A Beginner’s Guide to Reading Manga

Manga is the Japanese word for comics and cartoons in print. (Anime, on the other hand, is animated cartoon for TV or film). Even though manga is essentially a cartoon, manga holds a higher place in Japanese culture than comics do in American society. Manga is well respected as both art and as a form of popular literature. In fact, much the the adult population in Japan read manga and several major manga magazines in Japan sell several million copies each week.

This should tell you that manga is not just kid’s stuff.

What kind of story would you be interested in?

A hard-boiled detective hired to locate a missing girl?

A world dominated by animal-human hybrids in the aftermath of an apocalyptic war in 2054?

A boy-meets-girl-meets-giant-robot adventure?

A historical play revolving around the shadowy generals of the Genpei War?

A successful journalist who takes in a handsome homeless man as a pet when her fiance leaves her?

There are hundreds of stories to choose from in manga books and there is something that caters to everyone’s taste. Furthermore, many manga titles combine artful pictures and frames with nuanced stories for very entertaining and addictive reading.

Manga is generally categorized into different genres. The most popular ones include:

– shonen manga for boys and male teens

– shojo manga for girls and female teens

– kodomo for children

– redisu for adult women

– seinen for adult men

– jidaimono is historical drama

– suiri is crime and murder

– ecchi is erotic fare

So, how to get started with Manga? Easy.

1. Walk into the store. Most large booksellers have a section dedicated to manga, but to really get a range of titles, try a comic book store. Either way, manga books usually have covers in color and maybe the first few pages as well, but the rest of the story is usually in black and white.

2. Look through the books, read them a little. Stop when you find something that you like and take it home.

3. If you are comfortable with surfing the Internet, read manga online first. Do a search for one of the many directories of online manga sites and scan those sites for titles that are interesting. Many of the sites will actually show the manga book-drawing and text-from its Web site.

Remember that when you read manga, you read the frames from the right to left. Often, when you open up a manga–just like you would a regular book–there will often be a page that will tell you how to read it.

Give a few manga titles a try to get a feel for what you like. Once you find a title you like, you can look for more of the same or similar titles with that publisher. Look for the English publisher’s Web site in the front of the book, then check out that site–it will probably contain descriptions of all their books and maybe even a little sample online.

Immobilienmakler Heidelberg

Makler Heidelberg

Source by Tracey Patterson

Common Differences Between Anime And Cartoons

Japanese anime is different from cartoons. While both are caricatures that may be animated, anime usually has visually distinct features for characters, and a more “limited animation” style for depicting movement.

There is a difference between cartoons and Japanese anime. Although both have animated characters in them, anime has a lot of distinct features as far as characters are concerned. Apart from this, for movement depiction, the animation style is different. In this article, we are going to talk about some primary differences between cartoons and anime.


Anime refers to a Japanese animated series. They are available in several formats like television series, which include One Piece as well. Some of them are TV series while others are full-length feature films.

On the other hand, a cartoon is a type of illustrated visual art, which is two-dimensional in most cases. Over time, the definition has changed. Today, cartoons refer to a semi-realistic or non-realistic drawing of different living or nonliving objects.

Visual Characteristics

The characters in cartoons and anime have different facial expressions. Unlike cartoons, the physical features of each character are more realistic in Anime. Besides, small mouths and bigger eyes make these characters quite cute.

In cartoons, characters have features that may not relate to the other parts of the body, which is why they are far from being realistic.

Definition and Term

According to English dictionaries, Anime refers to to the Japanese style of animation TV series.

On the other hand, the term cartoon is used as a model. Is not used as caricatures to present humor and satire.

Topics and Themes

Usually, anime focuses on life issues that involve human emotions. Besides, most of anime series have sexual and violent themes.

Generally, the purpose of creating cartoons is to make people laugh, which is why most cartoon series is comical by nature.


Generally, the length of anime is between 22 and 25 minutes for each episode. The full-length movies are much longer.

On the other hand, the length of cartoon movies is between 5 minutes and 60 minutes. So, this is another big difference between them.


For the first time, anime was produced and telecast in Japan, especially for the Japanese audience.

The origin of cartoons was the United States.


If you look back in history, you will come to know that the first cartoon was produced in 1499. According to reports, it shows the pope, the kings of France and England, and the holy roman emperor playing cards.

After that, cartoon strips were made for the general public by a lot of humorists and satirists. Today, you can find numerous archives of classic cartoon strips. Apart from this, you can also find recently produced cartoons on the internet.

The history of anime goes back to 1937 when the US was introduced to a popular animated film known as Snow White and the Seven Dwarfs. Since then, the world has not looked back and anime has turned into a profitable venture for a lot of film and TV producers.


In Japan, anime is the name of animated productions. In English, they are called a type of motion picture animations. According to experts, the term anime comes from French. Some people say that it is an abbreviation that was used in late 1970.

On the other hand, the cartoon was used as a study or a model for some kind of painting. As time went by, these animated films were used for humor.

In short, these are just some of the primary differences between anime and cartoons. Hopefully, this article will help you get a better understanding of the two.

Immobilienmakler Heidelberg

Makler Heidelberg

Source by Nigunim Stark

Ancient Japanese Culture – The Heian Aristocracy

In ancient Japanese culture the aristocrats of the Heian period (794-1191) are probably the most fascinating. Many of their their values, practices, and customs seem to be almost opposite to what we view as obvious or “normal” in contemporary society. Aristocrats were members of society who held rank in the Imperial Court. There was little room for social mobility in Heian Japan and rank was either inherited or granted from the Emperor himself. Although only 1% of the population were aristocrats, almost all the historical literature from this time period is written by the aristocracy about the aristocracy. There is very little known about the lifestyle of the common people during Heian Japan.

Romance was very much alive during this period. If a man saw a woman of good taste and wanted to meet her he would first find out where she lived. He would then compose a poem of about three lines of verse. Everything about the poem required perfection, including the handwriting, paper, and type of perfume used to scent the letter and envelope. Depending upon the season and circumstances, a suitable tree sprig or flower would be selected and attached to the letter. After judging the man’s level of refinement and taste from the poem, the woman might then decide to invite the man for a visit. On the first meeting the woman would sit behind a screen so that only her outline could be seen and the two would chat and possibly exchange poems. If sufficient hints were provided by both parties then a physical relationship could follow.

The concept of beauty was greatly different during the Heian than it is now. Many rules of beauty applied to both sexes. The nude body was considered ugly and must always be clothed, often with many layers of clothing. Choice of outfit was critical and even a small mistake could be a source of great embarrassment or destroy a reputation. For both genders a plump figure, round puffy face, powdery white skin, and small eyes were considered ideal. A thin figure and dark skin was associated with the peasant class who worked often worked outdoors and did not get enough to eat.

Some rules were more specific to women. White teeth were ugly by Heian aristocrats and women blackened their teeth with a sticky black dye. When smiling or laughing a woman’s mouth might have appeared as a toothless, dark oval. Women also had to reposition their eyebrows as mother nature had apparently made a mistake. To correct the “mistake” eyebrows were plucked out and then painted on, usually rather thick, about 2-3 centimeters above the original location. Long hair was another feature considered attractive and women often grew their hair out so that is was longer than their body length. Washing all of this hair was a job for the servants and could be an all-day event.

There were also rules of beauty and appearance that were specific to men. A large amount of facial hair was not attractive, but a thin mustache and/or a small tuft of beard on the chin was considered ideal. Men may not have needed to pluck their eyebrows, but idealized depictions from this period show the eyebrows high on the forehead. Aristocratic men from this period have a reputation for being feminine and in some artwork it is difficult to tell men and women apart. This is especially apparent in depictions of children and young adults. Things have changed a lot since the time of the Heian aristocracy, but familiarizing ourselves with their views on the world helps to put our own contemporary values in perspective.

Immobilienmakler Heidelberg

Makler Heidelberg

Source by Alton J Trevino

Painting With Gouache

Several people have accessed my web site over the last few years as a result of doing web searches on painting in gouache (pronounced “gwosh”, or “goo-wash”), probably lead there by the numerous gouache paintings listed on the site. There is some conflicting information published on this topic. Consequently, this article is to help you better understand this opaque watercolor medium based on over thirty-five years of experience in using it and as a professional art educator.

Purportedly, the ancient Egyptians first employed this paint and its use was later refined by the Italians, where we get the word originating as aguazzo, or guazzo. This is said to refer to “mud”, or “watercolor paint, splash”. It is some times used interchangeably as bodycolor and designer’s colors. Guazzo also supposedly was an idiom to describe the 16th Century technique of applying oils over tempera paint. None-the-less, gouache paints were exploited by illuminated manuscript artists and was later popular with some European decorative, as well as, landscape and nature artists, such as Albrecht Durer. Because opaque paints dry fast and can be applied with a flat, even tone, during the nineteen hundreds gouache was often the favorite of architectural and advertising illustrators; hence the paint got its moniker “designer’s colors.”

A gouache paint body is composed of several elements, including pigment and an opacity agent. These density additives differ depending on the manufacturer. Some contain blanc fixe (French for permanent white); in this case its barium sulfate (also used as a filler in papers). Other makers incorporate calcium carbonate, more commonly known as chalk, or a “precipitated” (technical for synthetic) chalk. When the water container for rinsing brushes in during this painting process is emptied, one can see the thickening material as sludge on the bottom of the container. Gum arabic is the binding agent all gouache paint makers embrace to coalesce the ingredients. In some cases glycerin and preservatives are also mixed in. The principle differences between transparent watercolors and opaque is the addition of a chalky substance and the amount of gum arabic; gouache contains a higher concentration of the latter. When gouache is applied as an impasto, it’s the gum arabic that can give the dried painting a pearly patina. If used too thick, as with tempera, the paint will crack. Normally, a gouache painting will have a dull surface appearance. This makes it ideal for photographic reproductive purposes and is another reason why it has been popular with illustrators.

A few sources I’ve read say that gouache comes only in tubes. That is not so. I’ve got a Pelikan brand pan set that I acquired in my teens when I first started using this type of paint in the mid 1970’s. These pans, called a “cake” form, have the advantage of being able to acquire replaceable color cakes and a built in palette. Because gouache paints can be rewet and worked when dry, as cakes become empty you can squeeze tube paints into the cake receptacles. Tubes of gouache are said to have a shelf life of 3 to 5 years, that’s when the tubes solidify. When this occurs I break open the tubes and use the dried form just as I do the cake variety. Sometimes I will use a single edge razor blade to shave off needed amounts into a palette. Apparently gouache also can be purchased as a liquid, but only in small jars of black or white. These are probably the only two available because they are the two colors used in largest quantities and the heavy opacity content causes settling in the jars.

A few advantages and uses of gouache have already been addressed, yet there are more. Because gouache painting materials are easily transportable and dry fast, as with transparent colors, they are ideal for plein air (painting outdoors) pieces and some artists have used gouache as preliminary sketches for larger oils. As stated earlier gouache can be rewet after it dries, so, plein air paintings can be reworked back in the studio. This quality also allows colors to be gradually blended and mixed on the painting’s surface. Furthermore, gouache works fine on tinted papers and may also serve as an underpainting for pastels.

The transparent watercolor techniques of wet-on-wet, dry brush and spattering can also be accomplished with gouache. However, due to the opacity material paints do not bleed, or blossom, as much in wet-on-wet as transparent colors. Liquid masking agents may also be used for blocking out areas to leave white, though most gouache artists just take advantage of white paint. As you may know, “glazing” in painting is the process of painting a thin, diluted layer of color over another. Once again, because of the chalky substance in gouache, many believe you cannot use glazing with gouache. However, to solve the problem of the base paint mixing with the diluted paint as the glaze is brushed on. I spray a single layer of fixative (the same stuff used on pencils, chalk, and pastels to keep them from smearing) over the work and let it dry. Then I glaze over an area, particularly for shadows. There are two concerns in doing this. First of all the fixative cannot be too thick or else the paint you put over the top will bead up and not cover. The second also must be kept in mind and planned for. It can change the color, especially washing out thin layers of white areas. I will address this again when I talk about finishing paintings. Additionally, I’ve also satisfactorily used gouache for air brushing, as in the paintings “Family Outing” and “Morning Stretch”.

The ability to be mixed with other water base paints is another admirable characteristic of gouache, especially with transparent watercolors. It’s been said that gouache does not mix well with acrylics because the paint will glob up, think of it as curdling, as cottage cheese. I have never had this problem, but then I don’t use a lot of gouache from tubes added directly with acrylic paint, only small amounts. The way I mix them works quite well. However, since acrylic dries as plastic with a slick surface, in order to paint gouache over acrylics, a thin layer of fixative needs to be applied to let the gouache bind.

Any watercolor papers used for transparent watercolor painting may be used with gouache. Hot pressed, or smooth toothed papers of 140 pounds or thicker work well. I prefer to use mounted rag paper called watercolor board made by Crescent. Another paper I’ve had success with is a four ply rag paper used in museum mounting. This paper I wet and then stretch over a wooden frame made of one by two’s. The softened cotton paper is then stretched and stapled just as you would canvas.

When it comes to finishing and displaying gouache paintings there are numerous issues to consider. The most common way to approach framing gouache is to handle the same as you do transparent watercolors, matted and framed under glass. In the mid 1980’s I stopped using this method for three reasons. A gouache painting, “Misty Warm December”, I had entered in a National Wildlife Art Collector’s Society exhibit in Minneapolis, Minnesota was disqualified from competition by the judges because they thought the original was a print, no brush strokes were apparent on the surface of the paper, it had an even, flat surface appearance and was under a white mat.

The second reason has two inherent issues that arise with shipping paintings under glass. One is increased expense of transportation due to weight compared to paintings not under glass and the other is breakage. To address these problems I took a look at how acrylics were handled. Gouache paintings can be finished with any acrylic varnish medium; however, a few layers of fixative must be sprayed on so the paint is not smeared by the acrylic varnish. This will eliminate the dull, chalky appearance of gouache and the pieces will look like oils. These pictures I then put directly into frames without glass. For some reason, I’ve noticed that pictures with a high gloss varnish tend to sell faster than others.

The third reason I prefer to acrylic varnish over gouache is the richness and depth it brings to the color qualities of the finished product. This obviously means that the colors will change somewhat. Consequently, you need to practice with this technique several times to be familiar with how it affects paints. When it comes to creating the illusion of water and make it truly feel wet, there is no other type of paint I’ve worked with that will do the same job. Since whites tend to wash out, to get strong whites and other bright colors I mix in acrylics.

As with any watercolor, transparent or opaque, no matter how the work is framed when it comes to displaying them make sure that they are out of direct sunlight and are not under long term exposure in fluorescent lights, as these give off a low level UV radiation that will eventually fade the colors, unless they are under UV protective glass.

Hopefully, you’ve gained some insight into this versatile medium of gouache and are not afraid to try it yourself. If you have any questions, please feel free to contact me.

Immobilienmakler Heidelberg

Makler Heidelberg

Source by Robert Bear

Hottest Tips to Buy Barbell Body Piercings

Are you looking for fun, unique ways to decorate your body? Sparkling, stylish barbell piercings might just be your ultimate means of self-expression. Read on to know more.

History of Barbell

Ever wondered how barbell piercings got their name? These type of piercings resemble weightlifting barbells, hence the name but the shape also has a lot to do with ergonomics. Barbells consist of a straight bar with small beads at either end. Often, one of the beads is fixed and the other is removable to accommodate removal for changes.

It may come as a surprise but these piercings have been popular among tribal communities in Borneo for hundreds of years now. Contemporary resurrection occurred in the 1970’s when the legendary American designer Jim Ward made them all the rage in the USA. And there’s been no turning back since then.

Size of Barbell Piercings

The size of the barbell is measured in terms of gauge with smaller posts having higher gauges and vice versa. Initial piercings are usually done with a 14 gauge barbell. Once the piercing heals, wearers have the option to replace a long barbell with a smaller one or opt for a stretched version to accommodate jewelry.


There are a variety of shapes to choose from including the basic straight barbell, curved barbells, circular barbells, spiral barbells and J curved or banana barbells. Certain shapes are more suitable for particular body areas than others. For example, the straight barbell is usually seen in ear and tongue piercings, the circular barbell is seen in nasal septum piercing and the J curved barbell is the most popular choice for navel piercings.

Materials Used

Barbell jewelry is found in many types of metal and non-metal options. Starter piercings require surgical grade metals such as 316 L stainless steel for proper healing. Titanium is the preferred option for users with allergy or sensitive skin issues. Many people choose plastic for tongue piercings in order to avoid causing damage to teeth while eating. BioFlex and acrylic are among the safest, most hygienic non-metallic options.


Barbells are usually available with amazing varieties of aesthetic embellishments to suit all kinds of tastes. From erotic tongue rings to dangling belly rings, they are the best way to make your own style statement. Colorful gems, picture inlays, clay flowers, logos can all be incorporated as embellishments. The beads at the end of the barbell are also available in a lot of designs such as triangles, cylinders and discs.

After First Piercing

Many people worry about rejection and infection of barbell piercings. The truth is that there will be some discoloration, soreness, bruising and swelling following a new piercing. Wearers should carefully follow instructions and allow the wound to heal completely. Healing might be said to have occurred when the swelling, bruising and irritation reduces and the barbell slips in easily without discomfort.

So, what are you waiting for? Decorate your body and be the envy of all your friends!

Immobilienmakler Heidelberg

Makler Heidelberg

Source by Luke Harper

Framing a Painting – The Best Way to Frame a Watercolor

Framing a watercolor painting is quite different from framing an oil or acrylic piece. For watercolors, there is the matting to consider, the type of glass to use, and the actual frame. An important thing to remember is that the matting and backing should be made of acid free materials. A reputable framer will recommend this, but it is still a good idea to check on this point during the selection process. If acid free products are not used, the bevel-cut edge of the matt (the narrow angled cut which lays next to the artwork) will discolor over time, and the painting itself may become affected.

Your framer will show you a variety of mats from which to choose. They will vary in texture and color, and the choices may seem overwhelming. You will be asked if you’d like to use single, double, or even triple mats for your painting. I generally select a double mat, and rarely a triple. (I reserve this option for very large pieces only.) The single mat often does not do the artwork justice, and I don’t go this route. The right mat choice will enhance your painting, while protecting it by placing an air pocket between your watercolor and the glass.

A “double mat” is one mat placed on top of a second one, with only a quarter inch or less of the bottom mat showing, directly around the artwork. This extra dimension adds depth and interest to the overall appearance of the framed painting. The two mats do not necessarily need to be the same color, but should pick up those which are in the painting, and not just colors which will match your sofa! When choosing a white mat, select one close to the white of your watercolor paper which show in your piece. This will blend nicely and not stand out as too bright, or too dull in comparison to the paper. It is surprising how many “whites” there actually are! Have your framer place the samples you’re considering at each corner of the painting, one at a time, to assure they look well with all parts of your watercolor. What works well at the upper left corner of your painting, may not look right when placed near the bottom righthand section of your work.

Glass is also an important consideration when framing a watercolor painting. Clear, non-glare, conservation, and plexiglass are all options. The choice between clear and non-glare glass I consider to be a personal preference. The conservation glass, although more expensive, does as the name implies; it best conserves your artwork. Discuss these types of glass with your framer. Often if the place where the painting will hang is known, one’s decision about glass type will be easier to make. It is not recommended to hang a watercolor painting in areas of high humidity (such as a bathroom, or near a stove top.) Also exposure to direct, prolonged sunlight is not recommended.

If your painting will be for sale, the best choice will be the conservation glass. This will also be an excellent selling point to include in the description of the framed piece. Mention that acid-free materials (including the backing) have been used also.

Plexiglass is often required when a watercolor painting will be entered into an art show. It is lighter in weight and will not break, but keep in mind that it scratches very easily!

Last but not least, is the selection of moulding, (frame) for your watercolor. There are many, many widths, styles, surfaces, and colors from which to choose. A good rule of thumb is not to select a color which is any darker than the darkest dark in your painting. The frame needs to compliment your artwork, not compete with it. Soft grays and subtle golds usually work well with watercolors. A good, reputable framer will help you choose the width and color frame which best suits your painting, and will always ensure acid free materials are used!

Immobilienmakler Heidelberg

Makler Heidelberg

Source by Sue Doucette

Identifying the Signs of an Ill-Fated Relationship

Many people are so afraid of being left alone that they don’t want to admit that they are in a bad relationship that is doomed from the very start. They strive to make it work and take on an optimistic outlook, but things still seem to spiral downward out of control.

The best policy is to examine the relationship to see if there are any toxic elements present; here are some clues:

• Verbal degradation; your partner puts you down, especially in front of others

• Empty claims of love; your partner claims to love you, but doesn’t back it up with actions.

• Controlling and dominating actions; making irrational demands, “showing up” at places you are just to “checkup” on you, or reading your mail.

• Attempts to make you vulnerable; your partner tries to make you dependent on them.

• Requesting lifestyle changes about yourself; and you have changed those things to please them.

Obnoxious people who are only out for their own ends make you feel sick just to be around them. So why would anyone wind up in a relationship with them? If these types of people make you feel emotionally ar physically damaged, why would anyone want to be with them?

Forbidding relationships have a particular cycle. The honeymoon period is first, followed by an explosive event, then that is followed up by a reconciliation – at which point the cycle repeats itself.

When you first meet someone who becomes your partner things are rosy and sweet, which is obviously the honeymoon stage. It all seems great until you get sucked in further that you realize that the relationship is not so sweet after all. At that point, it becomes difficult to get out.

The single most reason for this is that many people in bad relationships grew up under similar circumstances in unhealthy homes. Because of that, these people copy the habits of their childhood years while not actually realizing they’re doing it, so they may not understand the options of a better way. Others believe that happiness is something that bounds to escape them. Still others find that a companion, any companion, is better than none.

However, the first task at getting out and staying clear of deplorable relationships is to realize that you do have options. You can make your life better. Often, people who choose to stay in these ill-reputed relationships have low self-esteem or struggle with depression.

Once you understand that you have liberties, the next move is to begin standing up for yourself. In most ill-fated relationships, the obnoxious partner has forced upon you the notion that it is all your fault. Once you accept this, it could be quite challenging to walk away from the relationship or set new parameters at healing it.

For many, working with therapy groups can help these individuals and often get rid of as well as redefine these types of unpleasant relationships.

It is good to know that for some people it is possible to break the cycle of the bad relations. Some of these people manage to go on to create new and more stable bonds with other partners.

However, others are able to repair their relationship and remain in it.

In reality, it is possible to savage many relationships. All it takes is creating a little space. In other situations, it takes a measure of counseling. However, if both partners contribute to the effort, it is practical that a renewed bond can develop in a healthy way.

The very first thing that you need to determine is that you are willing to walk away if the relationship does not improve. If you are not willing to do this, then you’ll never be able to recover and heal whatever it is that divides you.

Once you have freed yourself from the habit that is the central part of an ill-fated relationship, you can start to apply yourself to what you need from the connection. Never nag your partner. Instead, say “I need your support,” “I need your truthful opinion,” or “I need your love.”

If you can’t get what you need, your partner should realize that you’re ready to walk.

A bad relationship is a one-way street, which creates all the adverse conditions. On the other hand, a healthy relationship is a two-way street. Everyone has the power to change that, but you must make it a personal issue and take that power into your own hands.

A healthy relationship is a two-way street. In a toxic relationship, the street is only going one way. You have the power to change that, but you must take the power into your own hands.

Immobilienmakler Heidelberg

Makler Heidelberg

Source by Duane Birth

Convergence Jackson Pollock Painting

Jackson Pollock played a key role in the history of modern American art. He was especially influential in the abstract expressionist movement. Pollock used a style known as “drip” painting, and his creations came in both black and white and others with color right across each and every Pollock print.

Pollock’s earlier paintings were predominantly in black and white including Number Twenty-Three, Echo and Number Seven. By 1952 he chose to switch back to his large-scale, full color formats with Convergence and Blue Poles.

Jackson Pollock’s alcoholism and bouts of intensive depression added to his fame across America, as he continued to paint in order to break away and distract himself from his own social problems. Van Gogh and many other artists have done similar. He sought therapy through his novel approach of drip painting, which included Number 1 (Lavender Mist).

Convergence displays Pollock’s emotions in abstract form, and shows them to be wild, with his innovative, multi-levelled imagination on full show. It was the best art form that he could find to thoroughly represent his turbulent mind which both haunted him, but also drove him to his best art.

Jackson Pollock had a unique method for creating his masterpieces, by circling around a huge canvas laid flat on the floor, as he would drip, pour and splash paints randomly on the canvas. This has since been termed action painting. Each painting would have large amounts of randomness, encouraged by his unconscious mind, with no consistent subject from one painting to the next. It was the birth of abstract painting as Pollock’s subconscious became unravelled in a fusion of works offering his freedom of imagination as a bizarre art form.

Another attraction to Convergence is Pollock’s suggestion that being an artist does not require certain technical skills and that all can access art themselves. He opened up art through the abstract movement which educated people into believing in the freedom of art, rather than preset ideas.

Abstract artists of the time, such as Pollock and Rothko, believed that traditional art could not portray their emotions vividly enough and so they followed this innovative path which was later to bring American painting to the forefront of international art, and lead New York into replacing Paris as the leader of the avant-garde art world.

Immobilienmakler Heidelberg

Makler Heidelberg

Source by Tom Gurney

Painting an Ice Cream Truck: The Do’s and the Don’ts

Q: Why is owning an ice cream truck vending company like owning a modeling agency?

A: Because looks count for A LOT.

There is nothing that is going to lose you more customers in less time than a truck which has a paint job which makes it look sketchy, trashy or just plain boring. So I’ve created a list of 5 do’s and 5 don’ts you should be aware of when making the crucial decision about how to paint your truck:


  1. DO use bright colors which make your truck standout – after all you want to be noticed!
  2. DO use your writing and text which will advertise you by drawing the eye and which is appealing to both children and adults.
  3. DO keep your design simple – don’t bombard your customers with distracting colors and images.
  4. DO go for a retro design. For many people, ice cream trucks conjure up treasured memories from their youth so you can never be too old-fashioned!
  5. DO you know your customer! Certain designs will work better in different locations and with people from different backgrounds and income brackets. An ice cream truck selling along Venice Beach is going to have a very different look and feel than a truck selling in downtown Manhattan!


  1. DON’T use brown, grey or other colors which make you appear to blend into the background or worse, appear boring.
  2. DON’T overdo it with decals and decorations. Doing too much visually can be almost as bad as doing too little.
  3. DON’T use color schemes which may be associated with drugs or other illegal activity. Some ice cream vendors have given the industry a bad name by dealing more than ice cream from their trucks!
  4. DON’T place decals and other signage too high or too low. Make sure that all writing can be seen by both children and adults.
  5. DON”T spoil your amazing design by forgetting that a window may have to go in the middle of it! Make sure that you take into account the practicalities of your vehicle and make a sketch before you start painting.

At the end of the day the design of your ice cream truck will be a major component in how people view your business. When in doubt keep it simple, it is better to have a well executed simple design then trying to get fancying and having an amateur paint job. The easiest things to do are also the most effective, add some color to your bumpers, wheels, mirrors, and your rooftop speaker. Customers will notice the little things like uneven paint, uncentered decals and lettering or crooked lines so make sure everything is done right, especially on the side of your truck that has the serving window.

And remember, just because you painted your truck doesn’t mean you can neglect it; make sure you spray it down with water every few days and whenever it rains, because the dirt the accumulates on your roof will bleed down onto the sides of your truck.

Immobilienmakler Heidelberg

Makler Heidelberg

Source by Tim Meyers

How to Achieve a Smooth Cabinet Painted Finish

When trying to a beautiful finished cabinet painting project, there’s some things that the do it yourself homeowner needs to take into consideration and properly sanding your cabinets and doors is a must to get right in the beginning. Cabinet painting is a very detailed system. Homeowners that want to take on these types of projects, will need to take the information in this article to be prepared for what it takes to turn out beautifully finished cabinets.

Painting your kitchen cabinets isn’t like painting walls or doors in your home. You must follow a system. The first part of that system is to remove any hardware. Next is to properly clean your cabinets then fill any holes or grains that will show up in your finish product. The worst thing that can happen is doing everything right, and not filling holes or grain then you must start all over again.

This article is about achieving a smooth finish, and that starts with sanding your cabinets. Depending on the cabinets you have whether oak or redwood, you need to pick out the correct sandpaper grit. The two different grits that homeowners need to have handy are 150 grit and 220 grit sandpaper.

Going with a more coarse grit than 150, will start to dig into your wood and those scratches will appear when you paint your cabinets and the scratches are really bad, then you will need to fill them and start the process over again. Never go below 150 grit sandpaper. Some people will suggest 120 grit sandpaper, but that is incorrect and should never be considered for your cabinet painting project.

You will start out sanding first with 150 grit sandpaper, because that’s what’s going to penetrate the sealer or other paint that are on your cabinets to give your primer something to bond too. When painting your cabinets, you don’t need to take your sanding down to the wood. Sanding down to the wood is only needed if you are staining your cabinets with a new color or for a fresh look.

Most people think that you need to sand your cabinets down to the wood to paint your cabinets but that’s not true. Also, the purpose of sanding your cabinets is to remove the glossy sealer that are on your cabinets now. The glossy sealer is made to repel or create poor adhesion for grease, oil, dirt as well as paint. Make sure after you are done sanding your cabinets that they are very dull, and free of scratches.

After you have sanded the first level of protection from your cabinets, you are now ready to remove the dust that is leftover. If there’s any dust that’s not removed, the dust once primed will give it’s own sandpaper feel and your finish will not be smooth. It’s best to wipe down your cabinets with a damp rag once you think you have removed all the sanding dust. Let the cabinets dry for a few minutes and repeat the process of wiping down your cabinets with a damp rag or towel.

Now you are ready to prime your cabinets. After your primer has dried properly usually 4-24 hours depending on the primer you used and the manufactures recommendation. This is when you put away the 150-grit sandpaper, you don’t need it anymore. Once your cabinets are primed, you will need to use your 220-grit sandpaper or finer. Sand the cabinets smooth because primer usually has a texture of its own. You are going to lightly sand the primer. You aren’t trying to sand the cabinets hard, because you don’t want to sand away the primer and have to re-prime your cabinets spotted areas.

Repeat the dust extraction process. Use microfiber cloths to remove any dust, after that use damp rags or towels to remove any remaining dust. The next step is to paint your cabinets with the first coat of premium paint. Let the paint dry and sand your cabinets again between each coat of paint. You want to apply a minimum of 2 coats of paint.

Immobilienmakler Heidelberg

Makler Heidelberg

Source by Donte Mazyck

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