Modern Dance Vs Classical Ballet

Have you ever stopped to think about why different forms of dance developed? For instance, how did modern dance become so popular? That question has an interesting answer:

(1) this type of dance came into existence because some dancers were tired of the strictness of ballet,

(2) they wanted freedom to create unique and new dance moves, and

(3) they didn’t want to follow a set of rigid rules.

If you’re interested in modern dance, you’ll want to read this article for some interesting information.

Ballet is a beautiful art form. However, it’s also follows a strict set of rules. The moves are hundreds of years old, and performed the same way by everyone. This uniformity looks great on stage, but some dancers want more freedom than ballet offers. Modern dance was born because some dancers decided to rebel against traditional ballet.

The main difference between modern dance and ballet is that modern dance offers more freedom. It focuses on the dancer’s or the choreographer’s interpretation of the music. If the dancer or choreographer wants a step that requires crawling around on the floor, then it’s fine. Any step is permissible with this art form.

Ballet, on the other hand, is very structured. A dancer or choreographer can’t include any steps that aren’t an accepted part of the art form. The steps are set in stone, and must be done exactly as they’ve been done thousands of times before. There’s no doubt that the dancing is beautiful. However, some dancers and choreographers prefer more freedom.

Modern dance is more relaxed than traditional ballet. In the early years, dancers often performed barefoot and wore anything they desired. This was a statement against the slippers and costumes worn by ballet dancers.

Unlike with ballet, modern dance encourages the creation of new steps. Dancers and choreographers are free to create new steps based on their moods and emotions. They don’t always have to stand or move a certain way. Although the modern dance movement developed as a rebellion against ballet, ballet is still the starting point for most professional dancers.

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The Purpose of Modern Dance

The Problem

Modern dance is one of the hardest genres to define by technique. Modern isn’t necessarily fast or slow or done to specific music, or any music. It doesn’t necessarily highlight specific physical skill or tell a story. It isn’t necessarily anything. And it can include everything. This is fine and great from the view point of many choreographers and dancers because in theory it gives them endless possibilities to play with.

The problem is that “endless possibilities” makes modern dance really hard to talk about and really hard for general audiences to understand. (This is important as they are the ones paying the bills.)

This identity crisis is understandable for an art form whose only purpose seems to be not do what was done before. Studios and even colleges often don’t have time to get into the theory of Modern dance. However, only those who take the time to learn where modern dance came from with have what it takes to give it a serious future.

Define the Purpose, Define the Genre

The heart of this problem has a lot to do with the fact that modern’s original purpose was very, very vague. Something like, “Push the boundaries set by ballet! Break the assumed rules and find a new way to move!” That is an inspiring place to start from, but a definition like “modern is movement that is different…” doesn’t give us much to work with.

As modern dance developed so did the purpose. Each era had its own twist on what the purpose of modern dance should be. And interestingly, each purpose has a surviving following today.

The Original Purpose

The beginnings of modern, fortunately, are well documented. We can read the thoughts of the founders to understand what the purpose of modern dance was for them. As we know, a strong purpose was opposition to the rules of ballet. Doris Humphrey talked about the very beginnings of modern dance:

“This is not to say that the ballet form was bad, but only that it was limited and suffered from arrested development- a permanent sixteen, the the Sleeping Beauty herself. So well established was the formula over so many hundreds of years that, as the twentieth century dawned with its flood of new ideas, there was considerable resistance to any change from the light love story and the fairy tale, and there still is.”(The Art of making Dances Doris Humphrey, p.15-16)

And as Hanya Holm put it, “You should not dance academically. It has no departure, no breath, no life. The academician moves within a group of rules. Two plus two are four. The artist learns rules so that he can break them. Two plus two are five. Both are right from a different point of view.” (Visions, p 78)

Ok, so they originally wanted an alternative to the rules and structure of ballet, but what did that mean? A genre has to have definitions of what it is and not just what it isn’t, right?

To Martha Graham modern technique was the beginning of getting closer to the heart of dance in general. Martha herself said, “The function of the dance is communication… Dance was no longer performing its function of communication. By communication is not meant to tell a story or to project an idea, but to communicate experience… This is the reason for the appearance of the modern dance… The old forms could not give voice to the more fully awakened man.” (Vision, p.50)

In “The Vision of Modern Dance: In the Words of Its Creators” (edited by Jean Morrison Brown, Naomi Mindlin and Charles H. Woodford), they describe her work this way:

“Martha Graham had also begun to develop a new dance technique… For the first time American dancers were creating new movements for new subject matter, and reflecting their own era rather than a previous one. Their movements evolved from the meaning of the dance, rather than from previously learned steps developed by peoples of a different culture. In the process of finding new techniques to express their art, these modern dance pioneers broke the existing rules; indeed, that was their intent, for they were… anti-ballet, anti-the past.” (Vision, p. 43-44)

The founders didn’t agree on everything, but they all agreed that the old rules of dance were too restricting and that the purpose of modern dance would be to explore new possibilities in movement. In 1900’s-1930’s, modern dance was current and exciting because it reflected the change that everyone wanted. As this initial excitement wore off, the purpose of modern dance began to shift.

The Purpose of the 3rd and 4th Generations

Modern dance went through a subtle but interesting change between the 40’s and 60’s. The genre had been around long enough by now that the excitement of a new way to express ideas had calmed down. Now, instead of continuing to invent new techniques people were excited about practicing the techniques that had been created. Dancers wanted to learn the “Graham technique” or “Limon technique” and perfect this new dance genre. Dancers also forgot about the ballet boycott and started taking ballet class to strengthen their modern technique.

“By the 1960s, technical proficiency had become an end in itself for modern dancers, rather than the means to an end. Technique became set and strict, codified in the style of the originator, with emphasis on greater and greater achievement. Only those teaching in the Laban-Wigman-Holm tradition included improvisation in their classes. Aspects of ballet were incorporated increasingly into modern dance classes, ballet barres were installed in modern dance studios, and many modern dancers took ballet classes regularly. Thus the wide philosophical gap between the two dance forms began to narrow.” (Vision, p.137)

The new purpose of modern dance was to take what they already had and make it better. This meant creating “modern technique” and guidelines, the very things first and second generation modern dancers were trying to avoid.

Anna Sokolow, a second generation modern dancer, feels veer strongly that “…an art should be constantly changing; it cannot have fixed rules.

“The trouble with the modern dance now is that it is trying to be respectable… We should not try to create a tradition. The ballet has done that, and that’s fine- for the ballet. but not for us. Our strength lies in our lack of tradition. Some say that the big change came in late 1920s, and now is the time for the modern dance to assimilate and solidify. That’s all wrong, because it is like building on still another tradition. Without change there can be no growth, and not enough change is going on today.” (Vision, p.108)

There were enough new dancers that wanted to learn the new modern technique for what it was, and not explore now options, that they “won.” Techniques were solidified and rules were made.

We see that today some companies continue to preserve the original technique and ideas of its creators. Kind’of like a living museum. Recently, the Martha Graham Dance Company announced specifically that their new purpose is to preserve Graham’s work.

So, modern dance has gone through its own growing pains as it tries to decide whether the purpose is to keep true to the philosophy of always exploring and changing or to preserve the new techniques we gained. Some chose technique, some chose philosophy, and some tried to do both. This three way split in the purpose made it even more difficult to give a clear definition of modern dance.

In an effort to keep things straight, the dance world created a new sub genre. Modern dance was now the techniques and rules created to preserve and improve upon the originators’ work. The dancers who wanted to keep the philosophy of modern and continue to reinvent the movement were now referred to as post-modernists.

The Post-Modern Agenda

So the next generation has tried to keep the philosophy of the original modern dancers by continuing to work against the established techniques. Except now, often the establish techniques are the modern techniques of the originators! So, how do you reinvent a reinvention?

Currently post-modernism is in a new shift. Maybe they’ve reached a point where, as Don McDonagh said, “There were seemingly no rules left to be broken… By the end of the seventies there was nowhere left to go in stripping away traditional practices.” (Vision, p. 199)

The Post-modern agenda is to continue to break the rules, and because this has been done for a century now, is running out of things to try. (Maybe this is has something to do with the reputation that modern has now of being hard to understand and sometimes just plain weird.)

McDonagh continues…

“The generation of the eighties and nineties began to work with new, non-conventional forms of theatrical presentation… [They] continued to create works that did not require dance training, but emphasized highly skilled, gymnastic bodily control… Other choreographers shaped tumbling and aerial acrobatics into specter spectacles… The human voice reciting narrative or descriptive material at times became an accompanying sound for dances.” (p. 200)

Popular post-modern experiments have turned to test, not only the definition of modern dance, but dance and even art in general. Speech has been added, music taken away, and technique reduced to “pedestrian movement” (aka walking around the stage.)

Mary Fulkerson, a self proclaimed post-modernist explains it this way. “Modern works seek to show, to communicate something, to transcend real life. Post-modern works seek to be, to question textures and complexities of real life.” (“Vision of Modern Dance”, p. 209)

Ironically this statement sounds so similar to what the creators of modern were saying nearly a century earlier.

Going Forward

Graham trained, Erick Hawkins had this to say, “More than ever in history, society needs the rich variety of powerful artists who don’t ape science but who explore sensitivity and don’t wipe out the senses.” (Erick Hawkins, p. 14)

Modern dance has come full circle: recognizing the norm, questioning and pushing boundaries, and then becoming the new norm as the specific techniques are accepted.

The goals of breaking the rules of ballet, and then of dance and art in general, have been accomplished by many brave and passionate modern dancers. Now it is time for modern to enter a new phase. It has matured into its own genre and needs to embrace that. So what is the purpose of modern dance now that the rebellion has run its course?

Martha Graham still has the answer. “The reality of the dance is its truth to our inner life. Therein lies its power to move and communicate experience.” (Vision, p.53)

This is the purpose of modern dance that will endure: to put self expression first. It of course is not always successful, but a dedication to communication is what will continue to distinguish modern from other dance genres.

Modern has done us a great service as artists. By exploring everything that can be called dance, everyone has a chance to find a place that works for them. The doors of free movement have been opened. Now it is time to take what we’ve learned over the last hundred years, and use it to express what is in the human soul.

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Antique Appraisal Online – How to Appraise Vintage China, Japanese Chinaware and Antique Porcelain

This Antique Appraisal Online guide might help you to learn how to appraise vintage china or antique porcelain items, before you purchase. It is very important to help you decide how much money you will offer for it, and, later on, if it warrants the expense of an expert’s appraisal. The first part of your appraisal depends on identifying exactly what you have in your possession, where it came from and how old it is likely to be. Take a look at these key points to show you where to look and what you are looking for!


  • Check underneath because most pottery makers’ marks on antique Pottery Art and Studio Pottery Vases were made by the designing artist signing or adding her initials.
  • Check antique ceramics/tiles and figurines for an additional makers’ mark back-stamp that can identify which studio or factory they came from.
  • Check any marks you find on the internet and discover information which will help you appraise the article.
  • Antique pottery articles are often unique, so an undamaged piece of pottery can be worth a lot of money if the provenance can be verified.

Antique Chinaware and Porcelain

  • Check underneath for a makers’ mark impressed, incised or ink-stamped on the base of the item.
  • Look for the initials or logo of the artist on hand-decorated figurines that show a piece is over 100 years old.
  • Look out for porcelain and chinaware with the country of origin mark either next to, or near, or within the makers’ mark or back-stamp, because this proves they were made after 1891.
  • Porcelain articles without this type of mark were made before 1891- making them antique!

Asian imports

  • Be wary of recent imports into Europe and the U.S. coming from impoverished areas in Asia.
  • Manufacturers have to place a label or sticker on each item and these stickers can be purposely removed or merely drop off after they arrive at their destination.
  • Some of these porcelain or chinaware items show a type of stamped makers’ marks that looks very similar to antique porcelain marks, so although they are of recent manufacture they can easily seem like genuine antiques.

Japanese porcelain

  • It is easy to identify the approximate age of a piece of Nippon or Japanese porcelain.
  • Until 1921 their porcelain was marked with the country of origin ‘Nippon’.
  • In that year, the U.S. requested they change the country of origin mark from Nippon to Japan and to cease marking porcelain with the Nippon mark.
  • Therefore, if you have a piece of porcelain or chinaware that is marked Nippon, you have definite proof that it was made before 1921 and could be a real antique!

Antiques appraisal is a fascinating hobby and my advice is always to try to find a course that will teach you the essential antiques hunting secrets you need to know. Only by informing yourself will you be able to do an accurate initial appraisal – before you spend your money!

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How to Draw: 6 Tips on Framing Pencil Drawings

It’s how your finished artwork is presented that makes all the difference. Although it’s tempting to simply place your drawing in a ready-made frame, there are several things that you should take in consideration before framing your artwork to insure it is adequately protected over the years.

Use acid-free materials
Any matting, tape or adhesive, barriers, or backing that you use in the framing of your art or drawing should be completely acid free. Acidic materials, after long periods of time can actually damage the artwork in the frame by distorting the actual paper or by turning the paper a yellowish color.

Use matting
I prefer using mats with the framing of my drawings.

If an acidic matting is use, it should be backed by an acid-free material that will act as a protective barrier between the matting and the drawing. There is a standard thickness that is necessary and preferred in the industry for this buffer or barrier. The same consideration should be given to the backing of your drawing. If your drawing or art is backed or mounted on an acid-free material, the barrier is unnecessary. Some framers use a foam-core board for backing.

Stay away from black
As a general rule, I always stay away from black, especially solid black-although, it can work if is part of a color scheme with a particular molding and if it is not overpowering the drawing. It’s good to have something that has a range of values-including molding and mats, working as a set. Even with the values and gradations created within the graphite media, the mat or mats and the frame can all be chosen to either compliment, subdue, or emphasize any particular value or aspect of your drawing.

Always frame with glass
I would always frame with glass, but I would also spend the extra money for the UV protection glass. However, I would never use non-glare glass or plexiglas.

The drawing should be cleaned well, removing smudges, dust, or eraser fragments. To see if there are any tiny fragments on your paper or drawing, you should look at the surface closely from a severe angle, so that you can see them contrasting from the paper’s surface as they rise up. You can use a brush or compressed air to remove the fragments from the framing material.

The glass should be exceptionally clean and should be tested for finger prints, dust, hair, or other foreign material, before securing it permanently in the frame. You may have to do this more than once.

Let your artwork breathe
In attaching the drawing to the backing or whatever secures its position within the mats or frame, it should only be secured at the top and allowed to hang if an adhesive or tape is used. It should not be secured firmly at all four corners or around its perimeter, because the humidity changes continually and the paper has to have freedom to flex, expand, and contract. Otherwise, the paper will ripple or develop waves if it is restricted in any way. These waves in the paper become very apparent when the lighting is directional or at an angle to the framed piece of art. The light causes highlight and shadow because of the contours in the paper. Some framers are using a large plastic photo type corner that allows the paper to slide in and be secure at all four corners and still allow for the flexing of the paper. It seems to be working quite well, as several of my drawings and illustrations using other media on paper, have been framed this way for a number of years.

Add a protective dust cover
After attaching the art and framing materials to the actual frame, a dust cover should be used on the back to keep additional dust, spiders, or bugs from entering the framed picture compartment. This is usually done by using a two-sided tape on the back surface of the molding all the way around the perimeter. Then a piece of brown paper is laid down on the adhesive surface as it is stretched flat as you press it onto the adhesive surface. You then trim the outer edges of the brown paper to fit and then you are ready to attach your hanging wire, before placing your artwork on display!

Have fun drawing!

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Top 10 Car Drawing Books For Beginner Artists

1. How to Draw Cars Like a Pro, 2nd Edition

In this long-awaited follow-up to the best-selling first edition of How to Draw Cars Like a Pro, renowned car designer Thom Taylor goes back to the drawing board to update his classic with all-new illustrations and to expand on such topics as the use of computers in design today. Taylor begins with advice on selecting the proper tools and equipment, then moves on to perspective and proportion, sketching and cartooning, various media, and light, shadow, reflection, color, and even interiors. Written to help enthusiasts at all artistic levels, his book also features more than 200 examples from many of today’s top artists in the automotive field. Updated to include computerized illustration techniques.

Author: Thom Taylor

2. How To Draw Cars Fast and Easy

How To Draw Cars Fast and Easy is a 134 page car drawing guide in downloadable e-book format, jam-packed from cover to cover with all the tips and techniques previously known by only a small handful of professional designers. This program contains all the information you’ll ever need to draw perfect looking cars quickly and easily that will amaze your friends.

Author: Tim Rugendyke

3. How To Design Cars Like a Pro

This book describes how car design and technology work through the eyes of the most talented and powerful car designers in the world. The interviews give a deep understanding of why we see what we see on the highways of the world. Author Tony Lewin has been a highly regarded magazine editor on the world stage for so long that some of the top young guns revealing all in this book were hanging on his words just a few years ago.

Author: Tony Lewin

4. How to Draw & Paint Cars

This book is not about learning how to draw and paint fashionable cars, super cars, tarted up street or ‘cool’ cars as referred to by some motoring journalists, it is about drawing and painting all types of cars. The author has endeavored to distill experience from many years creating images on this subject into a book that will help and encourage those keen to draw and paint cars, both for pleasure or as a career. The author takes you through the history of the car from it’s conception in 1885 to current models with sketches and paintings created in a variety of mediums, with examples and step by step guides. Readers are encouraged to develop their skills, whether raw beginners or accomplished artists. The road to success won’t be easy, but, through this book you will learn all the techniques short cuts accumulated over decades by an accomplished commercial artist. Whether for business or pleasure this book is THE handbook for automotive art. With 185 illustrations and step by step guides this is a must have for any budding auto artist.

Author: Tony Gardiner

5. How to Draw Cars the Hot Wheels Way

This book provides excellent how-to-draw detail that is appealing and easy to follow for Hot Wheels(tm) and drawing enthusiasts from ages 10 to adult. Detailed drawing techniques with descriptive captions allow readers to create their own automotive designs. Illustrations emphasize how to draw fantasy, custom, concept, and hot rod cars. Author Scott Robertson uses original Mattel artwork throughout the book. With real Mattel artwork featured in detail, the bo0ok has great appeal for collectors, even if they aren’t aspiring artists. Because Hot Wheels(tm) diecast cars are modeled after both real and fantasy vehicles, the techniques and interest to readers is the same as for real-life car enthusiasts. Officially licensed by Mattel.

Author: Scott Robertson

6. H-Point: The Fundamentals of Car Design & Packaging

The ultimate reference guide for car designers and automotive engineers! H-Point was written by the pioneer of the Vehicle Architecture course at Art Center College of Design, Stuart Macey along with the Director of Advanced Mobility Research, Geoff Wardle. Currently used as the educational handout for the transportation design students at Art Center, it will now be available to aspiring car creators everywhere, clearly organizing the packaging standards that apply to car and truck design; along with insightful graphic explanations, this book demystifies the automotive design process and allows designers access to an illustrious careers worth of knowledge.

Author: Stuart Macey

7. How to Design Cars Like a Pro

This comprehensive new edition of How to Design Cars Like a Pro provides an in-depth look at modern automotive design. Interviews with leading automobile designers from Ford, BMW, GM Jaguar, Nissan and others, analyses of past and present trends, studies of individual models and concepts, and much more combine to reveal the fascinating mix of art and science that goes into creating automobiles. This book is a must-have for professional designers, as well as for automotive enthusiasts.

Author: Tony Lewin

8. DRIVE: vehicle sketches and renderings

DRIVE features Scott Robertson’s very latest vehicle designs intended for the video game space communicated through skillfully drawn sketches and renderings.

DRIVE builds upon the success of his prior two vehicle design books, Start Your Engines and Lift Off. Featuring four chapters, each representing a different aesthetic theme, Aerospace, Military, Pro Sports and Salvage, conceptual sports cars, big-rigs and off -road vehicle designs are beautifully represented through traditional and digital media sketches, and renderings.

Author: Scott Robertson

9. How to Illustrate and Design Concept Cars

Beginners will find an easy-to-follow introduction to the topic, while more experienced designers can find new inspirations by reading about the author’s workflow process. A very interesting book for everyone who loves drawing and rendering cars.

Author: Adrian dewey

10. Start Your Engines: Surface Vehicle Sketches & Renderings from the Drawthrough Collection (Air Vehicle Sketches)

Start Your Engines compiles works from Scott Robertson’s vast archives of ground vehicle drawings and renderings, and features the following chapters: Cars, Bicycles, Snowcraft Mechanimals and selected work from the conceptual design of vehicles for the video games Field Commander and Spy Hunter 2. The Cars chapter comprises about half of this book and features original designs both futuristic and retrospective.

Author: Scott Robertson

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How to Use Acrylic Paint As Watercolor – Learning to Paint

I like to use acrylic paints because they are so versatile and can be used just like watercolor. Acrylic paint is water-based meaning it dissolves in water. You only need a small amount of paint mixed with water and you instantly have converted the acrylic paint into watercolor!

Here are five reasons that I love using acrylic paint as watercolor!

  1. Acrylic paints can be diluted with water, but are water-resistant when dry. Depending on how much the paint is diluted with water, the finished painting can resemble a watercolor or even an oil painting. To get a watercolor effect, dilute just a small amount of paint into the water. Mix it well and you have created a whole new medium to paint with.
  2. Use the thinned down pigment in a spray bottle. I have even used a small amount of paint in a spray bottle of water to mist on tiny specks of color in fields or for falling snow. Hint, make sure your painting is laying flat when you do this! These techniques would not be possible unless diluted to a watercolor consistency.
  3. Bolder Colors are possible. Acrylics paints can be used in place of watercolors because acrylics dry closer to the desired color which is slightly darker, while watercolors dry lighter and the colors are sometimes unpredictably.
  4. Watercolor techniques can be used. The wet on wet is a favorite technique use by watercolor artist. To apply this technique, apply a layer of color to the watercolor paper. While it is still wet, add another color. The two colors blend beautifully almost as if by them-selves to create soft subtle variations in color.
  5. Acrylic techniques can be used. Later add more objects with a thicker version of paint to create objects that appear closer or of more detail. You can also do the reverse where you add a layer of watercolor wash over a painting to soften it by subduing the colors whereby a fog or mist is added

Acrylic paints are so versatile, that I only purchase them because I can create so many different effects with one medium of paint. Turning acrylics into watercolor is so easy that there is no reason to buy both.

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Why Social Media Causes Self Doubt and Anxiety & How You Can Fix It

In this technological age where everyone is constantly connected through tweets, status updates, and photos, there is this crushing weight of constantly comparing the seemingly-perfect lives of those in the virtual world to our own daily reality. In our logical brain, we know that it is irrational to assume the people we see on Instagram with designer handbags and 13k followers have perfectly unblemished lives. But, we still spiral into this whirlwind of depression, anxiety, and sadness brought on by our constant comparison of our real lives to the assumed online profiles of others.

Here’s the issue; we are in an age where technology has become deeply woven into our everyday. From cell phones to tablets, we are constantly locked into social media and the anxiety it brings on. When you are constantly checking and rechecking what is going on online and losing focus on your actual life, it is inevitable to start to compare yourself.

Your online friends are sharing the happiest moments in their lives. So, the new baby your brother just had, the trip to Bali your high school girlfriends just took, the new home your boss just bought; you compare all of those life achievements to what is happening in your real life. Even if you don’t want any of those things, it is nearly impossible to not feel the anxiety growing with every scroll.

But, how do we fix this in a world of constant connection?


Before you log on to your social media accounts in the morning, take a second to think about the good that is happening in your own life. Be grateful and fulfilled with what you have right now so that you don’t go online looking for validation for your happiness. Remember that the best moments are spent living and not posting.

Social Media Detox

Detox’s are great because they are short, extreme ways to get all of the junk out of your system. When it comes to social media, a detox can help you regroup and approach social media with a clearer mind. Simply spend a day being present in your life – no selfies, no filters, no clever remarks. Take a walk, read a book, enjoy your day without the stress of social media. Don’t value a moment based on how many likes it will get.

Everything is a Mirage

The first thing you need to understand about social media is that nothing is really as it seems. All of the photos, likes, and statuses are one small piece of a huge puzzle that you can’t see. That new car your college roommate just bought and broadcasted about is not going to include the tears, loans, and saving she had to do to get there. Understand that for every magical, perfectly posed picture on social media there are at least 50 not so picture perfect moments that got instantly deleted.

Comparison on social media is a trap that can toss you into a realm of depression, sadness, and anxiety. Practice gratitude, establish a monthly detox, and understand that not everything online is what it seems and you will be just fine.

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How to Draw a Real Car – Easy Tips to Draw a Car

If your anything like me your sick of the way your car drawings look and you want to learn how to draw a real car. Make the shadows look real, the tints look real, the tires look real and create a car that looks like it’s just sitting there on the paper purring away. I’m going to give you a few tips on how you can make this happen and hopefully you can start creating some hot cars right away.

4 Quick Tips On How To Draw A Real Car…

1. Contrast: A great way to make your car look real is the use of contrast. I mean contrast in terms of tone. To achieve best results you need to have different pencils on hand. Trying to make a car look real with one type of pencil just won’t work. You need to be able to use dark tones, mid tones and highlights when your learning how to draw a real car.

2. Shadows: Creating realistic shadows will take you a big step closer to learning how to draw a real car. Not just a fuzzy shadow the car casts on the ground, but being able to project a shadow from a source light point and cast a very accurate shadow that plays all over the car and ground surface. You can do this by projecting lines from a single point of your choosing on your page and offsetting the line as it hits every point of your car. Do this right and you will have a realistic car growling at you on your piece of paper!

3. Grids: The use of a grid will greatly improve the accuracy of your drawings. Being able to work on your drawing only paying attention to one grid at a time gives you the ability to focus on all the minor details of your car without getting distracted. It also enables you to compare the line ratios and and proportions of your drawing, so it won’t end up looking wonky and loose.

4. Patience: This might seem like a bit of cliche, but learning how to be patient and correct your mistakes on a drawing you think is ruined is very important. If you give up on a drawing to quickly because it looks bad, your never going to learn how to draw a real car and make it look good.

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Source by Alex Simpson

How To Use Wall Hangings Properly?

Wall hangings were used as decorators in homes, temples, churches, and buildings to decorate them, by various cultures from the early times. This trend is followed in contemporary times also. The wall hangings designed from different cultural environments exhibit a historical outlook and are very resilient as they are from textile background.

Now a day, wall hangings have become an important part of home decoration as they can be used in various exclusive ways. The wall hangings can be designed in a number of lovely styles like landscapes, modern art and flowery wall hangings provided the weaver knows his work excellently. The wall hangings are enjoyed by the art fans as well as the interior decorators as they are a good complement to the traditional art. In medieval times the wall hangings were prepared using wool but now high quality colors and latest fibers are used for this purpose. They can be used to make classical as well as traditional wall hangings.

In modern wall hanging tapestry, the use of chenille is popular. This is because this versatile material is soft and flexible. If you wish to decorate your home then the use of chenille will make your décor elegant, warm and adaptable. Chenille can be used for a wide variety of settings in home décor like tapestry throws, wall tapestries and cushions.

The high class wall hangings are very useful as they provide motivation to the decorators as well as historical and traditional sense to the viewer. They also make the living area look spacious.

A vivacious colored wall hanging makes your room more spacious and bigger than it actually is. But for a room that is already big, you can line up a number of wall hangings of different sizes to make it look smaller than it actually is.

The wall hangings differ a lot from the traditional posters. So, placing them at their right place requires a lot of intellectual skills and patience. A lean and high wall will be most suitable for a long wall hanging which will give it slightly active look and not the trifling looks.

But for a large wall hanging the wall with apparent display will be most suited which helps in displaying the charm and brilliance of the wall hanging to its greatest extent. The wall hangings are a very god choice to decorate your house and give it a royal look.

If you are having 2 wall hangings of self-effacing designs but only 1 rod, then you can hang both of them next to each other on the same rod with a gap of 3 to 6 inches. Be cautious about the dimensions because any exception in the dimension will create a kind of chaos that will not be pleasant to look at.

From decades, wall hangings have been the best choice for decorating the houses. Manufactured from modern stuff and knitting, they are the most handy, appealing and a displays the beauty of history and traditions. Wall hangings are truly the heritage for future generations.

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For more home decor articles, see Jessica’s latest article about using decorative mirrors.

Immobilienmakler Heidelberg

Makler Heidelberg

Immobilienmakler Heidelberg

Makler Heidelberg

Der Immoblienmakler für Heidelberg Mannheim und Karlsruhe
Wir verkaufen für Verkäufer zu 100% kostenfrei
Schnell, zuverlässig und zum Höchstpreis

Source by Jessica Ackerman

Garrowby Hill by David Hockney

Garrowby Hill is a landscape painting of a location in Yorkshire, England and serves as one of the best paintings up to now from living artist, David Hockney. The painting is normally displayed in the United States but recently became part of an impressive Hockney exhibition which went on display at the Royal Academy in London.

David Hockney is a Yorkshireman who continues to spend a lot of time in the region and is one the greatest fans of the natural beauty to be found in this region of England. Hockney found Garrowby Hill to be an ideal spot for a painting in 1998, offering swirling roads amidst stunning greenery and a selection of coloured fields which suited his painting style.

This art work has a great amount of detail on the trees which sits either side of the main road and one can imagine this road being very enjoyable for any motorists making their way through this scenic route. It is believed that the city of York may not be far from this particular location.

Exhibitions of David Hockney require a rounding up of his work from all across the world, which underlines his global appeal. The amount of work now attributed to the artist mean that genre specific exhibitions are also now possible, as seen with his recent exhibition in London at the Royal Academy which focused in on landscape work.

Please take the time to learn more about this stunning landscape painting and perhaps even join in on one of the Hockney tours which take you through the Yorkshire countryside via the various locations of several of his key paintings. Those in the United States may not be able to do that and so instead might investigate the locations of his American-based works, such as in Malibu plus also the Grand Canyon where he produced several beautiful paintings.

An exciting fact about Garrowby Hill is that it came at the start of a period where the artist addressed British landscapes and as such there are many more to see in a similar vein for those already impressed by that particular painting. There are also blog posts online which outline several people’s journeys to these spots and provide photographs of the actual scene that Hockney would have seen at that time, with clear similarities but also some artistic license clearly added once he returned to his studio to start work.

Immobilienmakler Heidelberg

Makler Heidelberg

Immobilienmakler Heidelberg

Makler Heidelberg

Der Immoblienmakler für Heidelberg Mannheim und Karlsruhe
Wir verkaufen für Verkäufer zu 100% kostenfrei
Schnell, zuverlässig und zum Höchstpreis

Source by Tom Gurney