backing on Bigg Boss, Fear Factor competing with the likes of Star Plus and ZEE TV. Next revolution reality shows in India came with an adaptation of other famous international shows like The Voice India and So You Think You Can Dance on &TV. These shows changed the concept of singing and dance shows on Indian Television. Other popular reality shows based on foreign shows are like MTV Roadies, India's Got Talent etc.
The actual reality of reality shows It's generally accepted that reality TV is really kind of terrible. What was once considered innovative in the entertainment world, has devolved into unintentional comedies starring the most horrible and awkward people imaginable. Nowadays real is the last thing that strikes you about reality shows. Whether it is a dance show where lesser-known faces of telly world vie for the best dancer tag or the Bigg Boss's house in which racial slurs and catfights are a part of the process to decide winners, much goes into presenting a reality show as real. There is a vast majority of reality television shows that are not 100 percent real, as there is a high degree of manipulation in order to achieve sustained audience attention. Results are in reality shows mostly controlled by producers/directors.
They want to keep audience believe it is random and unpredictable, to convey this most of the time some candidate is told what to do, how to do. They are even told to behave in certain ways. And in the end nobody will show you all things, things will get edited and aired show may be far from actual reality. Reality Television is a genre more of an exact description of the shows themselves. Producer's fake shots and even re-stage dramatic moments that happened when the cameras weren't rolling- pretty much everything is actually plotted and planned out like the normal scripted show. Most of the reality shows still hold a basic level of truth, however, portraying events that really did happen, even if they're acted again for the cameras.
These shows feature people living their lives and doing their jobs, even if a lot has been smoothed out of their day-to-day routine in order to edit out the boring bits. Most of the talent hunt, singing, dancing even in shows based on general knowledge like "Kaun Banega Crorepati" participants has to go through a long struggle. Most of the time voting is absolutely rigged and the winner gets decided as per his or her capability of keeping TRP's high. Most of the contestants of the reality shows, especially the winners, might get disappointed soon after their win, the attention shifts to the winner of the next season. The limelight being taken away from them doesn't agree with many young people. Some contestants might get frustrated as they harbour false hopes that once they win the contest, their future is set for good.
Impact of reality shows on society New boys & girls who are becoming reality TV celebrity stars does not succeed on talent but use melodrama to always remain in the news. One of the worst effects of their action is on teens who try to emulate their behaviour. All the stunts that are done on these TV shows under organized conditions are copied by the people in reality and resulting in death. Some of the shows where contestants participate to win prizes show them in poor light as they use meanness and greed to outdo each other. The negative traits can manifest themselves in the audiences and create behavioural problems. Liberal doses of abuses are hurled on the shows because the directors think that more and more people will watch them. It is a huge mistake because bad words are caught by teens and kids affecting their personality as well as behaviour.
Although kids' reality shows like Sa Re Ga Ma Pa Lil Champs, Sabse Bada Kalakaar, Junior Masterchef India and many other shows attract the audiences and gains good ratings, it is not advisable to put children under stressful situations in the early years of their lives! Small children have been forced to participate in reality shows, they have wrenched away from all normal activities and thrown into a single-minded devotion to lending their voices to these reality shows. They are compelled to shoot for long hours, sometimes in scorching hot non-air conditioned rooms. Even Parents also pressurise their children to excel on reality shows, small children become victims of a system that fosters and encourages unrealistic ambitions. Some reality shows show participants taking extreme risks and putting themselves in bizarre or dangerous situations.
Since younger children mostly learn through imitation, watching such programmes may put them at risk of physical injury. A study published in the Journal of Experimental Child Psychology indicated that children who viewed high-risk TV programmes increased their self-reported risk-taking behaviour significantly more than children who were exposed to low-risk TV or watched less TV. Reality shows that are focussed on some people and their day-to-day lives are a big nuisance and parents need to draw a line when it comes to children watching such shows. They portray everything in an exaggerated manner which is not at all a reflection of real life. This should be made clear to our children. Reality talent shows, on the other hand, make parents feel that their own children are inadequate. Article Source: http://EzineArticles.com/9937465
Mural Painting Advice
I thought that it would be interesting and informative to write this article about the process of painting a wall mural but first of all I would like to talk about a few factors and experiences. The job of a wall mural painter (not a service, which a lot of websites think) which I specialise in I find to be highly understated, underappreciated and undervalued. It is expected to paint a wall mural in a day by some people I've spoken too, it sometimes leaves me flabbergasted to think that my talent which I've built-up for nearly 30 years of my life could result in a whole wall hand-painted with a beautiful unique scene in the same time it would take to go to a painting & decorating store, buy a tub of magnolia paint and blanket paint the walls with a roller which requires little in the way of skill or talent and further-more be offered a similar price.
Then we have the situation of people wanting the mural painting carried out on a voluntary basis. Now, please don't get me wrong, I believe every artist should pay their dues in some respect and it would be good work experience to carry this out as college or university project but this is your job, your profession, your livelihood no-less. Let me ask this question to those that ask you to work on a voluntary basis, if your car broke down would you ask for it to be repaired free of charge? No, this goes for every situation in life, us muralist's do not do this for "the love of painting", we do it because it is our profession, our bread and butter, our day job to pay our bills. I'm sure that many other professional mural painters out there that read this article will be nodding in agreement with my previous paragraph's above.
Anyway, now I have those negative experiences off my chest let's get back to my advice on painting a wall mural which I am going to keep as a beginners guide. This is what I believe to be the most essential steps to creating a wall mural in the easiest, hassle-free way. Step 1 Develop your ideas on paper or on a computer using graphics software, I tend to devise most of my plans through the computer as I can easily print out a scale overlay grid onto my design. I doesn't matter what software you use to create your plans, I would choose Photoshop or GIMP the majority of the time but it really doesn't matter as the task in-hand to get from a design idea/concept which you are happy to carry on further.
Please pay special attention of the following aspects of the planning your mural painting; 1. This is the most crucial part of mural painting, make sure your plans are exactly as you would like the final design to look. 2. Some people will choose to draw a design freehand but I would strongly advise against this for something like a person, animal or character. These type of things have to be pixel perfect and I would always use a scale grid for 100% accuracy. 3. Liaise fully with your client until they are 100% satisfied with your final design. Remember this is their wall and your final design should represent a near identical rendition of what will be painted. Step 2 Now that you have liaised with your client and they are happy with your design plans it is time to approach the wall or walls. The first thing to do is always make sure the wall or surface is in a good condition for you to carry out your work. If you feel that the wall is not ready for you to work on then you may want to discuss carrying out any repair duties at a small fee. Maybe you will be faced with filling some holes and smoothing the surface where there was once screws/nails. Be upfront and let your client know if you are unhappy with the wall surface which you are about to commence your work on.
Now you want to draw a grid across the area that you're working which is in-scale to your design plan, although this is quite a boring aspect of the overall process this is extremely important to get right and spot-on with measurements. Remember not all walls are perfectly straight so you have to work with these imperfections to a certain degree but what is essential is that your grid lines on a horizontal and vertical axis are perfect. I have a 1200mm spirit measure stick which I use for this type of task which is invaluable to me, the average size I would draw my grid is (6" x 6") but this can vary depending on the space, shape and image complexity, remember a (6"x 6") can easily be modified even finer if needed. Finally use masking tape to cover other walls, skirting boards and then cover the floors just in-case the worst happens. Personally I am very careful with my client's floors and carpets and I would lay newspaper, polythene sheets and decorators dust sheets on top. These are the following steps I would take summarised;
1. Discuss any concerns of the wall which I discussed above.
2. Draw your scale grid making sure to be 100% accurate using a spirit measure.
3. Mask the near-by area and cover the floor and carpets thoroughly with polythene, newspaper and decorators dust sheets.
Step 3 So now your mural design has been finalised and your client is satisfied and your wall is gridded accurately and masked accordingly it is finally time to draw your mural. Sometimes it can feel a relief to finally put your pencil to the wall but from my experience, thorough and precise planning is always the best policy.
Never take shortcuts because in the end something will/could go wrong. Draw your design lightly on the wall, keeping to your guide. One tip that I would say is to draw a section or object and then stand back and observe what you have drawn. When you are satisfied draw your lines bolder, you should also be aware of smudging your pencil and guide lines with your hand so work from one side to the other depending on which hand your draw with. Now that you have your design drawn out nicely and it's very clear and accurate it is time to erase all your pencil and guide lines. I would strongly advise this step as painting over pencil lines can prove very tricky, they are very resilient those pencil lines! Now it's time to start painting your mural.
As this is my first guide to mural painting I am going to describe something relatively easy to paint, something which you would typically see in a school, hospital or children's bedroom - please don't miss-interpret what I mean here by saying easy, something bright and colourful like a cartoon or character with block colours rather than a realistic scene with highly detailed depth and shading. Note - This example is for a relatively simple mural painting, I will create guides to more complicated wall mural paintings in the future. I use acrylic odourless paints which I mix beforehand to create the correct colour variant which I will keep them in containers, I use small plastic decorators paint kettles with lids which you can buy in many sizes, use water to thin the paint if it feels "stodgy", get the consistency right as you don't want to be thinning the paint much at all.
Most importantly of all is to mix more than enough of the colour you require, too much is never a bad thing. Paint the areas now which have the most of a certain colour, if your mural has more blue than any other colour then paint the blue first, wait for your paint to dry then apply another coat of paint. When you are satisfied with the coverage do the same with your next colour. Now this part can be tricky, you need to outline all the colours with a black (or outline colour of choice). Make sure to have a steady hand, a small brush with good resistance and your paint is not too thick, which is why I spoke of adding a little bit of water to your paint above. To finish your work use an acrylic matte varnish which will act as an invisible layer of protection. This is the short step-by-step guide of the paragraphs I spoke about it more detail above;
1. Draw your design, when satisfied draw your outlines bolder.
2. Erase all pencil and guidelines thoroughly.
3. Mix your paints to the correct colours and keep in containers with lids, making sure to mix enough paint.
4. Paint the areas with the most colour first and apply 2 coats or more to fully cover.
5. Outline your work with a strong/bold colour, be accurate and use a quality firm brush.
6. Coat the wall with acrylic matt varnish to give that hidden layer of protection.
Final Thoughts Now your mural should be complete and your client is over-the-moon with joy, you are happy and now it's time to move on to your next exciting job which could be a totally different experience all together with a whole new set of challenges to test your artistic capabilities.
Being a Muralist, Artist, Interior Painter... whatever they like to call us (don't ask me who "they" are), is an extremely rewarding and often challenging career option and I'm not going to lie when I say this but, you're going to have to be extremely persistent and outgoing if you want to build a long lasting career. In the future I would like to talk more extensively about the trials and tribulations of gaining a career as a full-time muralist, more specifically speaking about my personal experiences, education gained and the advertising and networking processors involved. I would also like to talk in greater detail with regards to the actual tools that I use, the storage containers, paints, brushes and much more, there is a surprising amount of content to write here which I think would prove fascinating to share.
This article which is now knee-deep on to the fourth page of my writing software (no free plugs or advertising here) is only just scratching the surface on what I wanted to share as a muralist and only covers the very basics of my daily process. If you made it this far then thanks for sticking with me and all I can say to you if you are just starting a career as a Muralist is keep pushing and working hard and eventually your opportunity's will arise... nobody said it was going to be easy, but persevere!
Then we have the situation of people wanting the mural painting carried out on a voluntary basis. Now, please don't get me wrong, I believe every artist should pay their dues in some respect and it would be good work experience to carry this out as college or university project but this is your job, your profession, your livelihood no-less. Let me ask this question to those that ask you to work on a voluntary basis, if your car broke down would you ask for it to be repaired free of charge? No, this goes for every situation in life, us muralist's do not do this for "the love of painting", we do it because it is our profession, our bread and butter, our day job to pay our bills. I'm sure that many other professional mural painters out there that read this article will be nodding in agreement with my previous paragraph's above.
Anyway, now I have those negative experiences off my chest let's get back to my advice on painting a wall mural which I am going to keep as a beginners guide. This is what I believe to be the most essential steps to creating a wall mural in the easiest, hassle-free way. Step 1 Develop your ideas on paper or on a computer using graphics software, I tend to devise most of my plans through the computer as I can easily print out a scale overlay grid onto my design. I doesn't matter what software you use to create your plans, I would choose Photoshop or GIMP the majority of the time but it really doesn't matter as the task in-hand to get from a design idea/concept which you are happy to carry on further.
Please pay special attention of the following aspects of the planning your mural painting; 1. This is the most crucial part of mural painting, make sure your plans are exactly as you would like the final design to look. 2. Some people will choose to draw a design freehand but I would strongly advise against this for something like a person, animal or character. These type of things have to be pixel perfect and I would always use a scale grid for 100% accuracy. 3. Liaise fully with your client until they are 100% satisfied with your final design. Remember this is their wall and your final design should represent a near identical rendition of what will be painted. Step 2 Now that you have liaised with your client and they are happy with your design plans it is time to approach the wall or walls. The first thing to do is always make sure the wall or surface is in a good condition for you to carry out your work. If you feel that the wall is not ready for you to work on then you may want to discuss carrying out any repair duties at a small fee. Maybe you will be faced with filling some holes and smoothing the surface where there was once screws/nails. Be upfront and let your client know if you are unhappy with the wall surface which you are about to commence your work on.
Now you want to draw a grid across the area that you're working which is in-scale to your design plan, although this is quite a boring aspect of the overall process this is extremely important to get right and spot-on with measurements. Remember not all walls are perfectly straight so you have to work with these imperfections to a certain degree but what is essential is that your grid lines on a horizontal and vertical axis are perfect. I have a 1200mm spirit measure stick which I use for this type of task which is invaluable to me, the average size I would draw my grid is (6" x 6") but this can vary depending on the space, shape and image complexity, remember a (6"x 6") can easily be modified even finer if needed. Finally use masking tape to cover other walls, skirting boards and then cover the floors just in-case the worst happens. Personally I am very careful with my client's floors and carpets and I would lay newspaper, polythene sheets and decorators dust sheets on top. These are the following steps I would take summarised;
1. Discuss any concerns of the wall which I discussed above.
2. Draw your scale grid making sure to be 100% accurate using a spirit measure.
3. Mask the near-by area and cover the floor and carpets thoroughly with polythene, newspaper and decorators dust sheets.
Step 3 So now your mural design has been finalised and your client is satisfied and your wall is gridded accurately and masked accordingly it is finally time to draw your mural. Sometimes it can feel a relief to finally put your pencil to the wall but from my experience, thorough and precise planning is always the best policy.
Never take shortcuts because in the end something will/could go wrong. Draw your design lightly on the wall, keeping to your guide. One tip that I would say is to draw a section or object and then stand back and observe what you have drawn. When you are satisfied draw your lines bolder, you should also be aware of smudging your pencil and guide lines with your hand so work from one side to the other depending on which hand your draw with. Now that you have your design drawn out nicely and it's very clear and accurate it is time to erase all your pencil and guide lines. I would strongly advise this step as painting over pencil lines can prove very tricky, they are very resilient those pencil lines! Now it's time to start painting your mural.
As this is my first guide to mural painting I am going to describe something relatively easy to paint, something which you would typically see in a school, hospital or children's bedroom - please don't miss-interpret what I mean here by saying easy, something bright and colourful like a cartoon or character with block colours rather than a realistic scene with highly detailed depth and shading. Note - This example is for a relatively simple mural painting, I will create guides to more complicated wall mural paintings in the future. I use acrylic odourless paints which I mix beforehand to create the correct colour variant which I will keep them in containers, I use small plastic decorators paint kettles with lids which you can buy in many sizes, use water to thin the paint if it feels "stodgy", get the consistency right as you don't want to be thinning the paint much at all.
Most importantly of all is to mix more than enough of the colour you require, too much is never a bad thing. Paint the areas now which have the most of a certain colour, if your mural has more blue than any other colour then paint the blue first, wait for your paint to dry then apply another coat of paint. When you are satisfied with the coverage do the same with your next colour. Now this part can be tricky, you need to outline all the colours with a black (or outline colour of choice). Make sure to have a steady hand, a small brush with good resistance and your paint is not too thick, which is why I spoke of adding a little bit of water to your paint above. To finish your work use an acrylic matte varnish which will act as an invisible layer of protection. This is the short step-by-step guide of the paragraphs I spoke about it more detail above;
1. Draw your design, when satisfied draw your outlines bolder.
2. Erase all pencil and guidelines thoroughly.
3. Mix your paints to the correct colours and keep in containers with lids, making sure to mix enough paint.
4. Paint the areas with the most colour first and apply 2 coats or more to fully cover.
5. Outline your work with a strong/bold colour, be accurate and use a quality firm brush.
6. Coat the wall with acrylic matt varnish to give that hidden layer of protection.
Final Thoughts Now your mural should be complete and your client is over-the-moon with joy, you are happy and now it's time to move on to your next exciting job which could be a totally different experience all together with a whole new set of challenges to test your artistic capabilities.
Being a Muralist, Artist, Interior Painter... whatever they like to call us (don't ask me who "they" are), is an extremely rewarding and often challenging career option and I'm not going to lie when I say this but, you're going to have to be extremely persistent and outgoing if you want to build a long lasting career. In the future I would like to talk more extensively about the trials and tribulations of gaining a career as a full-time muralist, more specifically speaking about my personal experiences, education gained and the advertising and networking processors involved. I would also like to talk in greater detail with regards to the actual tools that I use, the storage containers, paints, brushes and much more, there is a surprising amount of content to write here which I think would prove fascinating to share.
This article which is now knee-deep on to the fourth page of my writing software (no free plugs or advertising here) is only just scratching the surface on what I wanted to share as a muralist and only covers the very basics of my daily process. If you made it this far then thanks for sticking with me and all I can say to you if you are just starting a career as a Muralist is keep pushing and working hard and eventually your opportunity's will arise... nobody said it was going to be easy, but persevere!
Don't Just Wear Jewelry, Wear Art!
Since humans first started wearing clothing and using tools, we've taken interest in adorning ourselves with jewelry. Back in its beginnings, jewels were created with just about any material that one could find. From bone to stone and skins to semi-precious materials, our culture has always been interested in the beauty of jewelry regardless of the simplicity in its composition or manufacturing. As our culture evolved and our species became more competitive, jewelry has become more important to enhancing how we view ourselves as well as how we'd like others to see us. Fast-forward through the years where industrialization and modernization have helped shaped the tools and materials available to us to create and craft truly artful pieces of jewelry. Throughout the years, wearing jewelry became more than simply something one did as haphazardly as how we'd brush our hair or iron our clothing. Indeed, the addition of jewelry to our wardrobe is intended to enhance our everyday styles and improve our self-confidence.
It's meant as an accessory to our personalities and as an embellishment to our standard outfits. Some pieces of jewelry can even tell a story in and of themselves without the wearer ever having to say a word! But one thing has stayed steadfast since the advent of jewelry. As a culture and species, we've always worn jewelry as an artistic expression of oneself. The difference now is that we have more options available to us in terms of the artistry of our jewelry. Master craftsmen spend lifetimes creating art that is meant to be worn in the form of adornment. No longer are we just simply wearing jewelry - we're wearing art! Two types of artistic jewelry are beaded jewelry and fused glass jewelry. Both require more than a simple molded printout copy of a blueprint.
In fact, the artistry involved with beaded and fused glass jewelry ensures that no two pieces can ever be exactly replicated. In this manner, every piece of jeweled art that leaves a master artist will be unique and never to be precisely recreated again! Your jewelry is meant to tell a story, and investing in handcrafted pieces like beads and fused glass ensures that your story is one of beauty, intrigue, and timelessness. Choose to do more than wear jewelry; wear art and in doing so you will find that you also will not only feel special, but also look special! Jay Hatfield founded Hatfield Copper Decor in April of 2013 and started selling scenic, draped, and votive oil candles along with soy candles, fused glass jewelry, plates, dishes, and clocks. The company's unique home decor is unlike any other. At Hatfield Copper Decor and More, we pride ourselves on quality. Our goal is to bring you decor that lights up your home and has your guests in awe.
It's meant as an accessory to our personalities and as an embellishment to our standard outfits. Some pieces of jewelry can even tell a story in and of themselves without the wearer ever having to say a word! But one thing has stayed steadfast since the advent of jewelry. As a culture and species, we've always worn jewelry as an artistic expression of oneself. The difference now is that we have more options available to us in terms of the artistry of our jewelry. Master craftsmen spend lifetimes creating art that is meant to be worn in the form of adornment. No longer are we just simply wearing jewelry - we're wearing art! Two types of artistic jewelry are beaded jewelry and fused glass jewelry. Both require more than a simple molded printout copy of a blueprint.
In fact, the artistry involved with beaded and fused glass jewelry ensures that no two pieces can ever be exactly replicated. In this manner, every piece of jeweled art that leaves a master artist will be unique and never to be precisely recreated again! Your jewelry is meant to tell a story, and investing in handcrafted pieces like beads and fused glass ensures that your story is one of beauty, intrigue, and timelessness. Choose to do more than wear jewelry; wear art and in doing so you will find that you also will not only feel special, but also look special! Jay Hatfield founded Hatfield Copper Decor in April of 2013 and started selling scenic, draped, and votive oil candles along with soy candles, fused glass jewelry, plates, dishes, and clocks. The company's unique home decor is unlike any other. At Hatfield Copper Decor and More, we pride ourselves on quality. Our goal is to bring you decor that lights up your home and has your guests in awe.
Still Life Paintings Still Enrapture
There is no real requirement for subject matter when it comes to still life painting. The only two things you really need are stillness and life... and really, you (the artist) are the one who creates the life within the painting. The real challenge arises in creating something beautiful and interesting to look at from commonplace objects. The Dutch and Flemish painters really took off with the genre during the 17th century, creating meaning out of seemingly simple, everyday objects. With the spread of new religions, symbolism and still lifes took on more meaning. The genre was not given as much respect as other creative passions, but through history it has grown on the art community. Still lifes have never required some larger symbolic meaning.
The form is respected as a difficult endeavor taken on by contemporary still life artists. Creating beautiful composition out of a commonplace item takes high level of artistic passion and skill. The genre has evolved over time, but several parts of still life remain the same. The biggest similarity from century to century -- and the biggest difference -- is subject. The subject is the life. Over the hundreds of years, flowers, fruits, architecture, and more common elements have appeared over and over. Times change and objects change, but stillness and beauty don't. Fruit and flowers are always a good place to start, and a good way to learn how to create or observe great still life.
Something about the vivacity and freshness of fruit and flowers keeps bringing artists back. As the subject is the most important part of a still life, picking the right subject for you is the best way to put the life into a still life. There's no such thing as a boring subject -- there are always a few ways to add some interest to the imagery. As with any other painting, thematically beautiful colors, dramatic lighting, and an eye for composition will make any everyday object fascinating. Another artistic trick is to create a border around the still life. Focus the eyes into the object and allow the viewer to spend more time looking closer. The magic of a still life is that they give people the chance to look at objects that anyone would normally look past. An artist has the opportunity to make any regular object into a beautiful point of interest. There is something powerful in that, and something that demands respect. If you feel that certain paintings are lacking life, maybe look into adding some still life!
The form is respected as a difficult endeavor taken on by contemporary still life artists. Creating beautiful composition out of a commonplace item takes high level of artistic passion and skill. The genre has evolved over time, but several parts of still life remain the same. The biggest similarity from century to century -- and the biggest difference -- is subject. The subject is the life. Over the hundreds of years, flowers, fruits, architecture, and more common elements have appeared over and over. Times change and objects change, but stillness and beauty don't. Fruit and flowers are always a good place to start, and a good way to learn how to create or observe great still life.
Something about the vivacity and freshness of fruit and flowers keeps bringing artists back. As the subject is the most important part of a still life, picking the right subject for you is the best way to put the life into a still life. There's no such thing as a boring subject -- there are always a few ways to add some interest to the imagery. As with any other painting, thematically beautiful colors, dramatic lighting, and an eye for composition will make any everyday object fascinating. Another artistic trick is to create a border around the still life. Focus the eyes into the object and allow the viewer to spend more time looking closer. The magic of a still life is that they give people the chance to look at objects that anyone would normally look past. An artist has the opportunity to make any regular object into a beautiful point of interest. There is something powerful in that, and something that demands respect. If you feel that certain paintings are lacking life, maybe look into adding some still life!
Creativity Through Home Art and Camaraderie
About a year ago three friends and I attended a Paint and Sip session. When you attend such an affair you pay a small fee and then receive a blank canvas, a tray of paints, a glass of wine (or two) or other beverage of your choice, and the opportunity to participate in 2-3 hours of "copy art". In copy art, the instructor tells you what to do, then s/he demonstrates and you copy. It is interesting and fun, especially for a novice painter such as myself, but it can become tedious if the instructor works at the pace of the slowest painter (not I!) and everyone waits and waits until each attendee is at the same point before the lesson continues. For a speed demon such as myself, this sluggish pace did not lead to creativity but rather the fatigue of non-participation and so I simply abandoned my leader and moved along at my own pace. With a finished product to replicate and occasion listening, I ended up with a fairly decent wine bottle representation with added touches, dashes, and flourishes of my own. The instructor, unfortunately, was not a teacher. She knew some techniques and she had obviously led this lesson several times in the past, but she was not attuned to her students. We plodded, she yapped; we waited and she yapped some more.
It was clear that the slowest painter was never going to finish but we patiently killed time just the same. During this "free" time the instructor filled any empty spots of air with criticism to her fledgling artists: "Too much color", "Stop trying to fix that mess", and "Please quit" were just a few of her remarks. Really makes you want to paint, doesn't it? But the class was still fun because I was with friends and dibbling around with colors is entertaining and critiquing non-teacher types is even more so. As a result I decided to host my own paint and sip with no pressure applied. Ten friends gathered at my home one evening excited to test this activity. Each easel was loaded with a clean canvas, water and brushes were at the ready, and an array of paint drops filled each pallet. I had a finished example to share so that I could explain what I had done, when and how, and also clarified some important steps like having a damp canvas, how to cover errors with white, tools available for special touches, and so forth. For those who were too nervous to self-launch, I led them step-by-step through the process.
For those who just wanted to plunge, I let them go with maximum freedom. As my friends painted, I wandered, offered advice, looked up other bottle shapes and backdrops on the Internet, and commended their efforts. While some replications were a bit on the mysterious side, like the command "draw a bottleneck approximately 1-inch wide" produced tiny traces and thin lines instead, but the idea was creativity and that was just how some translated my work to their canvas.
Others, with amazing vision, added dogwood blossoms, fancy wine bottle labels, and intricate designs with delicate shades. The inner personality was exposed along with imagination and magical conceptualizations in each painting. The finished products were fantastic. I recommend that you organize your own painting party soon. While first-time expenses are high because you will need to buy easels, paints, and brushes, the second go-round will only require more canvases. Practice the design first so that you have a good idea of what to paint and when, and then let the creative juices of others flow.
It was clear that the slowest painter was never going to finish but we patiently killed time just the same. During this "free" time the instructor filled any empty spots of air with criticism to her fledgling artists: "Too much color", "Stop trying to fix that mess", and "Please quit" were just a few of her remarks. Really makes you want to paint, doesn't it? But the class was still fun because I was with friends and dibbling around with colors is entertaining and critiquing non-teacher types is even more so. As a result I decided to host my own paint and sip with no pressure applied. Ten friends gathered at my home one evening excited to test this activity. Each easel was loaded with a clean canvas, water and brushes were at the ready, and an array of paint drops filled each pallet. I had a finished example to share so that I could explain what I had done, when and how, and also clarified some important steps like having a damp canvas, how to cover errors with white, tools available for special touches, and so forth. For those who were too nervous to self-launch, I led them step-by-step through the process.
For those who just wanted to plunge, I let them go with maximum freedom. As my friends painted, I wandered, offered advice, looked up other bottle shapes and backdrops on the Internet, and commended their efforts. While some replications were a bit on the mysterious side, like the command "draw a bottleneck approximately 1-inch wide" produced tiny traces and thin lines instead, but the idea was creativity and that was just how some translated my work to their canvas.
Others, with amazing vision, added dogwood blossoms, fancy wine bottle labels, and intricate designs with delicate shades. The inner personality was exposed along with imagination and magical conceptualizations in each painting. The finished products were fantastic. I recommend that you organize your own painting party soon. While first-time expenses are high because you will need to buy easels, paints, and brushes, the second go-round will only require more canvases. Practice the design first so that you have a good idea of what to paint and when, and then let the creative juices of others flow.
The Pedestal: A Misunderstood Art Form
As Hercules says in the Disney animation version "Rule number 15: a hero is only as good as his weapon!" A hero is strong and great on his or her own but without a weapon they are weak. Weapons give a hero a potent edge over enemies. Like a hero, a piece of art is strong and beautiful on its own but with a pedestal it can be accentuated to a further degree that audiences will not be able to resist looking at. A pedestal originates deep into the catacombs of history. Beginning as early as the Grecian time period, pedestals supported chiseled statues of gods, rulers, and other distinguished people. Pedestals continue to hold objects of great worth, value, creativity, design, and artistic prowess. Many artists agree that a work of art is only as good as its frame or pedestal. Paintings that lack beauty and a sense of design can be ten times better than usual if mounted to the right frame or balanced on a flattering pedestal. Choosing the right pedestal to go with artwork is an extension of the art itself.
A pedestal offers viewers the privilege of enjoying your art while, simultaneously, a pedestal functions as the final touch to your artwork; it makes your artwork complete. For example, quality watercolor paper is frayed and uneven on the edges. Artists usually cover the edges with masking tape about a half inch to an inch to avoid painting in those areas and to remind them of where the frame will be placed. It will give an artist an idea of the best spot to put their focal point on their painting adjacent to the frame. An artist even begins planning what frame colors go best with the painting he or she is working on. This same example can be applied to sculptures and pedestals as well. A sculpture is designed to sit on something. The bottom surface on a sculpture is flat in order to be placed on a flat surface.
An artist intends for his or her work of art be placed on a pedestal and not hung from the ceiling (unless they are specifically designed to be hung from a ceiling). As an artist sculpts, a general abstract idea is shaped into a physical and magnificent piece of artwork. An artist has to decide whether a pedestal is needed or if the art will be tall or large enough to stand on its own and not need a pedestal. Before an artist begins sculpting he or she will consider the color and design of their sculpture and pedestal and decide how they would best compliment each other. An artist relays a message through artwork and a pedestal completes that message. A pedestal flatters the theme of a sculpture. If a sculpture has smooth edges and is delicate an artist might consider placing it on a cylinder pedestal. If a sculpture is rough and has hard edges, an artist might lean toward a square pedestal. Although, this is not a strict rule every artist should follow.
Deciding what pedestal goes with what sculpture is dependent on what message the artist is trying to reveal. Neutral colored sculptures can be contrasted with a rich shade of brown or black pedestal, and in reverse a dark colored piece of art can be placed on top of a neutral colored pedestal. Again, it is dependent on what message the artist, or the buyer of the artwork, wants to relay to an audience or how they want that sculpture to fit a theme of a room. A piece of an artist's memory is captured in their art. An artist molds an idea into a canvas with strokes of paint or constructs a sculpture with creamy clay. It is as if an artist's imagination and creativity will live longer than he or she will and other individuals will enjoy their artwork for generations. A pedestal puts art on display to show full appreciation of the piece's value.
A pedestal offers viewers the privilege of enjoying your art while, simultaneously, a pedestal functions as the final touch to your artwork; it makes your artwork complete. For example, quality watercolor paper is frayed and uneven on the edges. Artists usually cover the edges with masking tape about a half inch to an inch to avoid painting in those areas and to remind them of where the frame will be placed. It will give an artist an idea of the best spot to put their focal point on their painting adjacent to the frame. An artist even begins planning what frame colors go best with the painting he or she is working on. This same example can be applied to sculptures and pedestals as well. A sculpture is designed to sit on something. The bottom surface on a sculpture is flat in order to be placed on a flat surface.
An artist intends for his or her work of art be placed on a pedestal and not hung from the ceiling (unless they are specifically designed to be hung from a ceiling). As an artist sculpts, a general abstract idea is shaped into a physical and magnificent piece of artwork. An artist has to decide whether a pedestal is needed or if the art will be tall or large enough to stand on its own and not need a pedestal. Before an artist begins sculpting he or she will consider the color and design of their sculpture and pedestal and decide how they would best compliment each other. An artist relays a message through artwork and a pedestal completes that message. A pedestal flatters the theme of a sculpture. If a sculpture has smooth edges and is delicate an artist might consider placing it on a cylinder pedestal. If a sculpture is rough and has hard edges, an artist might lean toward a square pedestal. Although, this is not a strict rule every artist should follow.
Deciding what pedestal goes with what sculpture is dependent on what message the artist is trying to reveal. Neutral colored sculptures can be contrasted with a rich shade of brown or black pedestal, and in reverse a dark colored piece of art can be placed on top of a neutral colored pedestal. Again, it is dependent on what message the artist, or the buyer of the artwork, wants to relay to an audience or how they want that sculpture to fit a theme of a room. A piece of an artist's memory is captured in their art. An artist molds an idea into a canvas with strokes of paint or constructs a sculpture with creamy clay. It is as if an artist's imagination and creativity will live longer than he or she will and other individuals will enjoy their artwork for generations. A pedestal puts art on display to show full appreciation of the piece's value.
Cotton Canvas VS Linen Canvas
What are canvases? Canvases are supports that are traditionally used by painters. The term 'canvas' is generally used to refer to the fabric that paint is applied to. Canvases have been used for many centuries by top painters and remain just as popular today. They're light, easy to transport and last a long while. One of the best things about canvases is that they can be used to create very large paintings. To make canvases, fibres are woven together and then either glued to a panel or stretched over a frame. There are lots of different types of canvas and each type has different properties. Cotton canvases Cotton is usually the cheaper of the two. It's able to be stretched very easily, though it's seen as too flexible to cope with larger paintings.
Many students and beginner painters choose to go for cotton as it's easier to get used to and it's less costly. Cotton can actually be stretched tighter than linen, though it doesn't tend to have as much permanence as linen; it also doesn't tend to be as strong or as heavy as linen. Cotton canvases are usually primed with an acrylic-based gesso, making it a better option for acrylic and watercolour paintings. However, cotton canvases are also very popular for oil paintings. Linen canvases Linen is usually more expensive than cotton because the material it's made of is of a higher quality. It's also more expensive because it tends to be more durable and stronger, providing painters with a painting surface that will have permanence and will therefore last.
The reason why linen is longer-lasting is because the threads it's made of weigh the same, so the chance of them expanding and contrasting because of moisture is very slim. This also means that linen is very tough and will not become slack as quickly as cotton does. One of the reasons why artists use linen so much is because there are lots of varieties of it: you can get lots of different textures and weights of this type of canvas available in both smooth and rough finishes.
Linen canvases are usually primed with an oil-based gesso, making it a better option for oil paintings. Which one should I go for? Both types of canvas have their advantages, so really it's all about budget. If you can afford to pay a bit more for your canvas, you should go for linen, as it will offer you a very good investment. However, if your budget isn't that high, cotton will still serve you very well. Joanne Perkins is a Berkshire-based artist with a BA (Hons) in Fine Art. She specialises in painting Berkshire landscapes and loves capturing the natural beauty of her local countryside. She is happy to accept all queries and questions.
Many students and beginner painters choose to go for cotton as it's easier to get used to and it's less costly. Cotton can actually be stretched tighter than linen, though it doesn't tend to have as much permanence as linen; it also doesn't tend to be as strong or as heavy as linen. Cotton canvases are usually primed with an acrylic-based gesso, making it a better option for acrylic and watercolour paintings. However, cotton canvases are also very popular for oil paintings. Linen canvases Linen is usually more expensive than cotton because the material it's made of is of a higher quality. It's also more expensive because it tends to be more durable and stronger, providing painters with a painting surface that will have permanence and will therefore last.
The reason why linen is longer-lasting is because the threads it's made of weigh the same, so the chance of them expanding and contrasting because of moisture is very slim. This also means that linen is very tough and will not become slack as quickly as cotton does. One of the reasons why artists use linen so much is because there are lots of varieties of it: you can get lots of different textures and weights of this type of canvas available in both smooth and rough finishes.
Linen canvases are usually primed with an oil-based gesso, making it a better option for oil paintings. Which one should I go for? Both types of canvas have their advantages, so really it's all about budget. If you can afford to pay a bit more for your canvas, you should go for linen, as it will offer you a very good investment. However, if your budget isn't that high, cotton will still serve you very well. Joanne Perkins is a Berkshire-based artist with a BA (Hons) in Fine Art. She specialises in painting Berkshire landscapes and loves capturing the natural beauty of her local countryside. She is happy to accept all queries and questions.
How Do You Tell When A Painting's Finished?
Have you run out of ideas? One of the simplest ways to tell if your painting's finished is if you've run out of ideas. Paintings are visual displays of your creative talent and ideas. If you can't think of anything else to add to your painting, it's time to move on to another project, to put it simply. If you're stuck for ideas, the best thing to do is to accept that your work is complete. If you don't accept your work is complete, you could end up adding things to your work that aren't really necessary; in other words, you could be coming up with ideas that aren't so good and adding them to your work just for the sake of it. Once you've run out of ideas, don't be tempted to go back and add more to your work, instead just leave it as it is.
Are you bored with your painting? Artists put a lot of passion and dedication into their works. Paintings can take a long time to complete and it's the artists' motivation that keeps them painting. However, it's perfectly possible to become bored with a painting, even if you started off being completely passionate about it. Sometimes as you get into completing a painting, the enthusiasm goes down. If you find yourself less enthusiastic about your painting - if you find yourself bored with it, let's say - then you should consider it finished, for now at least. Move on to something else - there's no point working on something if you're not passionate about it. Does it look finished? Try to see your painting from another person's perspective.
Would they consider it finished? If you're unsure whether your work is complete or not, simply ask other people what they think. If they don't think it's complete, ask them what's missing from the painting. If, on the other hand, they do think it's complete, then as long as you're happy with it as it is, you've got a finished painting on your hands. Of course, deciding whether your painting's complete is ultimately up to you and you alone, though it can be helpful to get opinions from other people.
When deciding on whether your painting looks finished, ask yourself these questions: does it have a clear subject matter? Are the shades and tones done effectively? Do the colours match the tone of the painting? Does everything tie in with the message I want viewers to pick up on? Revisiting a painting Remember there's no hard and fast rule that once you leave a painting, you can't go back to it. Loads of artists regularly put works to one side for a while and revisit them at a later stage. You may well consider a painting finished, only to revisit it a few months or so later to add some extra details you think would enhance its appeal. Joanne Perkins is a Berkshire-based artist with a BA (Hons) in Fine Art. She specialises in painting Berkshire landscapes and loves capturing the natural beauty of her local countryside. She is happy to accept all queries and questions.
Are you bored with your painting? Artists put a lot of passion and dedication into their works. Paintings can take a long time to complete and it's the artists' motivation that keeps them painting. However, it's perfectly possible to become bored with a painting, even if you started off being completely passionate about it. Sometimes as you get into completing a painting, the enthusiasm goes down. If you find yourself less enthusiastic about your painting - if you find yourself bored with it, let's say - then you should consider it finished, for now at least. Move on to something else - there's no point working on something if you're not passionate about it. Does it look finished? Try to see your painting from another person's perspective.
Would they consider it finished? If you're unsure whether your work is complete or not, simply ask other people what they think. If they don't think it's complete, ask them what's missing from the painting. If, on the other hand, they do think it's complete, then as long as you're happy with it as it is, you've got a finished painting on your hands. Of course, deciding whether your painting's complete is ultimately up to you and you alone, though it can be helpful to get opinions from other people.
When deciding on whether your painting looks finished, ask yourself these questions: does it have a clear subject matter? Are the shades and tones done effectively? Do the colours match the tone of the painting? Does everything tie in with the message I want viewers to pick up on? Revisiting a painting Remember there's no hard and fast rule that once you leave a painting, you can't go back to it. Loads of artists regularly put works to one side for a while and revisit them at a later stage. You may well consider a painting finished, only to revisit it a few months or so later to add some extra details you think would enhance its appeal. Joanne Perkins is a Berkshire-based artist with a BA (Hons) in Fine Art. She specialises in painting Berkshire landscapes and loves capturing the natural beauty of her local countryside. She is happy to accept all queries and questions.
Basic Color Palette of Acrylic Paint
There are many mediums available for an Artist to experiment with but I believe that Acrylic Paint is the best and easiest for beginners. Acrylic dries quickly and wash up in water. If you want to lengthen the time that it takes to dry, you can mix Extenders and Retarders. By extending the drying time of acrylic paint you can blend colors more easily with one another while you are working on an art project. Artists who paint model figures often use Extenders or retarders, Some Artists simply prefer Acrylic paints over other paints, but it takes a little more time to finish the work.
Acrylic Paint can be mixed with a huge range of media and you can add a variety or texture to your art by mixing other media to the paint. You can use sand, rice, pasta and salt or when the paint dries you can use pen, charcoal, pastels on the top of the paint to give a different texture. What colors do you need to start out? As we all know we can make a huge collection of colors by mixing red, blue and yellow and most of us like to squeeze colors directly from a tube. Here we list some colors to make up a good palette and you can add more colors you need. Cadmium Red - Cadmium red is a yellowish, warm red color and relatively opaque.
Phthalo Blue - It is an extremely versatile blue. It goes very dark when combined with burnt umber and, You can create a lighter blue by mixing it with white because of its high tinting strength. Titanium White - it is an opaque, bright white color with a strong tinting. Some manufacturers also provide a "mixing white", which is the most affordable and, as the name suggests, it is formulated to blend with other colors. Mars Black - It is a relatively opaque color and should be added to other colors in small quantities until you've got used to its strength. Another option is ivory black, but only if you're not squeamish about it being made from charred bones.
Cadmium Yellow - You can easily create a lighter yellow by adding white to this. Remember that if you want to darken yellow to try adding its complements colors, purple, rather than black. Purple - Buy a very dark purple because you can waste a lot of paint trying to mix one. Orange - Make Orange by mixing red and yellow and you can also buy ready made orange color in a tube. Phthalo Green - Phthalo green is a bright and bluish green.
You can get a variety of shades of greens by mixing it with cadmium yellow. Paynes Gray - It is a versatile, transparent dark blue-gray made from a mixture of black and blue with some red. Yellow or golden ocher - It is a yellowish brown, golden and glorious color. Raw titanium - It is a deep cream useful for mixing with burnt umber to create skin tones. Art shed has a large collection of art materials. We focus on providing a high quality of art supplies at a reasonable price to all customers.We are regularly providing discount and offers to our customers on different art supplies for limited period. From our online store you can buy any best art material such as Acrylic Paint, Oil Paint, Watercolor paint etc.with fastest home delivery services.
Acrylic Paint can be mixed with a huge range of media and you can add a variety or texture to your art by mixing other media to the paint. You can use sand, rice, pasta and salt or when the paint dries you can use pen, charcoal, pastels on the top of the paint to give a different texture. What colors do you need to start out? As we all know we can make a huge collection of colors by mixing red, blue and yellow and most of us like to squeeze colors directly from a tube. Here we list some colors to make up a good palette and you can add more colors you need. Cadmium Red - Cadmium red is a yellowish, warm red color and relatively opaque.
Phthalo Blue - It is an extremely versatile blue. It goes very dark when combined with burnt umber and, You can create a lighter blue by mixing it with white because of its high tinting strength. Titanium White - it is an opaque, bright white color with a strong tinting. Some manufacturers also provide a "mixing white", which is the most affordable and, as the name suggests, it is formulated to blend with other colors. Mars Black - It is a relatively opaque color and should be added to other colors in small quantities until you've got used to its strength. Another option is ivory black, but only if you're not squeamish about it being made from charred bones.
Cadmium Yellow - You can easily create a lighter yellow by adding white to this. Remember that if you want to darken yellow to try adding its complements colors, purple, rather than black. Purple - Buy a very dark purple because you can waste a lot of paint trying to mix one. Orange - Make Orange by mixing red and yellow and you can also buy ready made orange color in a tube. Phthalo Green - Phthalo green is a bright and bluish green.
You can get a variety of shades of greens by mixing it with cadmium yellow. Paynes Gray - It is a versatile, transparent dark blue-gray made from a mixture of black and blue with some red. Yellow or golden ocher - It is a yellowish brown, golden and glorious color. Raw titanium - It is a deep cream useful for mixing with burnt umber to create skin tones. Art shed has a large collection of art materials. We focus on providing a high quality of art supplies at a reasonable price to all customers.We are regularly providing discount and offers to our customers on different art supplies for limited period. From our online store you can buy any best art material such as Acrylic Paint, Oil Paint, Watercolor paint etc.with fastest home delivery services.
Painting Supplies For Beginners
Colours You may find yourself overwhelmed at how many paint colours are available. The number seems to be growing every day! The good thing is that with just over half a dozen colours, you can create pretty much any colour. A good selection of colours for beginner painters is as follows: - Cadmium yellow medium - Cadmium red medium - Burnt umber - Burnt sienna - Phthalo green - Phthalo blue - Purple - Titanium white - Mars black Of course there are no limitations; this is just a sample of colours that you could use.
By all means you can add colours such as purple, grey and brown into the mix. The colors given should provide a beginner with a perfectly good range of colours to use when painting. Palette A very useful type of palette you can use is the disposable palette. It's great for beginners because it's cheap and once you've used it once, you can throw it away. Alternatively, there are 'stay wet' palettes, which are especially designed to be long-lasting. These 'stay wet' palettes are also designed to be very light and easy to carry round. Brush Brushes come in all shapes and sizes.
Most painters are able to use a single brush for their paintings. As a beginner, you might want to try out a few different shapes and sizes to see which one suits you best. Generally speaking, you should go for a thin brush if you're doing a painting that has lots of detail to and a larger brush if you're doing a larger painting with less fine detail. Support A support is the surface you apply your paint on to. Supports can be practically anything, from glass and wood to cardboard and, of course, canvas. Beginner painters should try canvas for their support. As with other painting supplies, there are loads of different types of canvas available.
Buying a pre-prepared, pre-primed canvas will save you the hassle of preparing and priming the canvas yourself. Other bits and bobs As well as the supplies mentioned above, it's handy to have a few other bits and bobs when painting. You'll need things such as kitchen roll, a paper town or an old rag to help you clean up any mess afterwards. Have a pencil and rubber so you can do some light sketching to plan your painting out. You'll also need a jar or glass of water to dip your brushes in and some soap to clean your brushes out once you've finished painting. Joanne Perkins is a Berkshire-based artist with a BA (Hons) in Fine Art. She specialises in painting Berkshire landscapes and loves capturing the natural beauty of her local countryside. She is happy to accept all queries and questions.
By all means you can add colours such as purple, grey and brown into the mix. The colors given should provide a beginner with a perfectly good range of colours to use when painting. Palette A very useful type of palette you can use is the disposable palette. It's great for beginners because it's cheap and once you've used it once, you can throw it away. Alternatively, there are 'stay wet' palettes, which are especially designed to be long-lasting. These 'stay wet' palettes are also designed to be very light and easy to carry round. Brush Brushes come in all shapes and sizes.
Most painters are able to use a single brush for their paintings. As a beginner, you might want to try out a few different shapes and sizes to see which one suits you best. Generally speaking, you should go for a thin brush if you're doing a painting that has lots of detail to and a larger brush if you're doing a larger painting with less fine detail. Support A support is the surface you apply your paint on to. Supports can be practically anything, from glass and wood to cardboard and, of course, canvas. Beginner painters should try canvas for their support. As with other painting supplies, there are loads of different types of canvas available.
Buying a pre-prepared, pre-primed canvas will save you the hassle of preparing and priming the canvas yourself. Other bits and bobs As well as the supplies mentioned above, it's handy to have a few other bits and bobs when painting. You'll need things such as kitchen roll, a paper town or an old rag to help you clean up any mess afterwards. Have a pencil and rubber so you can do some light sketching to plan your painting out. You'll also need a jar or glass of water to dip your brushes in and some soap to clean your brushes out once you've finished painting. Joanne Perkins is a Berkshire-based artist with a BA (Hons) in Fine Art. She specialises in painting Berkshire landscapes and loves capturing the natural beauty of her local countryside. She is happy to accept all queries and questions.
An Overview Of Oil Paint
Components Oil paint is usually made up of three different components: a pigment, a binder and a thinner. The pigment is the colour element and is a ground-up powder. The binder is a liquid substance that holds the pigment together. Once the pigment and binder have been mixed together, the thinner is added. What the thinner does is it makes the paint easier to apply to a support with a brush. Many of these paints contain other additives to give it extra properties or to make it dry more quickly. These additives, also known as 'mediums', can be mixed in with the paint or they can be applied to the paint once it's on the support.
Drying speed One of oil paint's main properties is that it is very slow to dry. Once you've applied the paint, you should have about 12 hours to manipulate it. Usually you'll have to wait three days or so for one coat to dry before you can apply another coat. You can apply as many layers of oil paint to your painting as you want, so long as you let the paint dry enough in between coats. For an oil painting to completely dry out, it should take three to six months. Once an oil painting has completely dried out, you'll then be able to apply varnish to it to protect it from dust and other particles. Application and supports The flexibility of oils means they can be applied to supports in numerous ways. In fact, you can use practically any implement to apply this type of paint to your support.
As well as brushes, you can very easily apply oil paint to supports with implements such as a palette knife, or even finer implements like toothpicks for extra fine detail. You can apply oil paint to a variety of supports; artists usually go for canvas, specially prepared paper, a hard wooden or metallic board or even panels. Advantages Oil paint has many advantages, which is why it's been the paint of choice for many artists over the years. The slow drying time allows painters much more time to get their paintings exactly how they want them. It gives more time for applying different techniques, blending and layering. Oils provide a much wider range of colours, tones and shades; once oils have dried, their colours tend to be long-lasting.
When painting with oils, if you make a mistake, you can easily remove it with a wet rag or a palette knife and start over. Joanne Perkins is a Berkshire-based artist with a BA (Hons) in Fine Art. She specialises in painting Berkshire landscapes and loves capturing the natural beauty of her local countryside. She is happy to accept all queries and questions. For more information about Joanne, her work and her current projects visit: [http://joannesberkshirescenes.com/default.aspx]. Joanne can be found on Facebook.
Drying speed One of oil paint's main properties is that it is very slow to dry. Once you've applied the paint, you should have about 12 hours to manipulate it. Usually you'll have to wait three days or so for one coat to dry before you can apply another coat. You can apply as many layers of oil paint to your painting as you want, so long as you let the paint dry enough in between coats. For an oil painting to completely dry out, it should take three to six months. Once an oil painting has completely dried out, you'll then be able to apply varnish to it to protect it from dust and other particles. Application and supports The flexibility of oils means they can be applied to supports in numerous ways. In fact, you can use practically any implement to apply this type of paint to your support.
As well as brushes, you can very easily apply oil paint to supports with implements such as a palette knife, or even finer implements like toothpicks for extra fine detail. You can apply oil paint to a variety of supports; artists usually go for canvas, specially prepared paper, a hard wooden or metallic board or even panels. Advantages Oil paint has many advantages, which is why it's been the paint of choice for many artists over the years. The slow drying time allows painters much more time to get their paintings exactly how they want them. It gives more time for applying different techniques, blending and layering. Oils provide a much wider range of colours, tones and shades; once oils have dried, their colours tend to be long-lasting.
When painting with oils, if you make a mistake, you can easily remove it with a wet rag or a palette knife and start over. Joanne Perkins is a Berkshire-based artist with a BA (Hons) in Fine Art. She specialises in painting Berkshire landscapes and loves capturing the natural beauty of her local countryside. She is happy to accept all queries and questions. For more information about Joanne, her work and her current projects visit: [http://joannesberkshirescenes.com/default.aspx]. Joanne can be found on Facebook.
Tips For Taking Better Photos
1. Get in close It was the famous photojournalist Robert Capa who once said, "If your photographs aren't good enough, you're not close enough." He was talking about getting in amongst the action. If you feel like your images aren't 'popping', take a step or two closer to your subject. Fill the frame with your subject and see how much better your photo will look without so much wasted space.
2. See the light Before you raise your camera, see where the light is coming from, and use it to your advantage. Whether it is natural light coming from the sun, or an artificial source like a lamp; how can you use it to make your photos better? How is the light interacting with the scene and the subject? Is it highlighting an area or casting interesting shadows? These are all things you can utilise to make an ordinary photo extraordinary.
3. Use flash during the day You might think that you should only use flash at night time or indoors, but that's not the case at all. If it is an extremely bright day outside and the sun is creating harsh shadows on your subject, switch on your flash. By forcing extra light onto your subject, you will be able to fill in those ugly shadows and create an even exposure.
4. Read your camera's manual The best way to know what to do with your camera is to actually read the manual. So many people miss this really important step on their photographic journey. Every
camera is different, so by reading the manual, you'll get to know all the amazing things it's capable of.
5. Framing This is a technique to use when you want to draw attention to something in your photograph. By framing a scene or a subject, say with a window or an archway, you lead the viewer's eye to the primary focal point.
6. Shutter speed Being aware of your shutter speed means the difference between taking a blurry photo and a sharp photo. It all depends on what you are after. If you are shooting a sporting event or children running around in the backyard, you probably want your subjects to be in focus. To capture fast action you will have to use a shutter speed over 1/500th of a second, if not 1/1000th to 1/2000th. On the opposite end of the scale, you might want to capture the long streaks of a car's tail lights running through your shot. Therefore you would change your camera's shutter speed to a long exposure. This could be one second, ten seconds, or even longer.
7. Shoot with your mind Even when you're not shooting, shoot with your mind. Practice noticing expressions and light conditions. Work out how you'd compose a picture of that scene over there that interests you, and what sort of exposure you might use to capture it best. If you want to become better at taking photos and even earn money from your hobby then click on the link below!
2. See the light Before you raise your camera, see where the light is coming from, and use it to your advantage. Whether it is natural light coming from the sun, or an artificial source like a lamp; how can you use it to make your photos better? How is the light interacting with the scene and the subject? Is it highlighting an area or casting interesting shadows? These are all things you can utilise to make an ordinary photo extraordinary.
3. Use flash during the day You might think that you should only use flash at night time or indoors, but that's not the case at all. If it is an extremely bright day outside and the sun is creating harsh shadows on your subject, switch on your flash. By forcing extra light onto your subject, you will be able to fill in those ugly shadows and create an even exposure.
4. Read your camera's manual The best way to know what to do with your camera is to actually read the manual. So many people miss this really important step on their photographic journey. Every
camera is different, so by reading the manual, you'll get to know all the amazing things it's capable of.
5. Framing This is a technique to use when you want to draw attention to something in your photograph. By framing a scene or a subject, say with a window or an archway, you lead the viewer's eye to the primary focal point.
6. Shutter speed Being aware of your shutter speed means the difference between taking a blurry photo and a sharp photo. It all depends on what you are after. If you are shooting a sporting event or children running around in the backyard, you probably want your subjects to be in focus. To capture fast action you will have to use a shutter speed over 1/500th of a second, if not 1/1000th to 1/2000th. On the opposite end of the scale, you might want to capture the long streaks of a car's tail lights running through your shot. Therefore you would change your camera's shutter speed to a long exposure. This could be one second, ten seconds, or even longer.
7. Shoot with your mind Even when you're not shooting, shoot with your mind. Practice noticing expressions and light conditions. Work out how you'd compose a picture of that scene over there that interests you, and what sort of exposure you might use to capture it best. If you want to become better at taking photos and even earn money from your hobby then click on the link below!
Benefits of a Photo Booth
From wedding receptions to a birthday party, photo booths are a fun option. People love posing for it and it has become a new trend these days. Almost every event includes a photo booth for their guests these days. If you want to throw some birthday party or even any business event then these can make it memorable one. It is not just about food, dance and music but people want good photographs to end and label the party as a fun event.
People want to show their pictures on social media for a hype and this can be highly beneficial at your end. Here are some benefits of including them: 1. They can turn any boring event into a fun: It can be any kind of party viz weddings, birthdays, New Year bashes, photo booth turn every occasion into fun. Almost everyone in this technology savvy generation is keen on clicking pictures and updating on social medias and what do we do? Give them a chance to showcase themselves. It also makes a social gathering less boring. 2. It requires zero efforts: It doesn't require some extra, huge efforts from your side. You can easily let someone attend the booth for roughly three to four hours. Any staff member would be eager for the job as it doesn't require any effort. 3. Choose some classy props: You can render these photo booths more interesting by adding some funky props like smiley's, glasses, a decorated frame and let people revel and click. These props will make it a fun task and the party will eventually be a huge hit. 4. DJ addition: What can one do more with props? Props and DJ will be a huge merriment for the guests. You can pose as well dance with the props. Some live performances will also render them and you an amazing host. 5. Photo booth customization: You can choose and customize a booth which matches the theme of your party. Choose a palette which matches with your theme. 6. These are not expensive: Gone are the days when photo booths were just a part of mega budget parties. Now, these do not cost much. Depending on the length of time, they are affordable. There are a lot of discounts and offers available for the same. There's no need to panic on throwing a party people will love. You can spice it up by making photo booth a part of your event. People will definitely revel and thank you for the occasion.
People want to show their pictures on social media for a hype and this can be highly beneficial at your end. Here are some benefits of including them: 1. They can turn any boring event into a fun: It can be any kind of party viz weddings, birthdays, New Year bashes, photo booth turn every occasion into fun. Almost everyone in this technology savvy generation is keen on clicking pictures and updating on social medias and what do we do? Give them a chance to showcase themselves. It also makes a social gathering less boring. 2. It requires zero efforts: It doesn't require some extra, huge efforts from your side. You can easily let someone attend the booth for roughly three to four hours. Any staff member would be eager for the job as it doesn't require any effort. 3. Choose some classy props: You can render these photo booths more interesting by adding some funky props like smiley's, glasses, a decorated frame and let people revel and click. These props will make it a fun task and the party will eventually be a huge hit. 4. DJ addition: What can one do more with props? Props and DJ will be a huge merriment for the guests. You can pose as well dance with the props. Some live performances will also render them and you an amazing host. 5. Photo booth customization: You can choose and customize a booth which matches the theme of your party. Choose a palette which matches with your theme. 6. These are not expensive: Gone are the days when photo booths were just a part of mega budget parties. Now, these do not cost much. Depending on the length of time, they are affordable. There are a lot of discounts and offers available for the same. There's no need to panic on throwing a party people will love. You can spice it up by making photo booth a part of your event. People will definitely revel and thank you for the occasion.
How to Get Ready for A Studio Photoshoot
Typically, backdrops come in the form of a big roll of whatever fabric you choose to get, such as velvet, and felt. The colors of fabric that I would recommend for a backdrop would be either black, grey or white depending on what the model is wearing. Another thing to consider is using a green screen and changing the color of the background later in Photoshop.
Black velvet is always a good choice because it has a quality where it can absorb light, giving a nice rich, darker black. To set up the backdrop you need a strong enough stand to support or over hang from the ceiling it. The main light has to be placed in a very specific position in comparison to the model. The angle, height, and distance of the main light are vital to getting the right look. You do not want this light in the models eyes or from a side angle.
It also needs to be placed at a good height so you are not casting shadows on the models face. With this light you need to use a diffuser or a soft box to help decrease the darkness of the shadows in the picture. A hair light is a second light that sits in a specific position. Basically, the hair light is placed behind the model for a few reasons. To use this light correctly attach a snoot to it. A snoot is an attachment to the light that helps direct the light to a specific spot on the model; in this case it is for the hair. The camera, you need to connect your camera with the studio lights so everything flashes in the right connections.
There are a couple of was to handle the camera for a photo shoot. One of the ways is to put it on a tripod and keep the camera stationary. By doing that you will help eliminate blur and you can find a sweet spot to stay at. Another way is by just holding the camera and creating different angles while the shoot is happening. The reflector is used to bounce light onto the models features from the main light. There are a few different types of reflector; you could use a white, black, gold and silver colored reflector.
You would want to use a white reflector when the area you are taking a picture in does not have enough light. A black reflector would be used to take away light when there is too much shine washing out the model. A gold/silver reflector is for the happy medium, but find what works best for you and best for the situation in general. Finally, the model is the last thing you need to use the studio set up that you have. For someone just starting I would recommend starting with a family member or a friend.
Black velvet is always a good choice because it has a quality where it can absorb light, giving a nice rich, darker black. To set up the backdrop you need a strong enough stand to support or over hang from the ceiling it. The main light has to be placed in a very specific position in comparison to the model. The angle, height, and distance of the main light are vital to getting the right look. You do not want this light in the models eyes or from a side angle.
It also needs to be placed at a good height so you are not casting shadows on the models face. With this light you need to use a diffuser or a soft box to help decrease the darkness of the shadows in the picture. A hair light is a second light that sits in a specific position. Basically, the hair light is placed behind the model for a few reasons. To use this light correctly attach a snoot to it. A snoot is an attachment to the light that helps direct the light to a specific spot on the model; in this case it is for the hair. The camera, you need to connect your camera with the studio lights so everything flashes in the right connections.
There are a couple of was to handle the camera for a photo shoot. One of the ways is to put it on a tripod and keep the camera stationary. By doing that you will help eliminate blur and you can find a sweet spot to stay at. Another way is by just holding the camera and creating different angles while the shoot is happening. The reflector is used to bounce light onto the models features from the main light. There are a few different types of reflector; you could use a white, black, gold and silver colored reflector.
You would want to use a white reflector when the area you are taking a picture in does not have enough light. A black reflector would be used to take away light when there is too much shine washing out the model. A gold/silver reflector is for the happy medium, but find what works best for you and best for the situation in general. Finally, the model is the last thing you need to use the studio set up that you have. For someone just starting I would recommend starting with a family member or a friend.
A Photographer's Dream And A Photograph's Makeover
The many exciting features of Photoshop range from retouching photos all the way to graphic design. Simply retouching a photo to enhance the light or subject through changing the brightness levels and correcting little 'imperfections' in skin or clothes may make the photo more pleasing to the artist or audience. From enhancing the dimensions and depth to configuring a graphic design based from multiple images strategically placed to advertise a company to doodling with the 'pen' there are quite a few interesting ways to edit or construct an image.
There are over a dozen tools to use on an image that include: the lasso tool, quick selection tool, crop tool, eyedropper tool, spot healing brush tool, brush tool, clone stamp tool, history brush tool, eraser tool, gradient tool, blur tool, dodge tool, pen tool, type tool, path selection tool, rectangle tool, hand tool, and zoom tool. These tools are located on the left hand side. The toolbar on the top of the screen is composed of sizing brushes or erasers, what mode the artist is detailing with, the opacity, the flow, and the search bar. Another great thing that Photoshop has is the ability to have multiple projects open, just on different windows. With this great power, comes great responsibility... Once you start using Photoshop and realize all the editing that can be done a few clicks of a button, you need to remember that there is such a thing as too much editing.
A little bit goes a long way, not just when using butter on your toast, but when blurring itty bitty sections of your photo to draw attention to your subject. There is a certain amount of editing that can be done to an image that doesn't distort the subject and you won't realize you are possibly ruining the image until you take a step back and look at the edited version with a fresh mind. DON'T PANIC! You can go use the 'undo' button to remove changes that you have made to less the impact of some excessive editing. However, you might not want to click undo a billion and three times, so maybe starting from scratch will work best especially now that you know what doesn't look good on that image. While there is such thing as too much editing, be aware that there are some projects where it is okay to pile on the details or pile on a lot of images onto one background. Personally, my taste in photography is the natural, scenic site where a bit of enhancing is needed but not too much after that. Of course, everyone has their own style so explore Photoshop and your skills to determine what kind (and how much) editing your style warrants.
There are over a dozen tools to use on an image that include: the lasso tool, quick selection tool, crop tool, eyedropper tool, spot healing brush tool, brush tool, clone stamp tool, history brush tool, eraser tool, gradient tool, blur tool, dodge tool, pen tool, type tool, path selection tool, rectangle tool, hand tool, and zoom tool. These tools are located on the left hand side. The toolbar on the top of the screen is composed of sizing brushes or erasers, what mode the artist is detailing with, the opacity, the flow, and the search bar. Another great thing that Photoshop has is the ability to have multiple projects open, just on different windows. With this great power, comes great responsibility... Once you start using Photoshop and realize all the editing that can be done a few clicks of a button, you need to remember that there is such a thing as too much editing.
A little bit goes a long way, not just when using butter on your toast, but when blurring itty bitty sections of your photo to draw attention to your subject. There is a certain amount of editing that can be done to an image that doesn't distort the subject and you won't realize you are possibly ruining the image until you take a step back and look at the edited version with a fresh mind. DON'T PANIC! You can go use the 'undo' button to remove changes that you have made to less the impact of some excessive editing. However, you might not want to click undo a billion and three times, so maybe starting from scratch will work best especially now that you know what doesn't look good on that image. While there is such thing as too much editing, be aware that there are some projects where it is okay to pile on the details or pile on a lot of images onto one background. Personally, my taste in photography is the natural, scenic site where a bit of enhancing is needed but not too much after that. Of course, everyone has their own style so explore Photoshop and your skills to determine what kind (and how much) editing your style warrants.
Acquiring Video Biography Images On The Road
New York City - "The Big Apple" - it's where I got my start in the video business over thirty-five years ago. A need to shoot two interviews and capture some stills for a legacy video project brought me back to NYC recently. And though the outside temperature was bitingly cold, the bagels were hot and the memories were warm. Before leaving for the east, I had a decision to make: How was I going to acquire the stills I needed to include in the final legacy video? Normally, I prefer to scan images in my office using one of my flatbed scanners.
This gives me the greatest control over quality and image size and allows me to name the scanned files as I go, in whatever way helps to best organize them. However, old photos, albums and papers can often be too fragile or unique to ship. In that case, scanning and/or shooting them at the client's location becomes necessary. And that was the case with this project. My two favorite tools for this kind of work are my Canon LIDE 210 scanner and my Canon 60D DSLR. The LIDE 210 is great for traveling. At 9.9 inches wide, 14.4 inches long and 1.6 inches deep It's barely wider and longer than a piece of legal paper - and it fits easily into my carry-on luggage.
The scanner doesn't need a power adapter; one USB cable connects the LIDE to my laptop and provides power for the scanner. Compared to my larger office scanners, the LIDE is a little limited when it comes to the range of ppi (pixels per inch) available, but, overall, I find it a great scanner to take on the road. Of course, when using a flatbed scanner, the material being scanned needs to be, well, flat. And for items that aren't easily scanned or scannable at all (framed pictures or paintings, for example) my Canon 60D fits the bill. On this trip, I knew I'd be encountering an array of stills in various forms (loose snapshots, photos from books, framed images and old, crumbling scrapbooks). Plus, the time I'd have to sort through the available images, decide what to capture and then do it, would be limited to one afternoon. Given these circumstances, I decided my DSLR would give me both the flexibility I needed and the ability to work quickly. So I brought the 60D with me and left the scanner at home. In the end, that was the right decision. I captured far more photos using the DSLR in the time I had than I could have with the scanner.
Of course, the photos will need a little more Photoshop work than they would if they'd been scanned. And I couldn't name the files as I went. I just made written notes as I shot, listing the order and subjects of the images. I'll give them appropriate file names when I Photoshop them If you're in a situation where only a DSLR will do for snagging the images that will grace your client's video biography, here are some tips: Keep the camera as parallel to the image as you can. This keeps the image as flat as possible and saves you some Photoshop work later. It also helps keep all of the image in focus. I was able to shoot many images by laying them on a table and shooting down on them, although some needed to be leaned against a vertical surface. Be careful when using flash. Direct flash can create hot spots or even wash out the image being shot. Rely on ambient light if you can, or soften the flash by bouncing it. Watch out for reflections.
This can be difficult to do when shooting framed photos covered by glass. You can minimize or eliminate reflections by placing the image on a dark cloth, preferably black, and leaning the frame against a vertical surface. The idea is to angle the glass and your camera so that the only reflection the glass picks up is the black cloth. Check focus. After shooting an image, display it on your camera's monitor and zoom in to check on the fine details. Today's small camera monitors can fool you into thinking a shot is sharp when it isn't.
Take notes. Make a list of the shots you take as you work. You don't want to be left scratching your head while guessing who is who or what is what after you get back home. Back up your files. If you have a laptop available, copy the files from your camera's card to it. For safety's sake, it never hurts to have your files stored in a couple of places. Keep your eyes open. You may find something worth shooting at your client's location that you hadn't expected. For example, as I was finishing up for the day, I saw three portraits of my client's children hanging in a hallway. It took me only a couple of minutes to snap those and I know they'll make a nice addition to the video.
This gives me the greatest control over quality and image size and allows me to name the scanned files as I go, in whatever way helps to best organize them. However, old photos, albums and papers can often be too fragile or unique to ship. In that case, scanning and/or shooting them at the client's location becomes necessary. And that was the case with this project. My two favorite tools for this kind of work are my Canon LIDE 210 scanner and my Canon 60D DSLR. The LIDE 210 is great for traveling. At 9.9 inches wide, 14.4 inches long and 1.6 inches deep It's barely wider and longer than a piece of legal paper - and it fits easily into my carry-on luggage.
The scanner doesn't need a power adapter; one USB cable connects the LIDE to my laptop and provides power for the scanner. Compared to my larger office scanners, the LIDE is a little limited when it comes to the range of ppi (pixels per inch) available, but, overall, I find it a great scanner to take on the road. Of course, when using a flatbed scanner, the material being scanned needs to be, well, flat. And for items that aren't easily scanned or scannable at all (framed pictures or paintings, for example) my Canon 60D fits the bill. On this trip, I knew I'd be encountering an array of stills in various forms (loose snapshots, photos from books, framed images and old, crumbling scrapbooks). Plus, the time I'd have to sort through the available images, decide what to capture and then do it, would be limited to one afternoon. Given these circumstances, I decided my DSLR would give me both the flexibility I needed and the ability to work quickly. So I brought the 60D with me and left the scanner at home. In the end, that was the right decision. I captured far more photos using the DSLR in the time I had than I could have with the scanner.
Of course, the photos will need a little more Photoshop work than they would if they'd been scanned. And I couldn't name the files as I went. I just made written notes as I shot, listing the order and subjects of the images. I'll give them appropriate file names when I Photoshop them If you're in a situation where only a DSLR will do for snagging the images that will grace your client's video biography, here are some tips: Keep the camera as parallel to the image as you can. This keeps the image as flat as possible and saves you some Photoshop work later. It also helps keep all of the image in focus. I was able to shoot many images by laying them on a table and shooting down on them, although some needed to be leaned against a vertical surface. Be careful when using flash. Direct flash can create hot spots or even wash out the image being shot. Rely on ambient light if you can, or soften the flash by bouncing it. Watch out for reflections.
This can be difficult to do when shooting framed photos covered by glass. You can minimize or eliminate reflections by placing the image on a dark cloth, preferably black, and leaning the frame against a vertical surface. The idea is to angle the glass and your camera so that the only reflection the glass picks up is the black cloth. Check focus. After shooting an image, display it on your camera's monitor and zoom in to check on the fine details. Today's small camera monitors can fool you into thinking a shot is sharp when it isn't.
Take notes. Make a list of the shots you take as you work. You don't want to be left scratching your head while guessing who is who or what is what after you get back home. Back up your files. If you have a laptop available, copy the files from your camera's card to it. For safety's sake, it never hurts to have your files stored in a couple of places. Keep your eyes open. You may find something worth shooting at your client's location that you hadn't expected. For example, as I was finishing up for the day, I saw three portraits of my client's children hanging in a hallway. It took me only a couple of minutes to snap those and I know they'll make a nice addition to the video.
How to Take Better Photos While Travelling
Everybody loves to travel. Whether alone or with company, many of us use a good portion of our money to afford our dream destination. Fortunately, with our cameras and smartphones, it becomes easier and more convenient to access cherished memories with our photos. While seeing the sights is one thing, being able to capture the essence of a breath-taking view is another. Sure, an expensive camera may help you improve the range of your images, but skill and experience are the best teachers when it comes to improving your photography expertise. Photography is a means of building awareness across cultures, communities, and countries. Stunning images that depict a city's spirit, for example, can speak volumes about a particular place-which parts of the city light up at night, the color of the sky, how the people look-small details that give people a virtual experience of the place. If you love travelling and taking unique pictures of your journey but haven't mastered the art of bringing your photos to life, here are some tips you can use to enhance the impact of your travel photography: Pack light - don't bring the entire house with you when you travel.
Scale down your equipment to what's really important and pack only the essentials. This way, you can challenge yourself to improvise during tough shooting conditions. Sometimes a masterpiece could be the result of a fortunate "accident". Get up early - capturing early morning routines of the locals and how the place looks like before it gets busy is a great way to start your day and learn more about the place. Feel the place - it may be exciting to take lots of photos as soon as you arrive at your destination, but taking pictures for the sake of getting things done might hinder your creativity. Find the time to get to know the place by immersing yourself in the small details. Get off the beaten path - while most photographers need to fulfil standard postcard shots, it's also good to explore non-popular locations. Who knows what you might discover on your path? Don't be afraid to get lost and wander off to unfamiliar areas. Just make sure safety comes first always. Get to know the people - connect with the locals, other tourists, or even other photographers. You can gain new friends and learn new insights about the place. Additionally, each of your photos would have its unique back story. Experiment with composition - go beyond standard techniques and try going for different composition techniques.
Feeling the place has helped you gain a deeper perspective. Perhaps you can tell a story by breaking a few rules. By all means, rule of thirds, balancing elements, depth, etc. are tried and tested techniques, but you can always experiment with your own. Make the most out of the golden hour - whether it's before sunrise or sunset, be there ahead of time to prepare for the magic hour. Make sure you do your research and ask about the best places to shoot during the golden hour. Remember, good photography is about capturing and manipulating light. Your camera is an extension of your eye. Whether you're using a DSLR, a mirrorless camera, or any other brilliant photography staples, remember to watch with an open mind. Thru your lens, you can tell many wonderful stories and inspire your audience with captivating photos. Ultimately, the most rewarding thing about taking good photographs is being able to capture and share the heart of a moment, which indeed, is priceless. **All content, images, branding, designs, logos, and other intellectual property appearing on this article is the property of Fujifilm Philippines, unless otherwise stated and is solely used for general information purposes.
Scale down your equipment to what's really important and pack only the essentials. This way, you can challenge yourself to improvise during tough shooting conditions. Sometimes a masterpiece could be the result of a fortunate "accident". Get up early - capturing early morning routines of the locals and how the place looks like before it gets busy is a great way to start your day and learn more about the place. Feel the place - it may be exciting to take lots of photos as soon as you arrive at your destination, but taking pictures for the sake of getting things done might hinder your creativity. Find the time to get to know the place by immersing yourself in the small details. Get off the beaten path - while most photographers need to fulfil standard postcard shots, it's also good to explore non-popular locations. Who knows what you might discover on your path? Don't be afraid to get lost and wander off to unfamiliar areas. Just make sure safety comes first always. Get to know the people - connect with the locals, other tourists, or even other photographers. You can gain new friends and learn new insights about the place. Additionally, each of your photos would have its unique back story. Experiment with composition - go beyond standard techniques and try going for different composition techniques.
Feeling the place has helped you gain a deeper perspective. Perhaps you can tell a story by breaking a few rules. By all means, rule of thirds, balancing elements, depth, etc. are tried and tested techniques, but you can always experiment with your own. Make the most out of the golden hour - whether it's before sunrise or sunset, be there ahead of time to prepare for the magic hour. Make sure you do your research and ask about the best places to shoot during the golden hour. Remember, good photography is about capturing and manipulating light. Your camera is an extension of your eye. Whether you're using a DSLR, a mirrorless camera, or any other brilliant photography staples, remember to watch with an open mind. Thru your lens, you can tell many wonderful stories and inspire your audience with captivating photos. Ultimately, the most rewarding thing about taking good photographs is being able to capture and share the heart of a moment, which indeed, is priceless. **All content, images, branding, designs, logos, and other intellectual property appearing on this article is the property of Fujifilm Philippines, unless otherwise stated and is solely used for general information purposes.
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