The Revolution of Pop Art

Pop Art was an art movement that emerged in the mid 1950’s in Britain, and in the late 1950’s for the United States. The British artists were the product of the independent group (IG), formed in 1952. The members resisted the institute’s commitment to modernist art, design and architecture. It was the Americans however that really gave increased awareness and success in the Pop Art movement.

Pop Art used the visual commodities of popular culture within the movement of fine art. English Critic Lawrence Alloway used the term ‘pop’ as art that made use of objects, materials and technologies from mass culture, to bring out the yields of the industrial society. It was characterized by themes and techniques drawn from popular mass culture; such as comic books, packaging, advertising, television and film.

Pop Art evolved at a crucial time in society, post World War II, which saw an enormous economic growth. This was the beginning of commercial manipulation, celebrities and exhibitionism. It wanted to bring art back to the people in their everyday lives, working with simple everyday objects.

Around 1962 Pop Art established itself as a serious recognized art form. It marked the end of modernism and the beginning of the postmodern era. It merged the divide between the fine arts with the media and advertising commercial arts; a divide that had been prominent for hundreds of years. Pop Art soon became one of the biggest movements of the 20th Century. It was beautiful, polished and glamorous, even though it was mass produced on a low budget; it caught the changes in society perfectly.

Andy Warhol was one of the biggest American Pop Artists around. It was Warhol’s paintings that made him so famous worldwide. His painting of Campbell’s soup tins which was used commercially has become extremely well known. As well as his screen-print of Marilyn Monroe which depicts Warhol’s own insight on American fame.

Source by Louise Gandolfi

The Multiple Advantages of Childrens Entertainers

Childrens entertainers are all the rage at the moment, and with good reason. They do a whole lot more than just provide a guaranteed focus for a kids’ party: they can also represent better security and help deliver as smoother feel to the whole party experience. Leaving, generally, a lot more breathing space for the poor old parents, who usually end up twice as tired and scratchy as the children at the end of a birthday party or other celebration.

The first and most obvious benefit of the kids’ entertainer is clearly his or her ability to entrance a whole house or garden full of children with jokes, games and magic routines. Childrens entertainers are highly skilled professionals, used to dealing with the most critical audiences in the land.

Children are notoriously good at seeing through less than perfect routines, or spotting adults they know who have dressed up as something else. A kids’ entertainer is a different box of tricks entirely. Because the children in question don’t know the entertainer, they are incapable of divorcing the man or woman inside the costume from the character he or she is conveying. That means that to a child, a children’s entertainer really is whatever he or she purports to be – a clown or magician, for example. Because childrens entertainers encourage kids to suspend their disbelief in this way, the children who see them are more disposed to believe that the things they are doing are “real” – real magic, real tricks and real clown routines. Having mum or dad try to do the same thing, even if mum or dad happens to be pretty good at it all, will be seen through in seconds.

The other obvious benefits of hiring and using a kids’ entertainer all revolve around the free time that mum and dad have when the entertainer is used. First, mum and dad are able to keep a much better eye on everything that is going on because they don’t need to provide the entertainment themselves. That means fewer upsets and no tantrums. Childrens entertainers take the focus of games and so on away from the parents, leaving them free to watch the kids as supervisors rather than nervous amateur magicians.

Secondly, a kids’ entertainer’s presence gives the parents or house holders more time to arrange the food, liaise with other parents and so on. While the children themselves may not notice much of a difference, all the parents of those children will find a party staffed by a kids’ entertainer much easier to deal with, in terms of picking their charges up at the right time, feeding them at the right time and taking them home happy.

Childrens entertainers are pretty much an all in one solution for any child’s party. Why waste time, energy and emotion trying to do everything at once – when a really good entertainer can take all the stress out of the occasion and make it a happy one for adults as well as kids? Choose the right one and there’ll be no tears before bedtime, no fights and no tantrums. Perfect.

Source by Amelia Hudson

How To Become A Christian Recording Artist

I have been asked by a few friends to compile a list of things that you need to do in order to make a living at Christian music. So, below you will find my personal opinions on what you need to do to succeed. I will warn you that these are my opinions and not the only way to succeed. There are always exceptions to the rule. However, these things have worked for me and thus I will share what I know. I am not going to sugar-coat anything so if you are easily offended, my apologies already. Before I start, let me dispel a few myths.

Myth #1 If I had a record label to support me, I could be full-time

So, So, So Wrong. I have a better idea, go max out all your credit cards, take out a huge loan, borrow money from your family and live off that while you build your career in music. What? No takers? Why not? In effect, that is exactly what you are doing with the label. You are living off of money that isn’t yours. When you are out busting your butt touring to support your new CD, guess where the income goes? It goes to pay back that money they gave you to live on. I am going to say this once, STOP CHASING A DEAL! I did it for years. When I finally stopped and focused on making my music my business, the record deal found me. What you would be offered as a no-name/no-momentum band will be crap anyways. Go out and sell 10,000 copies of your self-produced demo and then we can talk about record deals and if they make sense. Until then, shut up and play.

Myth #2 I can just play churches/Christian events and survive

How can I put this? Christians are cheap! For the most part, Christians are not going to give you the financial support you need to survive. This will vary by region but all-in-all people think that ministry = free. Be careful how you present yourself to not get pigeon-holed here. You can be an artist that is Christian as well as a Christian artist. Let the music speak for itself, and when the opportunity presents itself, share what’s on your heart. If you try to bill yourself as only a Christian artist, you will not be able to play enough to survive.

The fact is I can go play 3 hours of cover songs at a bar and make more money than taking a love offering from 200 people. Shocked? Don’t be. It is sad but true. Be open to playing where you are needed, where your message is needed. If churches can’t sustain themselves financially, how can they sustain you? The research tells us that 2% of people who attend church actually tithe (the full 10%). Those are not the kind of odds I want to bet my family’s well being on.

On to the Top 5 list:

1) Be Competent

I heard Billy Joel once say that the reason he has been successful for so long is that he is competent. Most musicians are not as competent as they can be and thus fizzle out faster. If singing is your thing, take lessons, improve, study, practice! The same can be said for your respective instrument. If you are only OK at playing, OK isn’t good enough for full-time. There are plenty of mediocre musicians doing gigs for free that make it harder for you to make a living. So, be better! Be much better. The back half of this is to accept the Truth. If your parents tell you that you are great, get a second opinion. If strangers come up to you after hearing you play and fawn over your music, now you are talking!

2) Be Unique

There are many good performers out there. What will separate you from the pack? Is it your vocal style? Your guitar playing? There needs to be something that makes you, you! Whether it be using loops, a different tuning, a particular look or whatever; keep people watching and wanting to see what you are going to do next. A great resource for creating memorable moments is Tom Jackson seminars. I have had Tom’s home course for 4 years and refer to it often. I build my set lists around his formulas. Guess what, it works! You don’t have to reinvent the wheel, just research and study wisely. Find yourself before others find you.

3) Have a Great Recording

So, you have practiced hard, prepared a good show and created moments to remember, now what? If you do these things well enough, others will want to remember as well. You need a recording of yourself. This is the first …

Weekly Review: SAO Abridged

Hello, and welcome back to another week of anime! This week we are taking a look at the YouTube sensation Sword Art Online: Abridged. The parody is produced by a group of individuals known as Something Witty Entertainment. The group created the series as a parody of the already popular Sword Art Online series, and it quickly caught on. Their expert editing skills along with some incredibly humorous dialogue are only a few reasons for the series’ popularity. Something Witty Entertainment has also gained a lot of respect as every episode starts out clarifying that the original series is owned by specific companies and that the viewer should support the official release. This covers themselves, and also looks good as they support an already successful franchise.

So you haven’t seen or heard anything about Sword Art Online? Really? Well, the series is about a young teenager named Kazuto who joins the world of Sword Art Online, an incredible breakthrough virtual reality MMORPG. However, as Kazuto and the ten thousand others like him soon realize, the game is a death trap. They soon find themselves trapped within the virtual world with the only hope of escape being to clear all 100 floors of Aincrad and beating the game. If they happen to die in the game, they will also perish in real life. In game, Kazuto is known as Kirito, a solo, floor clearing beast who’s reckless fighting style on the front has earned him several nicknames. Throughout we get plenty of support from other characters such as Klein, Agil, and Asuna. So that’s the basis, no go watch it. I mean, come on, it’s in English on Netflix. Now go!

Back to the parody. Yes, it is in English, in case you are wondering. The story line follows that of its original roughly, with finer details changing as the editors see fit. Our beast of a main Kirito is still a beast, but he is quite the ill mannered in the parody. He is joined by supporting character Asuna who’s personality has got a hilarious twist as a stalker, crazy, kind of racist girl. While the means of the parody is to give us a nice chuckle, the story line is still surprisingly gripping. Some even say that the romance between Kirito and Asuna is better than the original series, not to mention Kirito’s character development is way better, at least in my opinion.

The parody has become a part of my life now. Every time I see a clip from the original Sword Art Online release I can immediately think about the parody as well. It compliments the original series very well, and is a nice laugh, which is the complete opposite of the vibe from the original series. I suggest you give it a watch, it’s on YouTube, therefore it is free. Don’t worry about not being able to follow if you haven’t seen the original, the parody does a surprisingly good job of explaining the story line as well.

Source by Kyle W Hawk

Wassily Kandinsky and His Many Styles

Wassily Kandinsky is the artist responsible for painting the first strictly abstract works. Born in Moscow on December 16, 1866, Mr. Kandinsky grew up in Odessa before enrolling in the University of Moscow. He chose to study economics and law and was very successful in these fields. He was even offered a professorship at the University of Dorpat, but began painting when he turned 30.

Anatomy, life-drawing and sketching were his three painting studies. When he started painting he chose to move to Munich where he studied at Anton Azbe’s private school before moving to the Academy of Fine Arts. He returned to Moscow in 1914. Wassily Kandinsky wasn’t happy with the official art theories in Moscow so he chose to return to Germany in 1921 where he taught art and architecture. When the Bauhaus school of art closed in 1933, Kandinsky emigrated to France and became a citizen in 1939. He lived there until his death five years later.

Wassily Kandinsky always loved art. In later years, he would remember being stimulated by and fascinated with color when a child. This love of psychology and colour symbolism continued as he grew and he studied folk art of the region. These influences show up in his early works. He was also influenced by the works of Richard Wagner and H.P. Blavatsky. Blavatsky was a proponent of theosophy which believes that creation is a geometrical progression. This is seen by a descending series of triangles, circles and squares. In addition, he was visually influenced by John Varley and his illustrations.

In Kandinsky’s early works, one will also see elements of pointillism as well as Fauvism. He uses a flat, luminescent surface for depth of field and color as an expression of subject matter rather than objective nature. Most of these paintings featured towns and landscapes rather than human figures. The most notable exceptions were Riding Couple and Sunday, Old Russia. Intentional disjunction, seen in The Blue Rider, also delineates Kandinsky’s early works. Here the viewer participates in creating the artwork. This style was a forerunner of his later works.

Wassily Kandinsky later moved to the use of geometrical figures in his works. This is unlike the suprematism and constructivism movements which were popular at the time. When he moved to Paris, he was even more isolated from the general art world. He continued to paint abstracts while others were focused on cubism and impressionism. In his latter years, he combined elements seen in his previous works. His two last major works used this technique and were simply called Composition IX and Composition X. With so many techniques used over his lifetime, you may find you love some pieces while disliking others. It’s all in the eye of the beholder.

Source by Brent Tan

Overwatch Review

Overwatch is the first new IP from developer Blizzard Entertainment and the first time I can recall them ever releasing a console counterpart of a new game the day as PC. This game flew under my radar until I played its beta, along with millions of other gamers. Actually playing Overwatch for the first time, it gets its hooks straight into you. No matter what play style you have or what character you play as, there’s fun to be had. I’ve only played a handful of hours of the final release, but it hasn’t disappointed in the slightest and I can’t wait to see how the prestigious Blizzard supports this title over the course of its initial release and the foreseeable future.

I’m not going to sugar coat anything here. There is a small cutscene when you boot up the game that gives context to the characters you will play as during your time with Overwatch, but I can’t say I even spent time to watch it. I’m sure it is an interesting couple minutes, but I’m not investing my time and money into Overwatch for a story. Thankfully the game knows that and that’s the last you get from any kind of story.

What takes the place of a story would be 21 very detailed and different heros. These heros are the core of Overwatch and they are what make the game stand out from other first person multiplayer games. Each one bring specific abilities to a match and can really meld well with other characters during combat. But not one character feels vital for a team to succeed. I would say a whole team could play as the same character and still have a chance of winning a match, albeit a small chance depending on what character.

In the same vein though, there isn’t a character that stands out as a must play every match type. Each character has their own weakness and strengths, it’s up to the player to use them to their fullest potential. Each of the 21 characters has a few abilities up their sleeves that suit their play style and class type. Some characters admittedly feel a bit bare compared to others, but in the end, they all feel nice to play as.

The maps in Overwatch are very fun to play on. They serve the characters more than anything and setup specific choke points that beg you to work as a team to overcome. They look nice and stylized, but more importantly they don’t take away from the characters inhabiting them.

Game modes are very standard. You have capture and defend type matches, along with escort missions. These are both thrown into the same quick play option. You can also play against A.I. and create custom matches.

There is also a leveling system in place. It’s very standard and moves along at a brisk pace. It will be interesting to see if people stay around after the presumed level 50 cap. I’m sure it will be raised after a few months though. Customization comes in the form of character skins, emotes, voices, and sprays. They are fun to collect, but they are definitely not the reason I will be hanging around to play the game.

My only minor complaint would be that there isn’t a bunch of content in the game. Sure you have a crap ton of characters to choose from and some decent apparel to collect, but there’s nothing to keep someone like me who’s used to unlocking weapons and attachments in Battlefield to stick around hours on end. Though hoping in for a couple hours a day has been extremely satisfying.

One thing I would have liked to see is during a match your abilities can be upgraded to do more damage or last a little longer, maybe a shorter refresh rate. Something other than just the bare bones we have now.

Also, Overwatch costs an affordable $40 on PC, while console players will have to fork over some extra cash for the $60 version that is the exact same thing. If you’re into first person shooters or character driven gameplay, I could easily recommend Overwatch if you are interested in it. But I don’t know if there’s enough to satisfy most gamers for the asking price, on the console that is. Luckily I’m having a blast playing Overwatch and know my money has been well spent. Not only do I have a very solid game on release, Blizzard will continue supporting the game until nobody is playing it anymore. That makes purchasing the game easier to do.

Overwatch deserves a 3.5 out of 5. It has an extremely solid foundation to build from and has the potential to be a huge game over the next year depending on how …

The Art of Selling Final Expense Insurance

Final expense insurance has been around a long time and will continue to be sold for a long time in the future. Although the product itself is simplistic and easy to learn and get your arms around, there is definitely an art when it comes to selling final expense insurance.

Selling burial insurance is a process that requires and agent to build a need, want and desire for the product. Like any life insurance, everyone needs it but no one truly wants to buy and pay for it. As with other things in life we should have, if it was free, everyone would most definitely have it. Problem is… it’s not free so we need to create that need they can’t live without. So how do you do that?

First off, the client needs to see the value of having a policy and protecting the people they care about. Any life insurance I have I look at as an asset and not as a monthly expense each time I make a premium payment. It’s important you talk in terms that the client is creating an instant asset for their family and not an expense.

The second thing that is very vital to helping your client is don’t tell them they need final expense insurance but have them tell you. This is one of the biggest mistakes agents make selling absolutely everything. A successful agent does not tell a client they need the product, a successful agent has the client tell them why they need it and want it.

It is very important to ask probing questions to get the client to tell you. This is where most agents fail. Agents usually tend to do the telling in the selling process and by telling the client instead of having them tell you, in the end the client doesn’t take ownership to the sale and the sale is lost.

“Mrs. Jones, do you see planning for your final expenses your responsibility, or do you see it as your children’s responsibility?” The follow up question after Mrs. Jones answers it is her responsibility would be “Why? Why do you think it’s your responsibility and why wouldn’t you want to put this on your kids?” Sit back and listen to her tell you why she needs to buy your final expense product. These types of questions make the client take ownership and make the sale for you.

To be successful selling final expense, you need to create a need for your product since not many clients really want to purchase what you have. How you create that need is by asking questions that get your client to sell themselves and take ownership. Don’t make the mistake that 99% of all agents do and that is tell your client why they need final expense insurance.

Source by Steven Rohrer

The History and Evolution of Dirt Bikes

This article discusses three of the largest dirt bike manufacturers in the world – Honda, Kawasaki, and Yamaha. Starting with Honda, “a company that became the dominant force in American motorcycling”, all started when Soichio Honda opened a small bike shop in Los Angeles, California in 1959.

He had an inventory of small bikes that were not selling and the company was losing money. At that time, there was no such thing as trail riding because there was no such thing as trail bikes (referred to as dirt bikes); everyone was riding street bikes. Near the end of 1959, Honda was left with a stock of small bikes that no one wanted to buy, but all that was about to change. A large advertising campaign was set in motion and by 1963 Honda’s U.S. sales were up and trail riding in United States was born.

In 1961, the CA-100T trail 50 (trail cub) made its debut. It had a 50cc four stroke engine, a three-speed and automatic clutch, mounted on a step through frame which allowed ladies with skirts to ride it. In 1968, Honda’s first real dirt bike the Z50 mini trail came along. It was a three-speed unit that had fold-up handle bars so that it could fit into a car trunk. The Z50 still holds the record as Honda’s all time best selling bike in America with a total sale of, 450,000 units, and is responsible for introducing off road ridding to more youngsters than any other bike. Today, Honda is one of the leading dirt bike manufacturers in the world. Their line-up for 2010 includes such updated models as: the CFR450R, and the CFR250R. To see the complete line of Honda off-road trail bikes visit the Honda website.

Yamaha’s off road bike saga began after WW-II, when Gen-Ichi Kawakimi – then president of the “Nippon Gakki Company” – decided to make use of a production line & tooling that had previously been used to produce aircraft propellers, to produce the forerunner of Yamaha dirt bikes. Yamaha, named after it’s founder – Toracusu Yamaha separated from the Nippon Gakki Company, and produced the DT1- a 250cc two stoke, their first truly off road bike. Then in 1975 the YZ250 the first motocross bike to feature a single shock rear end was introduced. Yamaha has come a long way since the early days. With an impressive line up for 2010 Yamaha show cases such models as: the YZ450F, YZ250F, YZ125, and the YZ85 for motocross, and the WR450F, WR250F, TTR230, TTR125LE for off-road ridding. Visit the Yamaha website to see the complete line of Yamaha’s newly updated 2010 models and view previous models of Yamaha dirt bikes.

Kawasaki, the last noted manufacturer of dike bikes in this article began in 1949. A previous producer of parts for the aeronautical industry, Kawasaki was producing motorcycles for the Asian market by the 1950s. In 1963 Kawasaki introduced the B8M motocrosser bike and Kawasaki’s dirt bike legend was born. The B8M was a purpose built machine that won most of the motocross tournaments in Japan at that time. Their impressive line up of off-road bikes include: the KLX450R, the KLX140 series, and the KLX110 series. Their motocross bikes include: The KX450F, KX250F, and the KX100 to name a few. To see the complete line of Kawasaki dirt bikes, motocross bikes and of-road bikes go to the Kawasaki website to view previous model bikes and all updates.

Source by Edward W Moore

The Functions of Art Galleries

When we think of an art gallery, we generally form an image of empty hallways filled with dim light and paintings on the walls. Well, to a certain extent, you may be right, but not in all cases. They can be defined as a single or cluster of rooms that serve the purpose to showcase the work of various artists in many different forms such as paintings, drawings, sculptures, photos or any other form of art. An art gallery can be a place where people share a common interest to promote and appreciate art of aspiring or established artists. Painting is the most common type of art displayed at these places.

Aspiring artists can use art galleries as a platform for them to gain recognition and appreciation for their work. These galleries also encourage aspiring artist to be confident and enthusiastic about displaying their art pieces. Many art enthusiasts visit these places to admire and purchase the work of various artists and this can provide motivation to artists. Examining of art work is most beneficial to young debutant artists as they can get feedback as to how to improve their work and see people’s reaction towards their artworks. If the art piece is good, it would gain recognition amongst the community and even the world. Some artists even visit galleries to acquire new ideas for their projects and people who wish to be one can visit these galleries to learn about the different techniques used by artists, get ideas and inspiration. These galleries also hold art fairs for artists to showcase their skills.

Art galleries can either be exclusive or open to the public. Exclusive galleries only admit people who have been invited to the showcase or people who meet the preset requirements. These galleries can have purposes such as showcasing and selling the works of either an individual or a group of artist. It is at such galleries that budding artists can gain recognition as more professionals would be there who understand art. Art galleries that are open to the public can have many advantages as well. Since the audience to such galleries is usually more, the artist’s work can gain more exposure to the public thus gaining recognition for the artist. An entry fee applies to such galleries sometimes for them to operate.

Nowadays some artists post their work on the internet on online art galleries that allow for easy viewing for anybody across the world. This also exposes the art work to a greater audience thus gaining recognition for the artist. Artists are able to sell their work piece from the comfort of their homes and so are the audiences able to view it without having to step out or traveling to another country.

Art galleries, be it online, public or exclusive, are very important in helping an artist gain the recognition that he deserves. They can even benefit the audience as they can study the different forms of art and a specific artist’s work style.

Source by Amrit Pal

Facts About Online News

It has created a lot of opportunities for the newspapers to provide breaking news more timely. In this way they can compete with the broadcast journalism. Online newspapers are also cost effective compared to the printed-newspapers. Online newspapers follow the same legal regulations of the printed-newspapers. Online publications are known to reap larger rewards than the printed publications. It can draw larger traffics compared to the printed publications.

Many news reporters are taught to shoot videos and to write news stories that can be published in the online publication also. In many journalism institutions students are being taught about the online publications and online newspapers along with the printed newspapers. Some newspapers have already integrated the internet into each and every aspect of their operations. The classified advertisements are now also being published in both the printed newspapers as well as online newspapers. In today’s scenario it would be difficult to find a newspaper company without a website. With the declining profit margins from the printed newspapers they have explored every corner to get higher profit margins from the websites. Most of the online news-papers do not charge any subscription fee. Some of the news-papers have come with a new version of newspapers that is called E-paper. These E-papers are regarded as the digital replicas of the printed news-papers.

There are also some newspaper companies who provide only the online version of the news-paper. They don’t have any connection with the printed newspapers. These news-papers are recognized by many media groups which makes them different from blog sites. Some of the leading news-papers company which has been operational in printed media for over 100 years have been stopped their printed newspapers and are running on only online news-papers. There are newspapers companies who have only online news-papers but also provide limited publishing or hard copies. These news-papers are called hybrid news-papers. Recent development in electronic news-papers may force some of the newspapers companies to supplement electronic papers too.

Today, you will also come across online news portals that will deliver exam news and short news on the most significant happenings in the country or the world.

Source by Grayson Wong

Japanese Woodblock Prints Artists – Hokusai and Hiroshige Compared

One famous art genre is the Japanese woodblock prints, known as ukiyo-e, which literally means “pictures of the floating world.” It is an art genre that originated in the 1600s and became popular among the ordinary citizens of Japan because the relative ease of reproduction meant that these prints were affordable to the general populace. The subject matter of these Japanese woodblock prints was mainly scenes and people of the entertainment and pleasure quarters in Edo (now Tokyo), namely the theaters and brothels. Indeed, ukiyo-e was used as posters advertising the geisha women, courtesans and kabuki actors who work in those establishments.

In the late 1700s, ukiyo-e woodblock prints branched out to include landscape prints. Two contemporaries who were prominent in this period are Katsushika Hokusai and Ando Hiroshige, though the latter was 37 years the former’s junior. Both of them were famous for their landscape prints, although both of them also painted more “traditional” themes of women and actors. At first glance, the works of these two masters may look very similar in style and subject matter, which includes scenes from Edo and Mt. Fuji. Unless one is familiar with their work, it can be hard to tell them apart and see the differences that become more apparent upon close inspection. Furthermore, works by both of these masters influenced a few big name European artists: Hokusai’s works influenced Claude Monet, Pierre-Auguste Renoir and Hermann Obrist while Hiroshige clearly had an influence on Vincent Van Gogh and Ivan Bilibin. Both men also inspired and influenced a whole new art movement — Jugendstil in Germany and Mir Iskusstva in Russia, respectively.

The differences between these two artistic geniuses lie in their backgrounds, which probably had an effect on their styles and approaches to their art. Hokusai was from an obscure parentage while Hiroshige was born to a low-ranking samurai, a servant to the shogun and whose job was to protect Edo castle from a fire. Hokusai would then take on nearly 100 different names throughout his career and move from one place to another, thus causing people to perceive him as crazy or unstable. Hiroshige, on the other hand, inherited his father’s job as a bureaucrat at the age of 13, but turned to art a year later. Perhaps owing to this difference in their backgrounds, Hokusai appeared to be more dramatic in his prints, painting with sharp, forceful lines and a range of colors, which is a complex technique in woodblock printing, as they require a series of woodblocks. Hiroshige, however, emphasized more on the mood, atmosphere and ambience, which can make his paintings appear more subtle and passive. One other difference may be in their choice of subject matter. Hokusai is a Buddhist of the Nichiren sect with Mt. Fuji considered a sacred site and his beliefs and spirituality are reflected in one of his most famous work, titled “One hundred views of Mt. Fuji” with Mt. Fuji being the central theme. Hiroshige painted Mt. Fuji as well, but it is only as a part of a scene captured along the way during his travel from Edo to Kyoto along the Tokaido road, which led to the paintings of one of his most famous work, “Fifty-three stations of Tokaido”. In this sense, one can say that Hokusai’s approach to his work is spiritual while Hiroshige’s is realistic.

With this understanding of the different styles of these two Japanese woodblock artists, hopefully their work can be enjoyed and appreciated even more.

Source by Jane J Simmons

"Wild Nights – Wild Nights!" – A Discussion of the Poem by Emily Dickinson

Wild Nights – Wild Nights!

Were I with thee

Wild Nights should be

Our luxury!

Futile – the Winds –

To a Heart in port –

Done with the Compass –

Done with the Chart!

Rowing in Eden –

Ah, the Sea!

Might I but moor –

Tonight – With Thee!

The Poem

“Wild Nights” can be interpreted several different ways, but the most obvious interpretation is that the poem expresses love, passion, and sexual desire. The opening stanza certainly gives the modern reader the image of a passionate encounter between two lovers. The second and third stanzas are far more obscure, creating a metaphor for the ardent experience with ocean images and nautical terms. Emily Dickinson was masterful at being able to describe life’s mysteries in imaginative ways with an economy of words.

While Thomas Wentworth Higginson, one of Dickinson’s mentors, was preparing the first edition of her poems in 1890, he wrote to Mabel Loomis Todd, the co-editor: “One poem only I dread a little to print – that wonder ‘Wild Nights,’ – lest the malignant read into it more than that virgin recluse ever dreamed of putting there. . . . Yet what a loss to omit it! Indeed it is not to be omitted.”

The use of the word “luxury” in the first stanza probably refers to an old use of the word, meaning lust and gratification. The phrase “heart in port” in the second stanza can be interpreted as a lover’s embrace. The marine terms used in each line of the second stanza create the nautical metaphor. They also create the feeling that control has been given up.

The third stanza completes the amorous, watery imagery. “Rowing in Eden” and “moor . . . in thee” can be interpreted as sexual passion. “Ah! The sea!”

Each stanza of the poem is a short quatrain, four lines. Each line has a dimetric rhythm, meaning that there are two poetic feet in each line. Most lines have iambic feet, such as in the first stanza. Each line in the first stanza has two groups of two syllables with the second syllable of each group being accented. In the second and third stanzas there is less regularity. Several lines start with a trochee, a two syllable group with the first syllable being accented. The line, “To a heart in port,” begins with a three syllable group, called an anapest. Despite the several irregularities, the poem flows smoothly and is easily recited.

The rhyme scheme in “Wild Nights” is typical of Emily Dickinson’s poetry. In each stanza the second and fourth lines rhyme, though in the second stanza the rhyme is a good example of a near rhyme.

With just a few words and a few lines, Emily Dickinson has captured the image of a wild night of passion.

Source by Garry Gamber

Custom Picture Framing Vs Store-Bought Or Standard Frames – Which and When to Choose

Many people wonder whether there’s a difference between custom picture framing and purchasing a “standard” size, store-bought frame from a department or craft store. A frame is a frame, glass is glass, matting is matting — what does it matter? Why should I pay a little more money when there’s really no need? There is a difference, it can matter greatly, especially if the art or item you intend to put in that frame has any sort of value or is of a specific dimension, and the additional cost of having it done right is well worth it. Not everything requires a custom frame, but for certain types of art or items there is really no choice. Additionally, it pays to be wise in your choice of custom framer. Not every facility that advertises itself as offering custom framing is truly providing that service. The following information and guidelines should help you in your decision making process.

The benefits to having your art custom framed:

• No force fitting — the size of the art dictates the final size of the mat and frame — perfect symmetry (I.e. if your art has a dimension of 6″ x 17″, you are not forced to purchase a mat and frame at 16″ x 20″ resulting in “odd” borders)

• Unlimited choices in moulding and matting

• High quality, acid-free materials to protect your art and keep it in pristine condition

• It’s more affordable than you may think (call around and price compare)

• Value retention – improperly treated art will quickly deteriorate and lose its value

• Confidence in knowing the job was done professionally – different types of art require their own special treatment — a canvas should not be framed in the same way as a charcoal sketch, as a needlework, etc.

The drawbacks to purchasing a store-bought, “standard” size frame and doing it yourself:

• The frame (often plastic or resin)

• The glass (probably not UV, or worse, a sheet of acetate)

• The mat (usually made from wood cellulose product)

• The backing (generally cardboard)

• All of these materials will damage any type of art because they contain high levels of acidity, which is extremely harmful to the art

• The glass won’t be of much help either because it lets in ultra violet light, another “art killer”

• Size limitations – you won’t be able to find a frame at 6″ x 17″ if that is what you need

• You don’t have to struggle trying to trim a photo, cut a mat, “glue” the art down, or force the art into a too small or too large space

• You may have to pay to have the job done over, especially if damage was done by you or a non-professional

Any professional framer should be using acid-free materials and UV or museum glass in order to protect the art or item from environmental conditions such as sunlight, acid, air pollutants, etc. It is always a shame to see a lovely, original piece of art that has been tucked into a store bought frame with the intention of having it done by a professional later. When it is removed from the unprotected environment, the damage is clear: fading of color and inks (which can clearly be seen when observed next to the area that was under the edge of the frame), yellowing (evident when the mat is lifted off the borders), evidence of trimming or cut edges on the art because it had to be forced into an inappropriately sized frame (sure to decrease the art’s value if there is any), and on and on. Once something has been improperly handled, there is often little to be done to make reparations (at least as far as the value is concerned).

There are all sorts of ready to buy picture frames available. You can find them almost anywhere you shop from retail and home stores, to craft stores to the local “dollar” store. They are perfectly fine if you have a snap of the family dog or a greeting card you want to display. These types of frames are not acceptable for much more than that though. Do some research, make some calls to custom frame shops in your area and by all means, do not be afraid of asking these questions:

• Does your facility use acid-free materials and offer UV or museum glass?

• Is the framing work done on premises or “farmed out?”

• Do you have the resources to cut your own frames to size, or are you ordering factory, “standard” size frames and then fitting the art to the frame?

• Are you familiar with handling different types of art? (E.g. canvases, needlework, pastels, 3-D objects, textiles, etc.)

• Are …

How to Get an Internship in a Translation Company

With thousands of people graduating from universities, colleges and other educational institution, without solid work experience, you may find yourself in a catch 22 situation: no one wants to hire you without experience but how do you get the experience if no one wants to hire you?

Working as an intern will often give you a great advantage of experiencing the real world and being able to include it on your CV. Our company has been offering international work placements in Melbourne, Australia, for the past 2 years and we since have hosted interns from Germany, Switzerland, Italy, Indonesia, Japan, China, France, Lebanon and Poland. It’s a great way for us to learn about the new generation of professional linguists and contribute to the translating and interpreting industry by letting some new blood in.

I receive dozens of new applications per month and including people in our well structured internship program has become a privilege. We give people real work, with real clients but of course we do a lot of hand holding before we allow our interns to spread their wings. Most interns start by assisting our Multimedia Projects Officer or Business Development Coordinator in managing projects, checking of translations, collating databases or answering the phone. We take our interns to court to watch our interpreters at work, we also get them to review previous translations, collate glossaries and format translations. In other words, our interns do get exposed to how a translation bureau works, a rare opportunity indeed!

Given the advantages and the interest our internship program attracts, I thought I’d share with you some dos and don’ts on how to go about applying for internship. I have seen some shocking applications in my time, and whilst I always respond to prospective interns’ inquiries, it would be very hard for me to be convinced to take them on. We are one of the few companies in Australia that take intern applications seriously but I sometimes doubt that the interns take us seriously!

So here go the tips:

1. Email the translation company finding out who is in charge of recruiting. Emailing your application to the general email will rarely be met with interest, as it is usually checked by a non-decision maker, or a person who just can’t be bothered.

2. Check the spelling and grammar of your email and don’t forget to attach your CV. Don’t ever use the SMS shorthand for writing emails. It looks very unprofessional.

3. Do some research on the company in question so that your email doesn’t sound generic or disinterested. Explain in your email why you’d want to become an intern for them.

4. Be prepared for the internship to be unpaid: after all the company will invest a lot of money in training and supporting you, and you will get a reference at the end of it. So do make sure you can afford to be an intern for several months, especially if you are going to be based in another country or even continent.

5. Check the company out. Ask about working conditions, location, insurances and working hours. See if you could be put in touch with previous interns who could tell you more not only about the company, but local attractions, accommodation and customs.

6. Follow up with a phone call and arrange for a telephone interview. It is important that you clarify any issues of concerns before you commit yourself to the internship. Ask the company about the internship program: they should be able to email you a questionnaire or a work plan, to help you in making sure you are making the right decision.

7. Check whether your training institution will endorse the internship and if so, how will they liaise with your employer. Do they have any specific requirements?

8. Follow up with an email thanking the company for their time and keep in touch regularly. Ask about a duty statement, internship plan or position description. Who will you be reporting to? How often? What happens in case of problems?

Best of luck with your internships and don’t forget to contact me if you have any questions!

Source by Eva Hussain

Oil Painting – Its Characteristics and Procedure

Oil painting has become a vital part of the modern day art. The artists make use of the oil paints to give shape to their imaginations and thoughts. If you wish to use painting art as a medium to put your thoughts into the canvas then it is necessary that you first understand the basic characteristics and procedures of oil painting.

Oil paints usually take a longer time period in comparison to other forms of painting art. It may acquire as long as a week time. It can be taken as a positive point as it gives you enough time to correct the flaws in the painting if any.

It also helps you to draw the exact shades which make it look closer to life. The painting thus looks great and shinier than any other normal painting.

The best part of the painting lies in the fact that during a course of time, as it dries, the paints will not fade away as in case of most of the other water color paintings.

Buying oil paints rightly:

In order to get started with oil painting you require the right quality of oil paints available in the market. They differ in quality, consistency, and rate. They can either be very thick or too thin. The colors also play a much important role when it comes to adding the soul in the painting.

The right way to buy the oil paints is by taking into account the quality of the paint, and the expression that you wish to illustrate through the painting.

For this you may need to buy some essential items, which are very essential to get started with oil paining. You first require the right paints and a good quality brush to paint with. You can buy any synthetic substitutes for the oil paint or get oil that can make your painting look more striking.

Source by Murtaza Habib

Managing An Event Center

The investment plan, goal and magnitude of a facility are what determine the management style to be adopted in running the affairs of an event center. There is no written law or rules and regulations that can be said to be the guiding principle in this business. So, what we need to understand here is that we are simply discussing on the management aspect of an event center. By this, we are referring to the act of running or controlling the business, or the personnel that are saddled with the responsibility of managing or controlling the activities of a business, for the purpose of making profit, or for whatever purpose that the business was set up.

So, managing an event center, is all about taking care of a facility that has been set up, investment wise, for the purpose of taking care of the activities organized by other people, in exchange of cash payment for using the facility. So, it can be established here, that managing a facility is more of the investment goal of the facility.

There are different levels and categories of event centers; depending on the type and magnitude of the event center. A multipurpose event center cannot be at the same level of management like the general way of managing an event facility. A typical multi-purpose investment center combines many investment options into one investment goal. We shall briefly discuss them one by one.

1) EVENT CENTER WITH GYMNASIUM: If the location of the event center is in an area with mixture residential and commercial developments, then the investor has to strategically invest to maximize his profits here. This can be achieved in many ways, and one of the ways is to incorporate a gymnasium with all the necessary facilities here. If the investor can afford to fix all the necessary modern facilities for work-out here, then he is sure of a profitable investment here, even before the outfit becomes fully operational. In order to achieve the maximum result, the investor must be sure that the percentage of people that reside here is higher than those that just come to do business, but live at other destinations.

Investments in an event center could be a money spinner if the right things are done first, and the center is managed properly. Any property investment with a proper laid out maintenance policy will definitely achieve the desired result.

Invest wise.

Source by Eze Ikechukwu

Commercial Print Modeling Vs Editorial Print Modeling

When you think or hear of the word “commercial” in regards to the modeling industry, there are a few variations of the meaning, but in the most practical form regarding “print” photography think of the word “promote”. The model’s job is to be photographed “promoting” a product or service in a print ad (for example… in magazines, brochures, newspapers, catalogues, etc.). There are numerous opportunities for COMMERCIAL PRINT MODELS that exist all over the United States and internationally. The ad may range from the smallest business promoting its’ livelihood all the way to large corporations who can afford their own advertising agencies to handle marketing campaigns.

Commercial Print Modeling is very different from Editorial Print Modeling. Remember that an “editorial” is a magazine fashion “story” of the trend that is happening at that particular moment, not a specific advertisement for any one company, even though you will see multiple credits cited in small print of the stores and designers of the featured garments and accessories. Some ads that you may see in magazines may be elaborately spread out and photographed in an “editorial-style”, but it is ultimately a “commercial” ad if it is promoting one company name. It makes a nifty, high fashion looking ad, though, because that is the style ad that they are marketing to their specific consumers.

Usually, though, the editorial model and their style of modeling don’t represent the particular looks that can be marketed to a large group of average, “every-day” consumers (a.k.a. the people who buy). Consumers buy from ads that they can relate to or strive to achieve. This is where a commercial model may have a wonderful chance of success because their image is a part of the marketing process that sells to the consumer. They represent a highly approachable and marketable look. So, for whatever product they are promoting their look can vary dependent upon what product or service is being advertised to the consumer. That means the door is open to many different types and sizes of models. Take note, that there are actually some editorial fashion models that are able to cross over from editorial modeling into the diverse commercial advertising side. That’s so ideal for a career model who wants longevity. The commercial model doesn’t usually have just one look even though there may be one special look that gets them hired over and over.

This is where the terminology variations form and can cause confusion to whether a model is considered an editorial-type or commercial-type of model. Remember the prestige title? It’s placed on editorial models, but there is something wonderful to be said for being a successful working commercial model, too. “Commercial” is a term that the general public thinks of as ads that they see on television or hear on the radio. The terminology used by an advertising agency versus a modeling agency when referring to “commercial” has different degrees of meanings, too, depending on how they interpret the booking.

Being in a television commercial is one type of opportunity that can use commercial models, but it’s “NOT” why they are called commercial models. For the purposes of a commercial type of model, the doors are open for almost anyone who has the skills of being either photogenic for photographs or having the right personality and approachable looks for promoting a product. The range of model can vary from being very outwardly attractive all the way to people who possess a great “character” face and /or personality (a.k.a. character model). Fashion does have its place for commercial models (a.k.a. commercial fashion models) by selling the garments or accessories that are being advertised in catalogues, showrooms, and certain ads in magazines (not the editorial stories).

The context of explaining where the “commercial model” terms are used may vary depending on whom is referring to the booking… an Advertising Agency, a Commercial Modeling Agency, or a “specialized” Editorial Fashion Agency. Advertising Agencies (a.k.a. Ad Agencies) are hired on behalf of a company who wants their product or service promoted. Ad agencies will overall take charge of how the product or service will be promoted and will usually take care of hiring all of the personnel needed to complete the job such as photographers and models, too. If the campaign is something to promote a “fashion” product, then the “ad” agency refers to this as a “fashion” job. This is where the slight confusion of terms is just a technicality. An “Editorial ” modeling agency does not refer to such “fashion” work as “editorial” and will likely view the ad as commercial. So, here you have the advertising agency’s viewpoint booking a “fashion model”, but perhaps the modeling agency refers to what the ad agency is booking in terms of a commercial model. Ultimately, someone is used, so …