Ninjutsu: The Benefits of the Ancient Art of the Ninja

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What does the word “Ninjutsu” bring to mind? Black clad Ninja Assassins demonstrating miraculous feats of acrobatics and throwing around deadly “ninja stars”? If so, then you might have a hard time believing that Ninjutsu, the ancient art of the Ninja, is perfectly applicable and useful to someone who lives in the modern, fast-paced world – that the benefits of the ancient art of Ninjutsu might be directly useful to YOU.

While it is true that Ninjutsu teaches valuable armed and unarmed combat techniques that can be used to protect you from physical harm, the art encompasses so much more. Here are three of the many ways in which the study of Ninjutsu can help to enrich your life:

1) One of the modern benefits of the ancient art of the Ninja is the development of stress management techniques. The pace of life is all too fast and getting faster by the day. Stressful demands, from little day-to-day annoyances to major trials and tribulations, gradually mount up until they can feel overwhelming. Ninjutsu, by means of its meditation techniques, the promotion of an awareness of self and of a healthy mind and body kept in balance, develops invaluable all-round tools to help deal with the many stresses of modern life that threaten to drag you down.

2) Another of the modern benefits of the ancient art of the Ninja is the development of conflict management techniques. Conflict can take many forms and not all of them involve the threat of physical violence. Ninjutsu offers solutions for all of these; physical techniques enable practitioners to confidently take control of situations when things do get physical and the mental discipline required to learn the art of Ninjutsu gives practitioners the mental flexibility to quickly adapt to and take control of any non-physical conflict situations that life might throw their way.

3) Yet another of the modern benefits of the ancient art of the Ninja is the development of personal discipline. Mastery does not come easily – if it did, we would all already be masters of Ninjutsu! The reasons why some succeed and many fail are linked with personal discipline, the physical discipline needed to master the physical side of Ninjutsu and the mental discipline needed to truly understand and apply the underlying theories of Ninjutsu. This personal discipline can perhaps be best expressed as “strength of will” – the ability to push on when things get tough. Ninjutsu requires and develops this strength of will, this personal discipline, and this iron willpower can then be brought to bear on life’s many challenges, leading to greater success, confidence, and life-satisfaction.

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Source by Jeffrey Miller

Why Do Black Belt Martial Artists Get Beat Up By Street Fighters?

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If you want to learn to defend yourself, you join a karate school, right? After all, anyone who has a high ranking black belt and a slew of shiny trophies proudly displayed in their window should be able to teach you how to survive one of the worst situations that could ever happen to a human being… Right?

I think you and I are both old enough and experienced enough in the world right now to know that appearances are often very deceiving. What seems to be one thing is often something very different. And, learning self-defense from a karate-expert, at least a modern-day one, is no exception.

How can I say this? What do I have against karate students, teachers, and black belts?

I’ll start by saying that I have absolutely nothing against dedicated students and teachers of the martial arts – regardless of rank or style. In fact, I commend and respect them for their dedication, motivation, and discipline toward attaining both skill and rank in their chosen form.

Why do I question their ability to defend themselves, even in light of their having attained black belt or been awarded trophies in one or more tournaments or competitions? One word…

Statistics.

Crime reports and statistics are rife with accounts of people trained in the martial arts, many holding black belt rank, falling prey to the brutal attacks of common street thugs – fighters with no formal training in the martial or any other combat arts.

How can this be? After all, aren’t these people learning how to deal with a violent attacker? Isn’t that what you learn in a karate class?

To be honest with you, it’s very difficult to go into all the reasons that this logic falls through. If you want to really understand how and why this type of situation happens, and more often than you might think, you really need to read the book, “The Karate-Myth: Why Most Martial Arts and Self-Defense Programs Are Wrong.” This one powerful book, and it’s supporting materials, should be the first thing that anyone serious about learning to protect themselves reads before taking a single step towards enrolling in a class.

For now, let’s just explore the possibility that maybe, just maybe, there’s more to being able to defend yourself than merely learning a few cool moves. Maybe, just maybe, belt color or the size or number of trophies, tell us little to nothing about how someone will fair in a real world self-defense situation against an enraged or demonic attacker bent on getting more from you than a plaque or trophy. Maybe.

Let me just finish by saying that, just as there are dozens of reasons why someone may take up karate or martial arts training, there are dozens of benefits that one can derive from them as well. But, and this is a big “but,” if your goal is to learn how to effectively, efficiently, and confidently defend yourself against a real life bad guy, it will take more than a piece of cloth that represents how much time you’ve been practicing a set of punches, kicks, and blocks. It will take more than a big shiny trophy or two, unless of course you plan on using the trophies as weapons (I would…).

In fact, it will take many of the same things that the street fighter brings to the situation – things that I find to be seriously lacking in most of the conventional karate programs I’ve witnessed being taught across North America. If you’re going to win against an assailant who has nothing to lose and everything to gain, you’re going to have to make sure that you arm yourself with the same tools he’s carrying in his arsenal. And, I’m talking about guns, knives, or any other weapon of the sort. I’m talking about…

  • A commitment to winning – no matter what

  • Survival Instinct
  • Superior Attitude
  • A Complete Disregard for “doing it right,”
  • and…

  • No Delusional Belief about so-called “fair-play”

Until karate students can separate the traits developed for sportsmanship and being a positive member of society from those needed to survive in a dangerous and potentially life-threatening situation, I’m afraid the outcome will always be the same. And that is…

…he that is fighting to win – to survive – will always win over those who are simply going through the motions.

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Source by Jeffrey Miller

Painting on Fabric With Acrylic Fabric Paints – A Beginner’s Guide

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Painting on fabric is easy and inexpensive, and it opens up exciting new creative horizons for sewers and quilters, fine arts painters, scrapbookers, and mixed-media artists..

If you’ve never tried painting on fabric before, you may have questions about how to get started. Here are the answers to some frequently asked questions about fabric painting.

What kinds of paint can I use to paint on fabric?

Oil paints and acrylic paints can both be used for fabric painting, but acrylic fabric paints are much easier for a beginner to use than oils. They are inexpensive, they don’t require any chemical solvents for cleanup (unlike oil paints), and they are easy to find at art stores, large craft stores, or even quilt shops.

What’s in an acrylic fabric paint?

Acrylic paints consist of colors mixed into an acrylic fluid that is designed for use on fabric. Some acrylic paints are stiff enough to create 3-D brush stroke effects on the fabric. Others are thin and have a watery consistency, like watercolor paints. Acrylic paints can be thinned with water, but that makes the color paler. You can also thin or thicken your paint without changing its color by mixing it with a fluid called fabric medium or gel medium.

What types of fabric can I paint?

Really, you can paint just about any woven, knitted, or nonwoven fabric. The list includes cotton, linen, rayon, wool, silk, most synthetics, terry cloth, and velvet or velveteen. You can also paint with fabric paints on many interfacings, quilt batting, leather, or suede. When in doubt, test the surface before you start a full-scale project.

Can I wash painted fabric? How long will it last?

As long as you follow the paint manufacturer’s instructions for drying and curing the paint, most painted fabrics can be washed. The paints will typically last as long as the fabric does. The more gently you wash (hand washing and drip drying instead of machine washing, for instance) the better the paint should wear. For most fabrics, the paint can be machine washed or dry cleaned. To iron acrylic painted fabrics, use a low heat setting.

Do I need other equipment or supplies to paint on fabric?

A set of good acrylic paint brushes, a sponge or two, and whatever stamps, stencils, and other applicators you have around the house (Q-tips, pens, scrunched-up plastic wrap, you name it!) will come in handy. If you want to blend colors, a painter’s palette might be useful, although you can also use a china plate for that. You really don’t need anything more to get started.

How should I get the fabric ready for painting?

If the fabric is new, always prewash it to remove any sizing, which can keep the paint from adhering properly to the fabric. You may also want to protect your work surface with newspaper or cardboard to keep paint from getting on things you don’t want to paint.

What’s a good first project for me to try?

How about adding some pizzazz to a pair of canvas sneakers, a silk scarf (you may want to try a paint specially formulated for use on silk,) a t-shirt or sweatshirt, a canvas tote bag, a baseball cap, or a small wall quilt? The possibilities are endless. Start with something small and inexpensive, so you can experiment without fear.

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Source by Christine Mann

What Constitutes a "Good" Budget?

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What makes up a good budget? What expenses should you include in the budget? What can you do about variable expenses in your budget? How can you personalize a budget?

Where are you going?

The key to a good budget or spending plan is knowing where you have been and where you want to go. Knowing where you have been done by insuring you have written down where all you money has been going. You can find this information by categorizing and reviewing your last 6 months of check registers or other accounting methods you have been employing. If you have no such method in place, you have just unchecked your main budgeting problem which is the first item to be corrected.

If on the other hand you use a check register or other means but have numerous general entries such as "cash" or "miscellaneous" or other unidentifiable labels, this too must be corrected. You MUST know where your money is going before you can divert it. I recommend carrying a small spiral notebook for at least 2 weeks (longer is better better) and recording every cash transaction. I have never had a client or student do this who has not come back to me amazed by what they had learned from this experience.

Budget Labels

Once you have a record of all your expenses for a decent period of time, the reminder of the budgeting process is relatively easy. The following labels can be used to guide you in listing what debts and expenses go where in organizing your finances. Nothing from the list below is written in concrete. So adjust the labels to suit your particular needs. Where an entry is variable, enter a monthly average based upon past history and expected futures.

Here is a recommended list of budget items:

Income:
Your Income
Spouse's Income
Other Income
Expenses:
Fixed Expense
Rent (not mortgage)
Other Housing
Child Care
Child Support
Alimony
House insurance
Car Insurance
Medical / Dental Insurance
Life Insurance
Other Insurance
Variable Expenses:
Utilities
Phone
Cell
Cable
Internet
Other Utility
Transportation
Food
Clothing
Medical Expense
Personal
Entertainment
Savings
Other Variable Expenses
Secured Debt – Those bills / debts which have a tangible asset (Mortgage, Auto, etc)
Un-secured Debt – Those debts which offer nothing tangible that can be taken from you for non-payment (credit cards, medical bills, etc.)

Federal Guidelines For Household Budgets
The following are recommended percentages for household expenses. They are offered by the federal government in bankruptcy counseling nationwide. They should be used only as guidelines.

Housing 25%
Transportation 15%
Utilities 10%
Food 10%
Clothing 5%
Medical 10%
Personal 5%
Other 5%
Savings 10%

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Source by Michael Killian

Bridge Jewelry – Artisan Jewelry

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Jewelry is more than an accessory; it can be a promise, a remembrance, a statement or a frivolous decoration. Fine jewelry, Bridge jewelry and Fashion Jewelry are all types of jewelry that allow you to have a variety of choices to add to your collection and create your look. The terms Bridge jewelry and Artisan jewelry are sometimes used as if they are synonymous. We will explore this assumption and discover that Bridge jewelry and Artisan jewelry can be the same thing, but are not always the same.

Fine jewelry uses at least 14 kt. Gold or other precious metals along with precious gems like diamonds, sapphires, rubies or emeralds. Fine jewelry can be mass-produced or artisan-made one-of-a-kind pieces or limited-edition. It can be found in fine jewelry stores or in galleries. It commands the highest prices and holds value very well.

Fashion jewelry can also be artisan-made or mass produced. Materials used in the designs are base metals, glass, plastic and other synthetics. This jewelry may also be made of shell, wood and other organic materials. Fashion jewelry is available in craft shows, department stores, discount stores, drug stores and even flea markets. Prices on Fashion jewelry tend to be the most affordable of all jewelry. Its value is in its usability and the addition to your wardrobe.

Bridge jewelry is called that because it is the bridge between Fine jewelry and Fashion jewelry. It may use vermeil, gold filled or silver as the metal and uses semi precious stones such as amethyst, citrine, turquoise, jade, topaz, fresh water pearls, garnet and others. Much Bridge jewelry is artisan-made, but it can also be mass produced. Bridge jewelry is often found in craft shows, galleries and art shows. Prices are in the mid range between Fine jewelry and Fashion jewelry. Depending on the artist and / or materials, this jewelry can be a good investment.

Of course other combinations are found in jewelry. Some designers use precious metals such as 14k gold with amethyst. These pieces are not so easily classified. Price points and materials are the most definitive difference between the categories. Fine jewelry as the most expensive and Fashion jewelry as an inexpensive alternative. Bridge jewelry falls between these two on price.

Bridge jewelry can be a unique and affordable addition to your collection. You may see some familiar names in galleries or fine department stores and begin to recognize them as producers of Bridge jewelry. When you attend an art show, take a special look and you will recognize that much of it is fine artisan-made Bridge jewelry. It can provide you a good value because of the combination of quality materials; creativity and workmanship provided by the designers of these unique one-of-a-kind or limited edition pieces.

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Source by Louise Coulson

What is Contemporary Tattooing?

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In modern times, the art of tattooing has become largely youth-driven, dominated by young tattooists with training in fine art and culture. Their clients are similarly young and often adorned with bold loud designs on their arms, hands, legs, and bodies as well as multiple piercing.

Contemporary tattooing first came about during the hippy 1970s when anti-establishment youths began to wear tattoos as a symbol of resistance to law-abiding, middle-class values. Coincidentally, at the same time new tattoo artists appeared equipped with different types of training.

Before, it was typical for new tattooists to apprentice with an experienced tattooist, learning the ropes the slow way. But with this slew of counter-cultural sentiments, many new and young tattooists simply ordered a machine and some basic supplies and got started on their own.

With their presence, new tattoo images began to emerge which appealed very much to this younger, rowdier audience. These tattoo designs were mostly inspired by “exotic” cultures such as Japan, Borneo, Samoa and North America rather than stemming from traditional sources like North American and European designs.

The rise of contemporary tattooing is turning unstoppable. Long unpopular and stigmatized in the West, tattooing has been given a new positive spin that is more associated with well-respected cultural traditions.

Slowly and steadily, modern tattooists and promoters of tattooing successfully reintegrated tattooing into modern Western society. Tattoos shifted from a mark of stigma used by bikers, criminals, gangsters, and the military to a mark of individual expression. A new elevated status was thus born.

Over time, contemporary tattooing brought about two lasting and significant changes in the world of tattooing. First, the general tattoo designs changed radically by moving from traditional badge-like designs that have been common for hundreds of years in the West to non-Western designs which target large swathes of skin.

Second, contemporary tattooists started to give preference to customized tattoo designs which were created by them rather than use tattoo flash or something taken off the wall of a tattoo studio. Tattoo customers are strongly encouraged to design their own tattoos with the assistance of these new-fangled tattooists.

Ironically, the transformation of our views on tattooing is possible because a tattoo’s historic position as a stigmatized sign was never really fixed, and eventually the negative status of a tattoo eroded over time, giving rise to contemporary tattooing.

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Source by Kumcheong Tang

Morris Graves, Northwest Mystic Painter

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After a prodigious creative output spanning six decades and being universally celebrated as one of the most important American painters of 20th century modern art, Morris Graves, who died in 2001, not only remains an enigma but is relatively unknown, especially to younger generations. In part, this is attributable to the fact that Graves himself retreated from the public stage; he eschewed fame. He believed that his artistic contribution had significance only as part of a larger vessel of creative visionary expression.

So it is not surprising that through his life he chose not to attend the openings of his exhibitions. Even as Graves continued to retreat into his beloved privacy, constructing his homes and gardens and making art, the extraverted world of abstract expressionism exploded in New York with bolder, brighter, and larger images and their celebrity-seeking creators, all antipodal to the contemplative , visionary world Graves owned.

Graves was a true visionary, a painter who thought that which is eternal. But the search, however, was not without conflict. The burgeoning encroachment of industry and the machines and mentality of human conflict continued to invade Graves' habitats. He continuously bought out places of solitude, both in the United States and in Ireland, finally establishing a remote habitat hidden in the ancient forests of Northern California. His path as a "secular romantic" from which he breathed in the communion of life's extraordinary essence was one of natural wonder. From within his gardens, the universe spoke. The inhabitants-small animals, birds, and Flora-fed his emplastic powers of cognition, the unifying gift of the imagination.

Recently, I was conversing with an artist who, a decade earlier, had received her bachelor's degree in art from a trusted New York university. When I mentioned the name Morris Graves, she appeared perplexed. She thought the name vaguely familiar, but she had no idea when or where he had lived and knew nothing about his work. Morris Cole Graves, who was born in Fox Valley, Oregon in 1910, was a self-taught artist who became, next to Mark Tobey, the most important visionary artist of the Northwest School. In the early 1940s, Graves' work was selected to be exhibited as part of the New York Museum of Modern Art's "Americas 1942". This event catapulted him to international recognition. Even so, Graves continued to retreat into his beloved privacy, constructing his homes and gardens and making art, while the extraverted world of abstract expressionism exploded in New York with bolder, brighter, and bigger images and their celebrity-seeking creators, all antipodal to the contemplative, visionary world Graves inhabited.

During the Second World War, Graves spent time in a military prison as a conscientious objector. From these early anti-war sentiments discovered his deep interest in and exploration of the philosophies of the Far East, an amalgam of Hinduism, Taoism, and Zen Buddhism-all human constructs, nonetheless reflective of his personal thoughts on the universality and the singularity of nature, the wondrousness of the Way. The imagery that Graves produced was considered unique, but his reasons for making the art were not. They were ancient. For Graves, his animals and flowers represented inner visions of the unconscious, the Atman, symbolic of the potential "self."

When Morris Graves began his flower paintings of the early seventies, a few critics suggested he had lost his great visual power. They accused him of painting only 'pretty flowers.' It no doubt amused him that that is all they saw. Graves' ability to make palable the unity of spirit through paint is clearly present in these later works. His form relationships and the inherent interstices, the minority migration of hues within a single blossom, are things we can and do talk about. The "pneuma" of the art we can not talk about. We can not explain. We refer to the painting the way a title reiter to the painting, and in fact, I believe, the way the painting itself purely referes to a generative and immutable, creative spirit. The gift is not the painting but the accrued love and generosity of the artist in making the painting and then it is the act itself that holds the true value. The painting is simply a map for the soul.

2010 marks the centennial year of this remarkable artist. He is no longer here, but, through his paintings, his great longing and love for the ineffable still resonate, binding us one to another.

Galen Garwood

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Source by Galen Garwood

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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Source by Christopher Schwebius

How to Draw a Woman Without Clothes

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Drawing a cloth-less woman has been a favourite subject. Pencil drawing is a basic source. Taking the help of this source, an artist would build a pencil portrait. The final painting could be in water colour, oil colour or acrylic; but the pencil art is basic necessity. While drawing with graphite pencil or charcoal, an artist would consider certain aspects to make his or her artwork aesthetically sound.

Anatomy: While drawing a human figure, the most important factor to be kept in mind is the anatomy. As an artist you should take care about the anatomy of a woman who has a symmetrical physical appearance. Your drawing should look well-grounded and not very imaginative. Keeping careful attention in shading and lining work, you can do it very well.

Those artists who still learn drawing of figures can take a leaf out of the books of great painters. It may happen that while drawing a woman in her natural beauty, especially from the front side, the artist might be allured to make his or her drawing much sensual. He or she would be tempted making it physically attractive. But a real artist would always try maintaining aesthetic balance of beauty and art.

The Posture: After knowing about anatomy, the factor of posture becomes important. While drawing a female figure wearing no clothes, an artist should request the model woman to sit in a specific posture. Posture of the model is very crucial. Every artist would try showing beauty of a female body from front side. It is because that would make the whole drawing more sensual. Though the drawing of curvy parts of body of a lady sitting without cover of clothes would be a sensual depiction, her mood could be shown as settled in modesty. That would make the artwork looking more serious.

In such type of drawings, an experienced artist would carefully show the light falling on her subtle parts of body. It can be done with precise shading work. The shading done for the limbs like hands and shoulders should be extremely adept and accurate. That would create a feel of realistic appearance in the eyes of viewers.

An artist can position the body of a model in more artistic manner. If one leg is put on another, that could make the drawing extra sensual. Such a position of thighs and legs would create a sense of good proportion and feeling of ease. Moreover the viewers would respond to such an artwork with more curiosity.

For reading similar articles with beautiful images, visit he following links.

DRAWING WOMEN CLOTH-LESS

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Source by Naval Langa

How to Choose a Right Tattoo Machine

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All craftspeople are only as good as the tools they use. It doesn’t matter if they are carpenters or tattoo artists. Tattooing is an art and is mostly dependent on the skills of the artist and the equipment that he is using. The type of equipment will determine the quality of tattoo too.

Tattoo machines are the most important tool required in the process of tattooing. Every tattoo artist knows the importance of a good tattoo machine and always needs quality tattoo machines for quality work. But mostly people are always confused about which tattoo equipment supplier is the best and which tattoo machines is the best suitable one for them.There are a lot of choices available in the market if you are looking to acquire a tattoo machine.So if you are trying to find out which machines would best suit your requirements and where you can find them at affordable prices, some of the tips below can help.

The one thing you have to know before acquiring is the sort of materials a good tattoo machine is made of. They must be made from top quality metal. This could keep them from breaking during tattooing. Tattoo guns are historically made of conductive materials like iron, brass or copper. Look for tattoo guns made from these powerful kinds of metal to be certain you are getting one that may be a top quality.

Another thing you must know about choosing a tattoo gun is what specific need will you have, such as shading, soft shading, solid coloring tribal black solid work, lining. Just like a painter who has many different brushes for different purposes, so should a top professional tattoo artist have different tattoo machines with different settings for different purposes, true top artist know the value of having different real good tattoo machines. Mistakes should be avoid, because it is a long road to the top and looking for short cuts is just a waste of your time. What beginners do, specially at the beginning when funds are an issue, when money is short in the pockets, they look to buy a Hybrid tattoo machine who will do all the jobs, this is a pitfall, because you will loose your money and your time, and the quality of your work will not improve by the same token.

Because a liner machine as a specific set up, such as gap, springs length and tension and speed that will be specially tuned to line. Because a shader as a specific set up, such as gap, springs length and tension and speed that will be specially tuned to shade. And both machine are different, though they look alike they are not, they have 2 different functions, if you try to shade with a liner, you will most probably damage the skin because the machine will be running to fast “doing burger”, and damage the machine because of the needles configuration being to big for the liner the machine coils will overheat, and the contact screw will were out faster, you will end up with an erotic running machine.

It hard to explain to somebody how the ocean looks likes and feels like, unless you are there physically, the you can see it and experience it. My advise is, if your aim is to become a true honest involved tattoo artist, try to understand this do not take short cut and go for the best, in the end you will be the winner and your work will speak for itself, ” Your quality work comes at a price”.

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Der Immoblienmakler für Heidelberg Mannheim und Karlsruhe
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Schnell, zuverlässig und zum Höchstpreis


Source by Paulo Cruzes