How To Remove Rust From Japanese Tea Pots

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Japanese teapot tetsubin has greatly evolved. It originated as a vessel used centuries ago to heat water for tea and now is also used to provide warmth and humidity in every home during the winter or even all year round. With its amazing aesthetic and functionality, modern tetsubins now come in variety of style, design and sizes.

Japanese cast iron teapots are known for rugged durability. However, under certain circumstances, the cast iron can begin to rust. You see, apart from the usual care that you give to your utensils, cast iron teapots will demand more attention to ensure that you don’t get an overdose of rust.

Here are some tips to try to remove rust from cast iron:

Vinegar and Water Solution. A mixture of water and white vinegar is a good cleaning solution. With a little elbow grease this 50-50 vinegar and water mixture can remove the rust in your tetsubin. For tough rust, it may be a good idea to use baking soda as an abrasive. First, scrub the area with baking soda then add the vinegar and water solution.

Potato Method. Often when you research for home remedies for removing rust the idea of using a potato is often mentioned. Actually, there is no property that makes the potato any more useful than a scrub brush. Slice a potato and dip it in baking soda, or vinegar. One great thing about potatoes is that they are handy and available.

Olive Oil and Finely Grained Salt. Another great mixture for removing rust from your Japanese cast iron teapots is the olive oil and finely grained salt solution. Such combination is a good rubbing solution for the treatment of external rust on your cast iron teapots. However, the mixture has to be gently rubbed on to the affected area so that the teapot’s finish will not be scratched.

Remember, after you are done with using your cast iron teapot, clean and dry it up. Do not let tea or water to sit in your teapot for a long period of time. Cleaning is as simple as pouring out the remaining contents and showering it with water inside. Then invert the teapot and let it dry.

And that’s it. Caring for your precious teaware is really that easy. With proper knowledge on how to remove rust, your Japanese tetsubin teapot can definitely last for couple more generations if not a lifetime.

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Painting Without Roller Marks and Brush Marks

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Most ready made paints are created for certain average conditions which generally do not exist on the day you choose to do your painting! The result of that is the paint does not flow out well to leave a smooth finish and you end up with ugly roller marks or brush marks or streaks or lap marks.

Paint in general terms is made for what would be an average room temperature or outdoor temperature for the market where those paints are sold. The problem is, whenever there is a deviation in temperature either up or down that paint will be more difficult to brush out or roll on to the wall. Indoor water based paints, Emulsions or Latex tend to dry too fast when the temperature is warmer than average, and the result of this is that each new section painted can have streaks because the piece before has dried out too quickly.

Painters / Decorators describe this phenomenon as ‘losing the wet edge’. Painting ceilings can be especially troublesome because all the room’s warm air rises up to the ceiling compounding the drying too fast problem. If you are applying water based paint / masonry paint on to outside plastered or similar walls and the weather is dry or dry with a breeze or worse still, if the sun is shining straight on to that wall while you are painting… you will have a really tough job because those weather conditions mean that you will lose that ‘wet edge’ almost as soon as you apply a roller full of paint.

It is best to choose a day that is neither too hot nor too cold for exterior wall painting etc. If you are applying oil based paints or varnish, especially outside on a good day, you will notice that your paint becomes very heavy and the brush will tend to drag making the painting process a lot more tedious. The reason for this is because the solvent in the paint is evaporating quickly in the warmer conditions and it will be necessary to thin the paint a bit to ease application.

To get your paint or varnish to flow, one historically adds some water to water based paints and some while spirit to oil based paints. That usually makes the paint flow better. There are a few negative consequences when thinning paint in this way though, for example… the paint loses some of its ‘hiding power’ which can be a nuisance when using ‘weak hiding’ colour paints (yellows, reds etc) because you will probably need to apply extra coats to get a finish and block out previous colours etc.

With gloss & other oil based paints etc, thinning in this way will make it flow better but it will kill the hiding power and lose a lot of the shine after a time. Another alternative would be to utilise a paint additive which is made to make your paint flow out and cover better in less than ideal conditions etc. You can obtain paint additives (sometimes called paint conditioners) for emulsion and oil based paints in most of the better paint stores. The water based additive (conditioner) is ideal for any colour paint but will not be suitable in water based varnish because of its milky appearance. However it does not change the colour or finish etc.

Water based paint additives are designed to keep the wet edge open and usually enable you get a finish with no brush marks or streaks. In fact some water based paint additives actually help hiding power in a dramatic way especially in weak colors like reds, yellows etc where you can save a few coats and a lot of hard work. Oil based paint additives will work well in any oil based paint and varnish. Check your paint to see if cleanup is with white spirit etc and if so it means it is oil based and suitable for that paint.

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Celtic Tattoos – Why Get Them?

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Well, why not? Ha-ha! Seriously, why would you want to get a Celtic tattoo? In case you haven’t gotten around to thinking about it much, we’ll discuss a few elements and associations that may not have come to mind yet.

Celtic tattoos obviously have something to do with the Celts, but who were they? The Celts were an Indo-European people now represented chiefly by the Irish, Gaels, Welsh, and Bretons. We’ll call that the British Isles. For such a tiny area, there’s a lot of diversity and history in the British Isles. Just the geography alone includes England, Ireland, Scotland and Wales, to say nothing of Scotland’s coastal Hebrides, Orkney and Shetland islands. When you hear people mention Celtic tattoos, they generally are referring to the pre-historic designs used either in the decorative arts or by warriors.

Celtic tattoos based on art give you an incredibly rich treasure trove for resourcing designs. Because these designs are fairly primitive, they tend to have less detail than a modern cartoon drawing or anime cell would have, for example. This means they can look good even in the hands of a less experienced tattooist. The repetitive nature of the designs also means that they look good on small body parts such as the wrist or ankle.

The Celts’ culture has given us the English language, which you are reading right now, along with many of the fairy tales, legends, games, songs, holidays, protestant religion, and literature that are a pervasive part of American culture.

The primitive and archaic feeling as well as the symbolism behind Celtic tattoos makes these designs very attractive. Especially if you live in a large city, surrounded by technology, machines and fiberglass, this connection to our ancient brothers and sisters reminds us that there are other ways to live, and different ways of being than what is considered the modern standard of living.

From a design point of view, a Celtic tattoo gives you a classic, understated look, while sending a subconscious message of association with the “rulers of the known world.” You have probably figured out by now that you really don’t need to be from the UK to warrant wearing a Celtic tattoo. If you’re from the United States, it’s pretty common to have a family member who is English, Irish, Scottish or Welsh, even if you don’t look even faintly white.

Ok, so those are lots of the reasons that folks are getting Celtic tattoos like they are going out of style. Now, what’s your tattoo going to look like? There are a lot to choose from, that’s for sure. First of all, spirals. Some of the oldest Britons were called Picts. They wore bluish tattoos or war-paint into battle. We’re lucky enough to have stone carvings from the period, which show varied symbols including the sacred spirals, the wheel of Taranis (their version of Thor), and the tree of destiny.

Celtic tattoos in knotwork have to rank right up at the top among the currently popular Celtic tattoos. These designs actually come from illuminated manuscripts from the middle ages or even before that. Illuminated manuscripts are books that were written and illustrated completely by hand, before the printing press! When you think of someone, usually a monk, spending a lifetime developing these designs, it seems kind of incredible that someone could create this without Google image search or Photoshop. The knotwork you find in Celtic tattoos usually went around the edge of the page, and it is almost always seen in band tattoo designs. It can be as simple or as intricate as you desire.

Celtic tattoo designs, the two main ideas of which are the spirals and the knotwork, can be transformed into a myriad of beautiful new designs. Some of the things that can be combined with the spiral and knots are the Claddagh, the triangle, animals such as wild boar, bear, griffin or stag, the sun and moon as parts of the ancient spirituality of the Celts, or perhaps certain heraldic devices.

Celtic tattoo designs might fit you perfectly, but whether they do or not, I hope reading this has given you some ideas about their historic meaning. The Celts’ influences are everywhere, so much so that they’re a seamless part of the western world most of the time, making a Celtic tattoo a harmonious and subtle choice for your new ink.

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How to Write a Motion Graphics Design Or Animation Treatment

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buy augmentin 635mg online USA Give Yourself the best chance of winning the Design or Animation project with these guidelines

go to link The Title & Introduction

The very first thing you will write on any treatment is the name of the project, so it is highly advisable to make sure you get this part correct. When taking a brief it is always a good idea to take as detailed notes as possible about all aspects of the project including the people involved, key words, reference material, technical aspects or limitations, audio preferences and project working titles. These notes will assist when putting the basics into a treatment, and showing your fullest understanding of the brief, like the correct title, or key words that the client was at pains to describe the project with.

Once you have a clean leading page with the clients name, the name of the project, and any subtitle, you are ready to add the first and most important body of text, the introduction or approach.

The introduction, outline, premise or approach to a treatment is a vital and concise 2 or 3 line paragraph, clearly telling the reader what it is they are about to read, and the reason for reading it. Ideally this paragraph will ‘grab’ the reader immediately and tweak their interest, wanting to read the rest of the document.

augmentin cost 375mg The Writing Style

The use of descriptive language is an important part of the art of all writing, no less with treatments, where you ideally need to squeeze all the information into one or two sides of a4 paper to paint a clear picture in the readers mind’s eye of exactly what they can expect the final film or animation to look like.

When describing your concept, try and use flowing and elegant phrasing while being descriptive and to the point. A wide use of vocabulary will keep the reader interested and their brain visualising the result.

For example, The brief is for a television crime drama title sequence, and the Director wants the style of the title sequence to reflect the period, atmosphere and subject matter of the script. The Director may use quite descriptive words in a brief like, dark or chilling, ensure to re-use these words in your treatment and add some of your own to further embellish. For example; dark foreboding blackness, or chilling, spine jarring finale.

Try not to repeat the same word too many times, and think of alternative ways to describe the same or similar part of the project. For example; when mentioning a transitional effect in the animation or film, try and find new ways to write about that effect.

buy bactrim online EU Your Branding

Ensure that your business, company or studio logo and branding is clearly marked on the front of the treatment, as well as the body of the treatment to ensure that all who read it will know where it is from and who wrote it. It will also help ensure your ideas stay as your own and are not borrowed by someone else. Another consideration is to flatten your document to ensure that the logo and graphics are displayed correctly and no one is able to edit your treatment or take paragraphs for re purposing into another document. Saving your MS Word or other word processor document as an Adobe Acrobat PDF file is an ideal way of achieving this.

buy 20 mg paxil pills cheap The Concept

This is the main body of text where you can flesh out the idea in more detail. It is important to ensure that this paragraph is easy to read and to the point. Use this part of the treatment as a way of quickly describing the rest of the information that you eloquently touched on in your Introduction. Try and keep the sentences brief with enough space around them to be absorbed easily. Allow the sentences to flow together easily to ensure the reader does not get lost partway through, it is vital that your idea makes sense from start to finish giving your reader the chance of constructing the piece in their own minds eye.

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Consider including images to assist your concept.

You will probably be producing a storyboard separately to your treatment, but using additional reference images, character illustrations, environment and backgrounds or mood board images in your treatment can really help the reader to grasp what you are saying. Positioning the images is also important, breaking up the paragraphs can lose the readers flow, so try adding an image or series of images under a paragraph.

Using a large image under the Introduction can act as a real eye grabber for the rest of the document.

Reference Material

Reference material is key to helping sell your idea, especially if you can reference your own past work. It is another chance to showcase your work and give the client every confidence in your ability to deliver what you are writing about. References can be web links, embedded links, images, sounds, music tracks, illustration or video. If possible, try and collate it all into one place, an ftp location, a website, a file share location or as zipped attachments to make it easy for the client to explore your references and not have to go to many different internet sites. Again, keeping the treatment easy to read, follow and absorb is paramount.

The Technical Breakdown

The technical section of a treatment should be very factual, very brief and very clear. The clarity will, once again, illustrate to the reader that you have carefully thought the process through and understand exactly what it will take to achieve the finished result. You will always be able to change your thinking with kit later, but at least at this early stage you have approached the idea with a way of technically creating your masterpiece. This paragraph will also illustrate your ability to handle both aspects of any motion graphics project, creativity and technical knowhow, the core components to any motion graphics designer.

Think about outlining what and how many computers you will need, how much disk storage space and backup will be required, which software packages will you be using and are there any specific plug-ins or presets that are relevant. Also take into account the amount of rendering time and hardware that will be needed, archiving considerations, and final delivery formats and other delivery aspects.

Music and Audio

As we all know, music and sound effects can really bring animation and video to life and is a major part of any visual experience. Touch on ideas you have for the music and sound design, include references to other similarly styled videos and describe the tone and atmosphere that the music will evoke with your visuals.

The Budget & Estimated Costs

Costs and quotes are also a huge factor in whether you will succeed in getting the project you desire, but refrain from including any mention of money in the treatment. Instead provide a separate quotation document including any reference to technical or creative specifics in the treatment.

The Conclusion / Summary

The final part of your treatment should act in a similar way to the introduction.

It is a short paragraph that allows you to quickly remind the reader of the key points you discussed in the rest of the document. It is also a chance to use good language to leave the reader wanting to see what you have described, wanting to explore further, wanting to make it come to life.

List of Components

INTRODUCTION – short and sweet

CONCEPT – main descriptive body of text

IMAGES – reference material

TECHNICAL – geeky but essential breakdown

AUDIO – style and reference guide

SUMMARY – the final roundup

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Create Unique and Beautiful Art on Canvas With Raised Stenciling

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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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The Late Colin David

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Colin David's mortal body left this world on 25 Feb 2008, but his soul breathes in his art and people. Colin was one of those good adroit painters who fashion human anatomy with their skill and imagination. Just like Ustad Allah Baksh, Sadqain, Shakir Ali, Saeed Akhtar, Colin depicted women figure as a special element in his painting. He was a superb draftsman with a technical perfection that is all too rare. According to an art critic Marjorie Husain, Colin used to paint non traditional style in the restricted ambiance of Ziaul Haq era which consolidated his position as most popular artists in time.

Colin was born in Karachi in 1937; he began his art education at the University of Punjab when the fine arts departments opened his door to male students in 1956. According to Niilofer Farrukh he once ran away from home because his father, a journalist, did not allow him to take up Art as a profession. Colin David was among the first group of three young men who were taught by Khalid Iqbal, and by Anna Molka Ahmed who was hugely pleased by the talented trio. She included them in many of the Department projects and in later years, spoken of their success with pride. After doing masters Colin got opportunity to study in UCL where he was guided by sir William Cold Stream, an artist who painted in "Euston Road" group style. There Colin got opportunity to paint from life and found his artistic meter. It was a time when Naz Ikramullah was taking a course of Lithography at the Slade, and Colin mentioned meeting her in letters home.

Returning to Pakistan in 1962 Colin rejoined the faculty of Fine arts department of Punjab University, and remained there until 1964, but differences with Anna Molka Ahmed caused him to leave the department and join the National College of Arts, where Shakir Ali was the Principal. Colin remained there, an integral part of the college for 25 years.

In those times of experimentation Colin developed a unique, distinct style which showed his own inclination. His first solo exhibition, a collection of figure studies in oils painted with great luminosity was held in Karachi in 1970 at "The Gallery" where Colin hailed great appreciation. His work in the genre of the nude inspired new art collectors. The element of design in a form of "figure" always creates balance and harmony in its compositions. Sense of space was an important subject in his paintings. Colin explored the female figure as a symbol of beauty and presented "women as a women"

Colin successfully described the sensitive studies of children at play. In one of his painting he depicted a child while eating toffee while un wrapping it, chubby fingers persevering, and an expression of total single mindedness on the child's face. It increased the UNICEF interest in his art. Many of his art pieces went to foreign art collectors.

It was ironic that in his life many times he was obliged to hold exhibition in his home and unnamed spots for selected audience since he was unable to show his work publicly. Once he said "In the earlier stages of my career when figure painting was artistically acceptable, my exhibitions were always highly successful.

In last days of Coulin, despite of bad health he continued to work and exhibited his art work in Karachi and remained popular.

Time goes, you say? Ah, no! Alas, time stays, we go.
– Henry Austin Dobson

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Lathi – The Indian Secret Form of Defense

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Lathi is not an activity to use a bamboo stick or cane to hit others randomly. It is a form of martial arts. Lathi means bamboo stick in Hindi. This type of martial arts often uses a 6 to 8 foot long bamboo stick or cane with an optional metal blunt. Lathi has been used by Indian Police or authority to control crowd. In fact, Lathi has also considered as one of the oldest weapon in the world.

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For many years, Lathi has been popular among India villages and rural areas, typically in the eastern and southern area of India. It is not only used for fighting against others but also for controlling animals in certain region.

Lathi was used for many different things but the owners of land used it to demonstrate their strength and to help them rule others. They raised large groups of people who were then trained in Lathi, which they used to demonstrate their power over others. Instead of being used as self defense, they were used as an aggressive force that tried to dominate others.

Lathi also has been used for sport around the same time as landlords used it for security purposes. Lathi tournaments often took place between different Indian villages, where landlords could demonstrate to others their power through Lathi tournaments.

Before India was ruled by the British government, the Zamindari system was introduced. The Zamindar trained and hired Lathial armies for many purposes. One of the purposes of using Lathial armies was to forcefully collect taxes from Indian citizens. It was also used by the Indian Riot Police as their primary weapon to disperse rioters, and they only used firearms when the Lathi could not efficiently be used. The system had continued during the British reign over India, and the British government authorized and introduced Lathi as one of the weapons for police and army force in India. At the time, Lathi often used for controlling riots, fights, and crowds against the British government.

After India became independent, the Zamindari system became abolished. This caused the decline of Lathial armies and Lathi transformed into a form of martial art. On the other hand, urbanization also was a reason that caused the decline of this form of martial art.

Although it has been declining, many wealthy landlords and farmers today still train and hire Lathial for security purpose in rural or villages in India. They see Lathi, still, as a form or a way to show their power. Yet, Lathi battles between villages are still happening today, and it remains a famous sport in many villages and rural area in India.

In modern day, Lathi is still one of the primary weapons for Indian police to control riots. All Indian police officers and some security guards today have training in Lathi charge because of its efficiency.

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Lathi is a form of martial arts, but like other forms it has many things which set it apart from the rest. There will be some similarities, but most people will be able to recognize the differences. The dan-tien is the energy center, as it is in other martial arts. This energy center in martial arts is what is behind the distinctive stance that its users take.

Lathi shares many commons aspects with other martial arts, but it is different from other ones. First, it is different from other martial arts in terms of its energy center. In Lathi, the energy center is found at the heart while in others it is lower in the body. It might not seem like a big difference but it does affect the ability of the users of Lathi to perform their movements. It is similar to the difference as the center of gravity of a woman. The woman has a lower center of gravity and it changes the way that she balances the body as she moves. The higher center of gravity is also supposed to impact the body’s ability to heal itself.

One of the most important parts of any martial arts is the breathing techniques that are used. Since the energy center of Lathi is higher; the place that the breathing is concentrated through is also higher. This breathing technique of Lathi is also a reason behind the movements of its practitioners and is said to help with the healing of the body as well.

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Lathi is not only a powerful healing therapeutic tool, but it is also a good spiritual practice for individuals. It is a physical practice for the whole-body and it harmonizes the body and mind by moving energy. Its continuous and repetitive movements provide balance and subsequently organize the body. When it moves energy through the body, it also connects our physical body to a deep internal meditative state. On the one hand, it is a very active sport or practice that harmonizes our body and clams our mind and spirit at the same time.

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Of course, Lathi is a martial art, but it can be a dangerous one. It is not a game for gentleman and you cannot make any mistake. It is like fighting on the street. The aim of this martial art is to win. Historically Lathi is for security purposes, so it is a gentle, elegant way to move the body, and it is an effective system to bust a body up based on the cane-fighting at the same time.

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Individuals practicing Lathi must be able to fight with a stick, which can come with different lengths and thicknesses. Generally speaking, matches are one-on-one but the martial art can also include routine matches for fighting different opponents. Since Lathi uses the heart chakraas their energy centre, practitioners fight mostly in an upright position.

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Interestingly, Lathi recently has been used by a group of Indian women in the Bundelkhand region who have demanded justice against abusive men, husbands, and fathers. While domestic violence, child marriages, and demands for dowry are still very common in the rural areas of India, a group of women, the Gulabi Gang, have been taught to use Lathi for their self defense, and when needed, they can use Lathi against the harassers.

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How Photography Has Changed Over the Past 200 Years

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Taking pictures throughout one’s life has been a part of American culture for over a hundred years now. The camera was first introduced in the United States in the early 1800s and was commercialized later in the century. From the time it was first put into the American market until now, the camera and the technology of the camera has changed significantly. Also, with the camera, the items that hold the photographs have changed significantly as well. For example, picture frame lighting is now available to highlight the photographs they hold and there is also such thing as a led picture light which really emphasizes the photograph. The art light is something which has most certainly changed with the technology that came with the modern day camera. However, it is the camera that has dictated these changes in the frames.

The first official camera was invented in 1814. The big, clunky machine was used to take still life pictures in black and white. The photographs almost always came out scratchy and faded looking, but for the time, this machine was very impressive. No one probably could have imagined how photography would have changed over the next 200 years.

The next big accomplishment in photography came with the introduction of color to the photographs in 1861. In fact, some photographs from the American Civil War can be found in color. It took awhile for color cameras to be readily available to the public, so for the next thirty years, color photographs were still a relatively new, revolutionary technology.

A change in the way photography was done happened when the disposable camera was invented. This camera enabled travelers to take inexpensive cameras on vacations without carrying a big, expensive one with them instead. Also, many of these disposable cameras were made to be waterproof, so people could take photographs underwater on a snorkeling or scuba diving trip.

Next in the photography world came the introduction of the digital camera. This made it so that photographs could be taken and then loaded into the computer to be sent to people via the internet or they could be sent to most drug stores to be developed at a specific time, usually set by the customer. This new technology revolutionized the way people stored and used their photographs.

Finally, today there have been many new additions to the camera technology. Cell phones now have a picture-taking capability to them. Also, there is such thing as high definition photographs, which makes the photograph even clearer than it already was before this digital technique. Probably the newest thing to the world of photography is the camera that has a view on both sides of it for those who do not want to have to rely on strangers to take a picture for them and their friends. With all of these advancements coming in shorter and shorter amounts of time, it will be interesting, in the upcoming decade, to see what other changes will be made in this market.

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Immobilienmakler Heidelberg

Makler Heidelberg

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Source by Connor R Sullivan

History and Clothing in Ancient Japan

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Japanese history includes alternating periods of isolation and revolutionary influences from the rest of the world. As early as the Jomon period from about 14000BC to 300 BC, Japan had a hunter-gatherer lifestyle; wooden stilt houses, pit dwelling, and agriculture. Weaving was still unknown and the ancient Japanese clothing consisted of fur. However, some of the world’s oldest pottery is found in Japan, along with daggers, jade, combs made form shell and clay figures.

The period thereafter to 250 BC saw the influx of new practices like weaving, rice sowing, iron and bronze making influenced by china and Korea. Chinese travelers describe the men ‘with braided hair, tattooing and women with large, single-piece clothing.’ Initially ancient Japanese clothing consisted of single piece clothing. The ancient and classical Japan begins from the middle of the 3rd century to 710. An advanced agricultural and militaristic culture defines this period. By 645, Japan rapidly adopted Chinese practices and reorganized its penal code.

The peak period of ancient Japan and its imperial court is from 794 to 1185. Art, poetry, literature and trade expeditions continued with vigor. Warlords and powerful regional families ruled ancient Japan from 1185 to 1333 and the emperor was just a figure head. By the Japanese Middle Ages, Portugal had introduced firearms by a chance landing of their ship at Japanese coast; samurai charging ranks were cut down; trade with Netherlands, England and Spain had opened up new avenues. Several missionaries had entered Japan as well.

Distinct features of the lifestyle, ancient Japanese clothing and women is difficult to decipher for the simple reason that it is super-imposed by the Chinese culture. Ancient Japan readily adopted other cultures and practices and most of its own culture is lost among these adaptations.

Ancient Japanese clothing was mostly unisex, with differences being in colors, length and sleeves. A Kimono tied with an Obi or a sash around the waist was the general clothing and with the advent of western clothing are now mostly worn at home or special occasions. Women’s obi in ancient Japanese clothing would mostly be elaborate and decorative. Some would be as long as 4meters and tied as a flower or a butterfly. Though a Yukata means a ‘bath clothing’, these were often worn in the summers as morning and evening gowns. Ancient Japanese clothing consisted of mena and women wearing Haori or narrow paneled jacket for special occasions such as marriages and feasts. These are worn over a kimono and tied with strings at the breast level.

The most interesting piece of ancient Japanese clothing is the ju-ni-hitoe or the ‘twelve layers’ adorned by ladies at the imperial court. It is multi-layered and very heavy and worn on a daily basis for centuries! The only change would be the thickness of the fabric and the number of layers depending on the season. Princesses still wear these on weddings.

Since the Japanese people don’t wear footwear inside their homes, tabi is still worn. These are split -toe socks woven out of non-stretch materials with thick soles. Clogs have been worn for centuries in ancient Japan and were known as Geta. These were made of wood with two straps and were unisexual. Zori was footwear made of softer materials like straw and fabric with a flat sole.

Ancient Japanese clothes, culture and footwear are slowly regaining their popularity with the western world. There is an honest curiosity in knowing more, wearing kimonos or using silk fabrics with beautiful floral prints from the ‘land of the rising sun’.

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Immobilienmakler Heidelberg

Makler Heidelberg

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Der Immoblienmakler für Heidelberg Mannheim und Karlsruhe
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Source by Christopher Schwebius

Fabric Painting As A Career

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Fabric painting is not the most conventional of careers to choose from; in fact most would relegate it to the hobbies listing, an obscure craft. Some would ask, “Who would want to spend their career with fabric paint?” But think about it; if the career were not a significant one, we would all be sitting on bland, colorless and design free furniture, we would probably all be dressed up in flour sacks and staring at blank walls. Of course that’s a slight exaggeration, but you get the point, I’m sure.

As a career fabric painter, you have the opportunity to add creative and sometimes colorful value to the world we live in. Although fabric painting can be a laborious pursuit it has become thousands of times easier to reproduce fabric painting on numerous mediums. With the advent of digital art, reproduction artwork can be placed on cups, plates, textiles, shoes, wood and more.

The prospects are actually quite exciting when you think about it. Rather than designers buying that blase fabric for their fashion accessories project, you can now offer them custom fabrics, specially created for their specific use; something unique to their collection. Designers can now say bye, bye to boring; and hello to happy. Their clients will love you for it.

Artists can now create their masterpieces and have them duplicated for short run reproduction just as easy as or perhaps easier than it would have been to process the art through the traditional fabric mills. This is great but there are still some major manufacturing companies that hire artists to create hand painted designs for their new collections. They then take the artists designs and produce them on various types of fabrics.

One career that is easily integrated and is an offshoot of fabric painting is, screen printing, which in itself is a vast field. Traditionally, screen printing has been viewed as the answer to producing tee shirts for schools and casual wear. Today the screen printing industry is booming as artists are getting even more creative and adding flair to their designs.

The sizes of screens have grown from a little bitty square on the front of your shirt to a large format screen designed for all over tee shirt design. Still there are others who use this screen printing method to create custom yardage for sale and for creating their own line of goods.

Such artwork was initially painted on fabric and later printed on garments for toddlers and adults alike. Just as the original was embellished with studs, stones, sequins and glitter, so too are the creations of the silk screen artist. The beauty of course is once the original design has been developed on fabric and screens created, the design can be produced in unlimited colors, sizes and of course quantities.

On the flip side of the screen printing issue are the embellishers who are also fabric painters in their own right. These artists take a generally basic design and customize it, giving it the oomph it may have needed. This is done many times with fabric paint, rhinestones, mirrors, ribbons and a host of other accessories.

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Immobilienmakler Heidelberg

Makler Heidelberg

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


Source by Teri M Bethel