How to Draw a Car Step by Step – Learn How to Draw a Car Easily Here


I love drawing cars, it’s a great feeling to see one of your drawings that looks real on a piece of paper. But my drawings looked terrible until I found a guide on how to draw a car step by step. If you’ve ever sat back and taken a look at one of your drawings and seen wobbly lines, bad proportions and something that doesn’t deserve to be labeled a car, then I have some tips for you!

Now I won’t give away all the secrets I learned in the how to draw a car step by step guide, but I’ll tell you one of the processes I use now.

1. Draw Side View

Create a side view of the car you want to draw. Take your time with this because it will be the foundation of your drawing, if there’s something wrong here, it will be hard to fix it up later. Use a light pencil, take your time and be patient. Even the professionals take time to create great drawings!

2. Project Perspective

Now pick a point on the page that you want to use as your perspective. Project lines from all the points of your side view, such as the corners and indents of the body. Make sure these lines are straight, use a ruler and a light pencil once again.

3. Create A 3D View

At this point you will choose a distance from the side view along your projected lines to start drawing the perspective view. It should look like a copy of your side view, that is shrunk down a bit. Once again take your time and make sure you get it right.

4. Connect The Dots!

Obviously now you will draw in the lines between the two side views of your car. Just like connect the dots! Now add all the little structure details that you can. Then we move on to the hard part…

5. Shading

This step is the most time consuming part in the how to draw a car step by step instructions, depending on how good you want it to look. You will need to use a variety of different pencils to achieve the contrast in tones needed to get a nice metallic look. To get a good grasp on this, I’d suggest you going out and looking how light plays on cars and imagining it in black and white. Apply this to your drawings and it will be easier to envisage how your car should look. Remember to leave the highlights of your car unshaded to use the natural white of the paper to create that shiny look.

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Source by Alex Simpson

Forbidden Images of Homosexual and Lesbian Sex in Shunga


Shunga, literally “Images of Spring”, is the generic term used to describe erotic prints, books, scrolls and paintings of Japan.

Prudery

Only recently (1990s) the study of shunga images depicting homosexual (male-male sex) and lesbian (female-female sex) acts of love have been commenced. This belated research of this “hidden domain” was caused by the official censorship in Japan and also because of the unease and prudery concerning the specific subject-matter in the past.

Male-male

Homosexuality, in Japanese called nansoku meaning ‘male love’, was not an uncommon phenomenon during the Edo (today’s Tokyo) period in Japan. In the early years of the Tokugawa regime (early 17th century) men greatly outnumbered women in Edo. There were very strict rules imposed by the government inspired by the loyal standards of Confucianism which excluded women to participate in any kind of work with the exception of household tasks. These regulations and the shortage of women can be seen as deciding factors for the huge amount of homosexual activities. The most characteristic feature of the depictions in shunga of male-male sex is the relation between the two involved “lovers”. The leading and dominant male with his shaven head is always the older one, this on the basis of seniority or higher social status, while the subjected passive partner was a pre-pubescent or pubescent boy or a young man depicted with a unshaven forelock. These young boys are often shown in female cloths and therefore easily mistaken for girls. They served as pages to high ranking samurai’s, monks, wealthy merchants or older servants and were most desired during their adolesence especially between the age of 15 and 17 years when the anus was still without hair. There are also several shunga designs on the theme of threesome sex depicting one man (always a young male) in the midst of sexual intercourse with a female partner while being taken from behind by an intruder. In most shunga images representing man/youth anal intercourse, the genitalia of the young man are often concealed focusing the attention of the viewer on the garment and elegant lines of the body.

Female Secrets

While there was a Japanese term for male-male (nanshoku) and male-female sex, joshoku or nyoshoku meaning ‘female love’, there was no such word to describe female-female sex or lesbianism. Most of the shunga’s I have come across as a dealer in the past 15 years regarding explicitly female concentrated designs (approx. 20 !) depicted either isolated women masturbating using her fingers or a harigata (artificial phallus/dildo) or two intimate women using this same sexual device. Hokusai (1760-1849), the most famous Ukiyo-e master designed two lesbian ehon (book) prints including one with two awabi (abalone) divers using a sea cucumber. Up to now the only shunga featuring this subject that has been described in literature is Eiri’s famous design from his oban sized series ‘Models of Calligraphy’ (Fumi no kiyogaki) published in 1801. In their book ‘Shunga, the Art of Love in Japan’ (1975) Tom and Mary Evans make an interesting comparison with Eiri’s (they attribute it to Eisho) shunga design and the paintings of the influential post-impressionist Henri de Toulouse-Lautrec:

“Whereas Toulouse-Lautrec concentrated on the emotional bond between the girls, and the sad emptiness of the way of life which thrust them into each other’s arms, Eisho (Eiri) was concerned with the physical details of their relationship. And while even such an open-minded artist as Lautrec felt that such details were more than could be reasonably presented to his public, for the Japanese they were the central feature of the design”. (Evans – ‘Shunga, the Art of Love in Japan’)

It must be emphasized that these images of lesbianism in shunga were the result of male fantasies, designed by men and intended for a male audience.

Profound View

Notwithstanding the embarrassment the Japanese at first felt for the representation of these suppressed themes within the shunga genre it’s exactly these particular images that provide a profound view into the cultural and historical background of their country during the Edo period.

Recommended Literature

‘Shunga, the Art of Love in Japan’ (1975) – Tom and Mary Evans

‘Sex and the Floating World’ (1999) – Timon Screech

‘Japanese Erotic Prints’ (2002) – Inge Klompmakers

‘Japanese Erotic Fantasies’ (2005) – C. Uhlenbeck and M. Winkel

Important Shunga Artists

Hishikawa Moronobu (? -1694)

Suzuki Harunobu (c.1725-1770)

Isoda Koryusai (1735-90)

Chokyosai Eiri (act. c.1789-1801)

Kitagawa Utamaro (1753 -1806)

Torii Kiyonaga (1752-1815)

Katsukawa Shuncho (act. c.1780s-early 1800s)

Katsushika Hokusai (1760-1849)

Yanagawa Shigenobu (1787-1833)

Keisai Eisen (1790-1848)

Kikugawa Eizan (1787-1867)

Utagawa Kuniyoshi (1797-1861)

Utagawa Kunisada (1786-1865)

Kawanabe Kyosai (1831-89)

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Create Unique and Beautiful Art on Canvas With Raised Stenciling


Stencils have been around since the 8th century and thought to be first introduced by the Chinese. They have shown to be a proven and long reaching method of adding ornate decoration for centuries in all areas of design.

From Arts and Crafts styling to highly ornamental and detailed Victorian designs, stencils have held their own while other methods of decoration have come and gone throughout the decades.

Being used to decorate walls, ceilings, furniture and even exterior concrete to add beauty and detail, stenciling has gained in popularity in recent years in even the wealthiest of homes and businesses.

Raised stencils are a unique twist on standard stenciling simply because you apply joint compound through the stencil openings to create a raised pattern instead of using paint. The material of these specialty stencils is much thicker than standard painting stencils which allows a significant profile to be achieved. Ordinary craft or painting stencils usually don’t work well for this application.

Raised stenciling, combined with ornamental plaster from molds was featured in our beloved “White House” at the turn of the 20th century when it graced the walls of the Red Room before Eleanor Roosevelt decided to re-decorate.

There is not much further information as to the history of Raised Stenciling and no indication as to why it did not become a popular method of decorating walls, but re-introduction of this lost art in 2004 took the country by surprise and has now become on of the most popular and interesting wall treatments of our time.

Raised Stenciling is not limited to walls and ceilings however. It finds its way in to art forms of all kinds! Used with wood putty or “Wood Icing” on furniture, it creates the look of hand carved designs that fool even the most experienced carpenter! Used on concrete, it appears that the design has been hand carved as a raised element.

Creating fabulous artwork on canvas using plaster stencils is easy and inexpensive.

To plaster stencil on canvas, choose canvas that is mounted to board rather than canvases that are stretched over wooden frames. You need that hard surface to plaster on.

Prime the canvas just as you would a wall before painting it.

An interesting, textured background could be achieved by spreading a thin coat of joint compound or plaster of paris over the primer with a trowel, allowing a skip textured effect by letting the trowel or scraper create natural dents and slight ridges. Allowing the flaws of naturally spreading the compound will give a more detail to the surface.

Allow it to dry completely.

Seal the plaster with a wash of 1/2 white glue and 1/2 water. This will allow any paint finish you do on the surface to go on smoothly. Joint compound or plaster and is very porous and will not absorb paint easily. The glue wash makes the surface consistent and non-porous.

I’ve used three different materials when creating raised designs on canvas: Plaster of paris, joint compound and molding paste (found in art stores).

Situate your Raised Plaster Stencil on the canvas as desired and tape in to place. You can choose to pre-tint the joint compound with deeply pigmented craft or artists paints prior to adding the design to the canvas.

Apply the compounds using a small trowel or plastic scraper by simply smoothing it over the openings of the stencil. By scraping the stencil smooth, the material will be forced in to all the nooks and crannies of the design so that the image is crisp and clear. Without removing the stencil, you can now add more mixture up to ½” thick. Note that the thicker the material is applied, the more cracks you may have in the dried product. In some cases, this can actually be a quite desirable effect.

Un-tape the stencil and gently peel it back from the canvas to reveal the design and allow to dry. Seal the design with the same glue and water mixture to minimize the porosity or use artist’s varnish.

Any number of methods of coloration can now be used to finish the canvas art, from faux finish techniques, to color washing by mixing translucent wall glaze with craft paints, to airbrushing.

There are lots of stencil designs that are perfect for creating a Plaster Painting but also consider cast plaster pieces as well. A combination of both would be spectacular! Consider a background of Raised Plaster Branches from a stencil and then applying Ornamental Plaster Leaves from a mold. Talk about 3-D art!

Cast plaster pieces can also form a natural frame by gluing them to the outer most edge of the canvas. © Victoria Larsen 2012

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Tattoos in Gold or Platinum – Shine Up Your Skin With the Newest Treat


Would it not be cool to have your tattoos done in gold, silver, platinum or other metals as a unique jewel on your skin? A company in Japan might be starting a new trend.

For the skeptics who would immediate think that this would be some kind of health hazard to inject metal into the skin where it could easily enter the blood stream–you are right. There are no tattoos in the classical sense of the word which includes coloring with gold or other metals.

If you have a design that needs to look metallic, a good tattoo artist would instead use other colors to make it look metallic without directly using gold or silver ink. Such colors would, indeed, be toxic for the body and not something you would want to have lodging inside your skin.

The kind of tattoos are something else. These are not injected into the surface of the skin. Instead they consist of gold or platinum foil applied to the surface of the skin with a new technique developed by a Japanese company which I will present later in this article.

Technique

They consist of 99.99% pure gold or platinum which is applied to the skin in various artistic and aesthetic patters along with other elements such as colored stones and glitter powder. Thus they will not constitute any allergic reaction. Of course, if you are amongst the minority who would have any allergic reaction to normal jewelry made of gold or platinum, you should abstain from this “treatment” also.

Contrary to ordinary tattoos they do not last forever. The estimate is around 2-5 days. I imagine one would have to abstain from a nice Turkish bath in the period of wearing this unique and, no doubt, costly form of jewelry. They can be removed quite easily. Since they are applied to the very surface of the skin they will basically wear off along with the skin cells you are shedding.

A new trend in the making?

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Validating Humanness: Why the Brave Art Teacher Allows for Reflection


After your high school art students have spent time working on a meaningful piece of art, it is important to acknowledge their efforts through dialog. Often, this comes in the form of a group reflection (sometimes called critiques) and it can offer students an invaluable opportunity for learning and insight.

Conversations solicited between groups of people provides more insight than any one teacher or person can give, as they are more three-dimensional in feedback and grant differing perceptions, perspectives, responses and suggestions. Their sounds, which come in the forms of responding, sharing, and listening to (and about) a classmate’s work of art, is of the utmost importance to the high school art student. Such reflections expand the life experiences of the student that exist beyond his or her “one story,” while at the same time exposing similarities and differences shared by other students.

Imagine spending large amounts of time on an “assignment” that you care about and then receiving no acknowledgment (or validation) for your efforts. I have witnessed art teachers do this more often than not when they collect the “lesson” after a week or two of studio work and either grade it with little to no student input or post it on a wall for a quick, one-dimensional critique from one voice: the teacher’s. Such lack of compassion does not validate the human component of the art: the value of the student’s voice.

As an art education professor, I advocate the necessity and joy of “slowing down” the curriculum-not dumbing it down (and provide ways and means to do so). This involves taking steps to ensure time is being spent talking, sharing and supporting the art’s content – most notably during reflection time. Devote as much time as needed to discussing EVERY student’s art while linking past knowledge with new knowledge. This may take one or more entire class days, but because reflection is so foundational to a high school art class, time does not matter. Furthermore, students know their work will be shared, and this makes them want to present work they are proud of. Given this, it is important to dignify their attempts and provide them with a sense that what they made has value and what they have to say matters.

Teachers must therefore learn how to build cohesive and encouraging listening groups that fosters dialog beyond mere visual interpretation (which is fine for professional artists being shown in museums and galleries) in order to be of significance for a teenager. A teenager needs to feel “heard” and learn how to listen. Group reflections within the safe walls of your high school art room offers you a way to help hone such skills… it also validates their humanness.

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A Little Rokkaku Kite History


A Rokkaku kite is used for recreation and has some other interesting purposes as well. This type of kite is very popular many parts of the world. In fact, they fall into several types and classifications of kites today. Most countries have their own unique style of a kite. But in Japan they are called, Rokkaku kites.

This type of kite is not just for pleasure flying only but it is use for kite warfare. Literally it’s a battle between two or more kites by knocking the opponents out of the sky is the name of the game for the winner. One method is to attach glass chips to the control line used to rub and cut the opponents control line. The kite warfare is very popular among enthusiast adding the excitement and bigger challenge to kite piloting skills.

Rokkaku kites have been a part of history in Japan for a long time. According to some researchers, these kites go back as far as the very early 16 hundreds. During this time period, Japan had many connections with other countries. There were so many things that influenced Japan and one of them was the art of kite flying. The concept of kites came to Japan was only for pleasure flying purposes only. As time passed by, the Japanese give added some of their own culture and some their own design to kites which gave birth and discovery to the now well known kite called “Rokkaku”.

Rokkaku kites are an original design made by the Japanese. They acquired some of the concept flying kites from other countries about a pilot flying one by a string while he was one the ground. It has a hexagon shape being stretched vertically. It has a middle vertical spar that runs from top edge to the bottom edge. Two spars run across the middle spar touching the other four edges of the hexagon shape. It has no tail or wings, and is just a plain hexagonal kite. Its designs often come with a Japanese art painted on them.

The Japanese have added more excitement to flight by having battles in the sky with them. They purpose of the kite battles is to take down an enemy’s kite to the ground is its main objectives. The Japanese kite enthusiast focused on developing the kite to make it more stable and able to win in any kite battle.

There is a temple in the Kyoto that is hexagonal in shape. Its name is somewhat related to the Rokkaku kite. Some historians are confused in which came first, the kite or the temple. Some say that the design of the kite was patterned after the temple thinking that it originated in that place. And some historian’s think that the hexagonal shaped of the kite has been used as the inspiration to those who built the temple. Even with the controversy it makes an interesting story for the type of kite.

The Rokkaku kites have been around since entertaining spectators in many parts of the worlds. You can find Rokkaku competitions all over the world to watch the battle between two pilots or between many pilots at the same time. With the invention of more durable materials we have today defeating an opponent can to a tough competition.

With the sketchy history and no real clear account of who discovered them many are very happy that the knowledge of Rokkaku kites are passed down to us today. The hours of entertainment afforded by these kites provide much fun, excitement and recreation in many parts of the world.

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Life’s A Stage: The Tips And Tricks Of Grease Makeup


Whether you are thinking about using grease makeup for a theatrical event, a special Halloween party or some other occasion, you need to know what products are out there and how to apply them.

While grease makeup takes more time and preparation than regular water-soluble face paint, it also lasts much longer. Most importantly, grease makeup won’t smear or run under hot lights or conditions where you might perspire. With grease makeup you can create a more dramatic and even professional look.

In addition to your grease face-paints and pencils you will need:

  • face-cleanser or cream cleanser and/or baby shampoo
  • clean towels or paper towel
  • clothing cover-up and hair-ties or shower cap
  • possible shaver for men
  • mirror if you aren’t working from home
  • good quality painting brush, powder brush
  • professional setting powder, talcum or baby powder and applicator (see below)
  • Q-Tips or fine painting brush, tissue paper, paper towel are all handy
  • Other items that you might also consider:
  • light moisturizer
  • baby oil (to fix mistakes after painting has ‘set’)
  • charcoal pencil for eyes
  • mascara
  • sponge
  • mister or water-spray
  • glitter and other decoration

Before you start applying the makeup, you need to prepare your face so it goes on smoothly. Thoroughly clean your face, tying back hair where necessary, and for men, have a shave. (Bearded men can apply grease paint makeup but it can be tricky keeping it out of the hair.) Remember that grease makeup will stain clothes, so put on an old button-up shirt. After your skin dries, apply a very light moisturizer.

Working with the lightest color first – usually white – and a good quality brush or sponge, or your fingers, you can outline the area and then fill it in. Alternatively you can paint following the contours of your face. The grease makeup may not go on smoothly if it is too cold, which you can remedy by putting a little dab of the color of in the palm of your hand for a minute. After painting, use your fingers to ‘pat’ the makeup into your skin.

Unlike water-based makeup, grease makeup requires you to paint your face and then ‘set’ it with a professional setting powder, or baby or talcum powder. (If you go with talcum, be sure to confirm beforehand that you don’t have an allergic reaction to it.) You can ‘set’ the grease makeup either in stages following each color’s application, or at the end of all the painting. Some people prefer the latter, applying all the colors before setting with powder, because they can fix mistakes more easily. The downside however is that you risk mixing colors accidentally and smearing your work.

Whether you ‘set’ in stages or at the end, one reliable way to apply the powder is to partly fill a small, clean, cotton tube sock with the powder, tie it up, and then gently dab your face. Allow the powder sit for a half a minute or so before dusting the excess off with a powder brush. The painted areas should no longer feel moist or sticky – if this is not the case, you probably need more powder. Once the grease makeup has set, it should be fairly smudge-proof. If something needs correcting at this point, you can use Q-Tips soaked in baby oil, but remember that neighboring areas could now be smudged.

Be careful not to apply the grease face makeup thickly or in layers. If you do have too much in one spot, press down on it with your fingers to smooth it out. Continue to refine your face, using Q-Tips or a fine brush for the smaller areas. Grease pencils also can be used for the face, charcoal pencils for the eyes, and don’t forget color for your lips too!

Allow the grease makeup to thoroughly dry, and apply a last light coating of powder, dusting off any excess with a brush or tissue paper. A damp cloth at the end can help remove the excess powder, or spray with a very light mist of water. In warmer climates you can probably skip this step because the extra powder will absorb any perspiration.

If you are applying glitter, it should be done at the very end. Generally glitter is most effective when applied over the eyes or on the cheeks, A glitter gel is often used instead of dry glitter to minimize the chances of it flaking into the eye. With dry glitter, first slightly dampen your face and cheeks, then ‘poof’ on the polyester glitter. Remember to let the makeup settle for about half an hour before you go out. If you have stray paint on your eyelashes, cover it with mascara.

Products available

For just about any type of face design you will need at a minimum white greasepaint foundation and a black greasepaint pencil, but of course there are many colors in between and you will probably want to try at least a few of them. The leading producers of grease makeup are Mehron and Ben Nye. Mehron grease makeup is focused on the theatrical professionals who want ease of application with good coverage. Ben Nye also appeals to the same community, although Ben Nye grease makeup is actually a cream. Grease face makeup comes in a range of forms, from palettes (generally sold as a kit), to individual liners. Pencils, crayons and sticks are useful for smaller areas of the face. Both Mehron and Ben Nye also make eye-shadows, blushes, a range of glitter and setting powders and sealing mists. You may also want to consider sweat-blocker sprays for the face to help preserve the greasepaint under strong lights or in a hot environment.

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How Hypnosis Can Help You To Become Wealthy


Ask any wealthy person how you make money and they will tell you that a big percentage of it is mindset. Without the right mindset you will just be spinning your wheels and never quite make it to the wealth and the success that you desire. With the right mindset you will find it easy to make money and build your wealth and it will happen almost effortlessly because of the way you are thinking.

It was back in the early 20th century when Napoleon Hill famously published his book, “Think And Grow Rich” which is still massively popular decades later. In fact, many of the most successful business people on the planet have this book on their shelves and feel it helped them achieve the success they have.

Your mindset determines everything that happens to you in your life. The same event could happen to two different people, but because their mindsets are different they interpret the event in a different manner and it has a different impact on their life. For example, one person will have a debt of $10,000 to pay off and they will spiral in to depression and be unable to raise the money. However, another person would relish the challenge and pay the debt off in a few weeks, seemingly magicking money out of nowhere.

It’s all about mindset, how you think and how you interpret the events that happen to you. This isn’t something that you are born with either, it is something you learn as you go through life, from your parents, from your friends, family and work colleagues. It isn’t something that is in your genes, which means you can learn it if you don’t have it! If you are someone who struggles with your finances and you want to be wealthy then you can develop a wealthy mindset.

Sure you can spend thousands of dollars attended expensive courses and hope some of it rubs off on you, but if you do not have the right mindset the information from the courses will be wasted on you. Very few, if any, of these training programs actually teach you the mindset. They show you the mechanics of making money and some may even touch on the mindset briefly, but you will not find them spending a lot of time focusing on helping the participants to develop a money magnet mindset.

One of the best, and most affordable, methods of developing this mindset is through hypnosis. Hypnosis is highly effective because it works with your sub-conscious mind directly to make changes. In most cases when you want to make a change you consciously decide you want to make the change and then you literally beat your sub-conscious mind into submission and agreeing to the change. This is why a lot of people struggle to make changes in their life, because their sub-conscious mind, which is the powerhouse of the mind and body is not on board with the change!

This causes self sabotage, forgetting the change and all those excuses for not making the changes in your life. This is why so many people struggle to diet, stop smoking and start exercising, because they haven’t got the sub-conscious mind behind the idea working behind the scenes to making it work for you.

With hypnosis you can change the programming of your sub-conscious mind which then filters out in to every aspect of your life. As you work with a money magnet hypnosis program you will find yourself noticing opportunities that you would otherwise have ignored or not spotted, and find yourself thinking in terms of opportunities to make money. You don’t even find yourself consciously trying to do it, but it happens naturally. You start to find yourself in situations when opportunities arise – opportunities that were probably there before but you weren’t conditioned to spot them and take advantage of them.

It’s quite spooky the first time you find yourself thinking in a wealthy way automatically, but it is very satisfying. By working with hypnosis programs you can find yourself transforming your mindset. Don’t try to work on too many programs at once because it will confuse your sub-conscious mind. Focus on one at a time and you will start seeing results and making the changes to your life that you’ve always wanted to make.

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Source by Jason Elvis Johns

How to Sketch a Car – Learn to Sketch a Car That Looks Real


Learning how to sketch a car can often be frustrating, but when you get it right it’s a really great feeling. If you’re trying to figure out how to sketch a car properly and make it look real then your in the right place. I’m going to give you a few tips that the pros use to make their cars look real enough to drive right off the page!

Preparation

The end result of a drawing depends greatly on how well you created the foundation. If you have a good foundational sketch, the rest of your job will be a whole lot easier. So how do you do that?

First of all, start off your sketch using a grid, 1 inch x 1 inch will do fine. This will allow you to get the sizes of your tyres, windows and general body parts correct in comparison to the rest of your drawing. It will also make your job later on easier when you start shading your car, because you can concentrate on shading one square at a time and concentrating on getting the details right.

Once you’ve got your grid set up, take your time and make sure you get the lines of the car smooth and sharp. This can take a while to teach your crazy little hands how to do their jobs, but stick at it they will learn! Make sure you don’t give up on a drawing too quickly, the only way you can fail at drawing is by stopping. Don’t stop and you can’t lose.

Understanding

An important part of learning how to sketch a car is developing an understanding of light, texture and shape. When I say light I mean the way the light plays on a car, the metal, the plastic and the rubber of the tyres. Take note of how cars look in different light and apply this to your drawings.

A great way to practice this is to get some pictures of cars and use a photo editor to change them to black and white. This way you won’t get distracted by the colour and will be able to see exactly how the tones and light should work on your car.

Texture is also very important, being able to create an texture with a pencil is quite a difficult thing to do. All you can do is observe and practice, find out what looks good and what doesn’t.

Being able to simplify complex pictures into simple shapes helps a lot with your ability to accurately create a car. Start with simple shapes and slowly add details, this is the best way to learn how to sketch a car.

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Source by Alex Simpson

About Paul Cezanne and "Fruit and Jug on a Table"


Paul Cezanne was born in France, in the mid-1800, and is considered, the father of all contemporary fellow artists, of his time. That name sake and the many accolades, which were presented to this post-impressionist painter, came not from the critics and the general public, but from Picasso and Matisse, themselves. This is a high honor, especially coming from those two individuals, which are considered artistic geniuses, in their use of imagery and innovation, and their obvious mastery of all things creative. Paul Cezanne and his work, especially in the early 20th century, demonstrated the artistic-mastery of composition, color, design and craftsmanship, Cezanne possessed. Cezanne demonstrated the subtle and wide open brush-strokes that are repeated time and time again, in his mid-career paintings. Paul Cezanne loved nature and this shows in his paintings and other works of art.

With an interest that bordered upon fanatical, in fine detail, especially that of his eye for natural detailed beauty, this conveyance with the complexity of human visual perception, led to the initiation of his name as one of the masters of artistic talents. Cezanne’s work transcends both time and space in its visual clarity and strikes many first-time onlookers with so much force, many viewers are left wide-eyed and more informed then when they previously viewed the work of art. This is an important detail and aspect that is used as a benchmark, for all great artists and the appreciation that their work instills, on the viewing public. Paul Cezanne’s ‘Still Life: Fruit and Jug on a Table’, is one of his most famous oil paintings. “When I judge art, I take my painting and put it next to a G-d made object, like a tree or flower, if it clashes, it is not art.” Cézannes was heard of saying when explaining this magnificent oil creation. Cézannes style is a combination of human perception and a love of all things natural and worldly. Cezanne valued art in its single most understandable and beloved principal, that it had the ability, if done correctly, to capture the timeless beauty of the works of G-d and nature.

Much of Cezanne’s art, especially in his transition period, between the 19th and 20th century, demonstrated his determination and dogged-style, in attempting to capture the moment, as it unfolded, onto his own eyes. The basic principle which is that art should bring out deep and intense emotional feelings, for the viewer, or it cannot be deemed art out all, is what Paul Cezanne based his life and work around. When looking at ‘Still Life: Fruit and Jug on a Table’, one is struck with the immediate responsive-feeling, that the artists manufactures’ through the use of vibrant colors and purposefully dulled color variations is what made Cezanne, so popular. The vibrant colors, which were popular in nearly all 20th-century artist palettes, directly related to the high-grabbing attention that the red, orange, and golden-yellow, command in ‘Still Life: Fruit and Jug on a Table’. Cezanne’s work of art was painted sometime between the years 1893 and 1894.

The majority of Cezanne’s art, most particularly the later works, are heavily influenced by painters like Picasso, Matisse, Gauguin, Braque, and Klee, who have colorfully described Cezanne as the ‘father of all artistic creations in the 20th century’. The explanation of why and how, so many respected and treasured painters, such as Picasso, Matisse, would pay such honor and respect to Cezanne, especially when the competition for works of art was intense and sometimes unrelentingly nonpartisan, springs from the fact that Cezanne demonstrated passion. This passion, coupled with a fervent reaction to the excepted norms, that were previously unmovable, in the field of artistic endeavors, earned Cezanne his title. The title ‘father of modern art’, is most easily seen in this body of work, ‘Still Life: Fruit and Jug on a Table’, and will be forever discussed, as one of the most important works of art, in the 20th century.

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Source by Brandon Fuhrmann