Master Landscape

Ban'ya Natsuishi (Masayuki Inui pseudonym) was born in Japan in 1955. She received a Master of Arts from the University of Tokyo. Serves as a professor at Meiji University, director of the World Haiku Association (WHA), and president of the Ginyu Press. It has many international festival of haiku poetry and partly, conferences and WHA Tokyo Poetry Festival organized in 2008 and has spread, haiku poetry in the world.

The acrostic is a unique form of many used to make greetingsespecially with the name of a person. It consists of a series of lines in which certain letters, usually the first to be found in each row, form a name, motto or message when read in sequence. It can also be used to write words or hidden messages. Historically, an acrostic, in which the first letter of the alphabet is called a abecedarius. Moreover, ancient Greek and Latin, medieval monks, poets and the Renaissance are among those who developed forms acrostics.The following acronym is a tribute to Ban'ya Natsuishi:

Ban'ya Natsuishi Haiku Poet Visionary

B orn in Aioi City Japan, 1955; this great haiku poet and 1992, Meiji University professor has a plan poetic

A cross oceans and plains, haiku poetry embarked on a journey never the human experience of any student or

N ew ideas presented, came to America in the Global Haiku Festival, and co-founder of World Haiku Association

Y earn, learn, hereceived a Master of Arts in Comparative Literature and Culture, 1981, University of Tokyo

Llowing a poet on the ground, reach heights of birth, has never thought of reaching, as it opens the way

N is the pseudonym of atsuishi Masayuki Inui, haiku creator and narrator, also chairman of the Press Ginyu

A uthor of numerous publications, including a waterfall future Flying Pope and the Labyrinth of Vilnius and other

Onkyo T Poetry Festival'08, Has organized and inspired, as the Director of the World Haiku Association with other

S timulates 1993, Jilin University, China Haiku lesson; Research Fellow at the University of Paris, 1996-'98

U ndoubtedly a master of his trade, promoted to write haiku in Mongolia, Macedonia, Slovenia, to name a few

I n 2008, Latvia, Estonia, Lithuania and Italy, saw his face on the poetry festivals in Tokyo, as the Director Haiku

Lahti on the set S ightsInternational Writer's Reunion 2009 in Finland, from there to Druskininkai Festival 2009

H and received these awards: Poet of the Year, 1980, Modern Haiku Association, 1991; Kawahigashi, 2002

I n 2008 he was AZsacra interns Poetry Award from the Taj Mahal Review, is a poet, is solved!

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Whether you’ve gotten a new digital camera or have an old one lying around and you want to learn the secrets to getting good photos out of it, digital photography lessons can cut years of frustration and torment off your learning curve.

But, not all digital photography lessons are created equal.

Getting an amazing and creative shot truly isn’t all that difficult and learning how to get it should be relatively painless.

Many of the courses out there deliberately try to make it sound difficult and confusing, just to justify their large price tags. Of course, to keep you reading, they have to write the course so that it takes a PhD degree just to understand it too!

Few courses offer easy to understand information that is going to really help, right now, today.

Here is the first step in getting stunning photos…

The best photographers ALL learned to master their camera by keeping a photo notebook.

They record a pre-visualization of what they are after, then they record the settings, shooting conditions and etc.

Once they get the photos back from the lab – or once they get back to their computer to download the shots (never judge a photo by the screen on the camera – it’s just too small), they check their notebook.

If the photo was exactly as expected, they record it in the notebook and move on. If the photo didn’t live up to the pre-visualized concept, they record THAT too.

Then, they make a note of several ways the photo might have gone wrong and how to fix the problem.

Then they go out and shoot again!

Rinse and repeat until you’ve mastered that shot. Then move on to the next one. In a matter of hours, you will see improvement in your photographs. In a matter of weeks, you will be able to accurately shoot whatever type photos you want.

Few digital photography lessons are more powerful than simply keeping (and using) a shot notebook. Try it, you’ll like it.

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Oil paint is a mix of finely ground pigments, linseed, poppy or walnut oil. It was invented in the 15th century and the artists were able to create more realistic paintings by using the oil paints. The medium also allowed them to experiment with different brush strokes and other techniques.

Oil paints are one of the most popular painting mediums used by artists because they can be easily adapted to the discipline of painting. As a paint medium, it is versatile. However, you will need a lot of patience and plenty of practice to master this medium.

Some basic things to look for when choosing oil paints.

There are many different types of oils paints. Some are thick and are best applied with a palette knife, while others are thin and flow easily. The type you choose depends on your own preference. You will need to experiment with different types of the paint and different manufacturers. Eventually, after some experimentation, you will find the paint that suits your style and needs. When you do, you will stick to it.

Another factor in the paint you choose will be your subject matter. Are you going to paint people or landscapes? Alternatively, even abstract paintings. This is why you need to experiment with different types of oil paint.

For instance, Oil paints are an ideal choice for a traditional portrait or a landscape painting. This is because of the natural makeup of the medium. The oil binder in these oil paints absorbs the light. The overall effect of light on the painting will contribute to the natural beauty of your subject. These paints can be manipulated to create a surface that reflects light or deeply absorb it by creating opacity.

The Right Texture and Effects.

The consistency, fluidity and the drying time of these paints along with its mixing mediums enable you to create a wide range of textures and effects. Many brushes are made exclusively for the oil paintings. Stiff brushes come handy while you are using these types of paints.

The paint is slow to dry so you can leave the painting for hours then return to it and carry on where you left off. If you’re thinking of taking up painting then oils will provide you with a wonderful challenge. The prize for overcoming the challenge and mastering the medium is the ability to create beautiful paintings. Now that’s a prize worth having.

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When you are about to start a landscaping project, picking the right landscape supply store can make a huge difference to your bottom line. You can’t approach this like a normal consumer; rather, approach finding a supplier for your landscape project like you are doing a huge job and need to save money where possible. There are quite a few landscape supply stores out there, but only a few are worth dealing with, and they aren’t the ones you see advertising sales on TV.

The landscape supply stores you are looking for are the ones that cater to people who work in the landscaping industry. These landscape supply stores sell their products at an often hefty chunk below retail, but still above wholesale. If you can manage to both find them and convince them to sell to you, you can save a ton of money on your landscaping project. This can be difficult, however, as many of these stores do not like to deal with the general public.

Try talking to some professional landscapers and see if you can pry some information about their suppliers out of them. They will often be reluctant to divulge this information, but with patience, persistence, and a little bit of luck you can find out where the landscape supply stores you are looking for are. Then go to this store and see if they will actually sell to you. A lot of stores that cater to the professionals are not usually open for sales to the general public.

If you don’t have any success in getting a contractor to tell you where the good suppliers are, you can always go through the phone book and look for landscape supply stores that way. Try checking different categories if you are not having any luck with the one your are searching under. Basically, do whatever you have to to find out where the professionals are getting their landscaping supplies from. They all have to buy from somewhere, and no self-respecting contractor pays retail for his materials, so they have to be getting it from somewhere. The money saved in the long run by finding the right landscape supply store is well worth the hassle of finding it in the first place.

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Vincent van Gogh Dutch Painter, 1853-1890, painted magical European landscapes and sea-scapes.

THE ARTIST

Vincent van Gogh, the name does not require any detailed introduction. Van Gogh is one of the most popular artists of all time; so far as the field of painting is concerned. It was a matter of pity, for the artist like him, that his famous paintings were hardly recognized as master pieces during his life time. He went to Paris in 1886 where he became part of the avant-garde art community. He came into contacts of master painters like as Camille Pissarro, Georges Seurat, Edgar Degas, and Paul Gauguin.

THE ART

Painting the ‘European Landscapes‘, Van Gogh had added magic into the art of painting. Van Gogh’s palette had expressive and emotive colours on it. Van Gogh used these colours as a master impressionist, painting his canvases in the style of the impressionist who were used to paint outside their studios. He used mostly brilliant colour to produce the striking light in his paintings. The energetic application of the hot colours produced a rich impasto surface conveying the ever-present vibrancy. Van Gogh painting had one special feature, too: the feature that made him an artist painting obvious and contrary to the prevailing standard, acting like a revolutionary painter.

For an impressionist painter, the controlling of effects of light is an issue demanding artistic skill. While painting out of the doors, it is difficult to choose colours; especially when the artists has to work with his or her eyes half shut due to the presence of blazing sunlight. When an artist paint out of the doors, the same set of principles of painting applies; but it is hard to sort out the chaos of colours and keep their tonal values in tact, especially in the impressionist style of painting.

For reading other articles on paintings and detailed reviews of paintings and seeing the images of the paintings visit the following sites

PAINTINGS GALLERIES

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Understanding background, middle ground and foreground in a painting is key to realism in landscapes. Using the three correctly creates depth which is one of the most important parts of creating a successful landscape painting. Paintings without depth are flat and boring.

Another term used to represent back, middle and foreground is layering. The artist should plan what subjects will be in the painting. By subjects I mean anything, sky, trees, hills, mountains, etc. When you layer you simply put one item in front of another.

Let’s start in the background. If your painting has a sky, this will be the first thing painted. I usually start by wetting the sky with white gesso. Add whatever color you are using to the top and blend downward. This will create a lighter color near the horizon giving the illusion of depth. The next layer in the background should not be of much detail either. Mountains, for example should be a color just a little darker than the sky. The further away you want them to appear will determine how much detail you give them. You could add more layers of mountains with peaks overlapping for more depth. Each mountain or layer that you add will be slightly darker that the previous.

A good example of middle ground layering using the same example could be by adding a middle ground row of bushes and trees. Again, use a color slightly darker that the closest mountain. Paint in the trees, bushes or fields. Paint in a few tall trees that extend up in front of some of the mountains. This will make the mountains or background really look like they are in the distance.

The foreground layer of the painting will contain the most detail and should be the darkest or most vivid in color. I usually add an eye stopper on both sides in the foreground of my paintings. An eye stopper is simply a bush or tree or something that keeps the eye from wanting to go off the painting. It keeps the viewers attention in the painting. Items in the foreground will contain the most detail. For example, if you have some leaves on trees that are to appear very close, you might add a few simple lines in the leaves to appear like veins or a tiny rain drop ready to drip.

Remembering and using these layering techniques will make your paintings appear more realistic and appear to have depth. It is a simple concept that should add life to your landscape painting.

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Lievens and Rembrandt (1606 -1669) were born and raised in the same city and were students of the same art master, Pieter Lastman. They lived not too far away from each other, shared the same studio, used the same art supplies and models, and sometimes even painted each to avoid paying to sitters. They were clearly close and influenced one another’s styles and competed in the painting of similar themes.

The art style of the two was so similar that it is sometimes difficult to distinguish their work. For this reason, some of Lievens’s work was actually attributed to Rembrandt, and thus his name spent much of the last centuries in the shadow of the well-known Rembrandt. However, Lievens was already a well-known young artist in Leiden when Rembrandt met Jan at the master’s studio. It is highly likely that Rembrandt may have even learned from Lievens, using his styles and themes, and perhaps even envied the lesser-known artist.

Constantin Huygens, the statesman, famous aristocrat, expert, and their patron, described the young, talented artists as equals. Huygens wrote, “In his sure touch and liveliness of emotions, conversely, Lievens is the greater in inventiveness and audacious themes and forms…In painting the human countenance, he works miracles.” After seeing the exhibition, I couldn’t express this better myself.

Contrary to popular belief, it was Lievens who, throughout all his successful life, won more celebrity and international commissions than Rembrandt ever did. He was a favorite of the nobility, the clergy, and the wealthy from all over Europe. Lievens was an initiator of stylistic and thematic painting.

From 1632 on, Rembrandt lived and worked in Amsterdam by establishing his own career as portraitist. Rembrandt made his own brand, using what he learned from Lievens as a basis. He was quite stationery, while Lievens, on the other hand, often moved from city to city, country to country, trying to attract more royal patrons and at the same time continuing to broaden his experiences in the craft of art. He became a great portrait artist. Lievens’s landscapes are the evident invention of impressionism, accomplished centuries before the term was formed.

In their final years, Rembrandt and Lievens both happened to live along an Amsterdam canal called the Rozengracht. Lievens outlived Rembrandt for five years. Despite their respective success, fame and demand, both artists died in poverty because of the dire mismanage¬ment of their finances.

Jan Lievens was a courageous and inventive painter, draftsman, and printmaker. As time went on, he adjusted to cultural changes and adapted his style to satisfy his patrons and fans. He created numerous of unforgettable characters, scenes, landscapes, formal portraits, religious, and allegorical images.

One of Lievens’s best paintings is definitely “Still Life with Books.” It has mind-boggling expression of wisdom and philosophy, despite young age of artist when he painted it. It immediately evokes thoughts of the significance of life and our place in the world.

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When you enter any house, you immediately get a feel about that house. Especially art lovers will agree with me that lights form an integral part of home decoration and the home interiors are incomplete without the inclusion of antique lighting! The antique lights add a special ambiance and elegance to the house and make the house have an extra edge over others. Just one has to make sure to use perfect lights for a particular theme of the house. You may even consult and expert before doing lighting arrangement for your house so that there are no hassles later.

Well, even if you decide to go for antique lighting, if you are not aware of the types of antique lights available these days, you may miss out on some important types that will enhance the elegance in your house. Little internet searching will do the trick and even tell you some of the top brands available today. You may also read reviews of these lights online and decide which one to opt for. While decorating your house, if you are crazy for a minimalist trend, the art-deco lighting may impress you.

What is art-deco lighting?

The art-deco lighting came into the market in the early twentieth century and became popular after some years. Basically these lamps were famous for their architectural designs and geometric and angular shapes. Also the material used in it, the chrome, was novel at that time. But even today, this art-deco lighting is one of the most attractive pieces of lamps available in the market. The use of glass was peculiar too. They used sandblasted, etched, and enameled glass to make the lights more serene!

Art-deco lighting is available for almost all places in the house

Art-deco lighting or lamps are available in different shapes and sizes to fit in different rooms of your house. In your bedroom, you may like a tranquil design like PSL/C119. It definitely enhances the serenity in your bedroom. You may think of art-deco lantern too if you want to give a vintage look to your house. Even art-deco bathroom lamps are available. But if you ask experts, they would suggest art-deco ceiling lights for your living room to enhance its ambiance by leaps and bounds. The opaque wall lights can be situated anywhere depending upon the need of light and tranquility!

The most important thing is that you choose whatever model and pattern of antique lighting, you will get the models online in different websites. You can visualize the lamps in the galleries and later finalize your choice. Just make sure to go for reputed sites and save good money with massive discounts. Many websites run special offers over the lights and you may get real good deal. Keep visiting these websites again and again to crack great deals. Antique lights are special. Do not fall for all modern lights. You should instead go for vintage looks for the rustic elegance they emit. Your guests are surely going to compliment you on this home decor and it’s you who will be elated over the great choice!

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No filter is needed in a pondless waterfall? That is correct – a properly designed pondless waterfall needs no filter. It also does not need a centipede module, snorkel vault, or pump housing. The liner industry added all of these unnecessary contraptions to their kits to drive up their profit margins.

I have built hundreds of pondless waterfalls over the years, starting with my first one in 1984 in Fallbrook, California. So, regarding this subject, “A man with experience is not at the mercy of a man with an argument.”

1. Value: Pondless waterfalls constructed with a liner cannot be warranted against holes caused by mice, rats, ground squirrels, gophers, chipmunks, tree roots, sharp objects, etc. However, pondless waterfalls that are constructed with concrete and rebar can be warranted for life. Because of this fact, a professionally constructed pondless waterfall will actually add equity to a home. We have compared the cost of materials and labor (hiring a concrete contractor and rebar fabricator) of both methods of construction and discovered that concrete and rebar pondless waterfalls cost the same or less than liner kits cost, uninstalled still in the box)!

2. Filter: Advocates of pondless waterfalls require you to install a “bio-falls” at the top of the falls for a filter. This is a waste of the customer’s money because it is not needed. Note: this plastic molded box is cheap to produce and returns exorbitant profits, plus it tacks on additional maintenance costs to the client, requiring periodic cleaning.

3. Pump: For several years the promoters of pondless waterfall liners recommended placing a sump pump in the bottom of the collection basin, and then fill it with gravel. I talked to a woman recently who said, when she turned on the sump pump, before the pumped water would return to the basin, the pump was sucking air (the basin was empty). She did not know where the pump was and the installer would not return her calls. A friend of hers found the pump at the bottom of the basin buried in gravel. And, the pump was all plugged up with debris. There is no telling how many thousands of pondless waterfall customers have this very same problem.

4. Needless extras: The pondless waterfall liner guys came up with the brilliant idea of producing a pump chamber with holes in the bottom, or a centipede or snorkel vault. These are all fancy terms for worthless devices for which they can charge more money. All these contraptions do is keep the gravel away from the pump.

5. Correcting two major design flaws: Our pondless waterfalls are designed with a catch basin. It not only does not contain any gravel at all, but it does not utilize an inefficient, high-maintenance, energy-sucking sump pump that only has a one or two-year warranty. Our pondless waterfall basins (constructed of concrete) contain two 8″ anti-vortex suction drains, which feed an above-ground, high-efficiency centrifugal pump which is warranted for three years. The pump uses up to 60 percent less energy, is easy to hide, silent and maintenance free. It utilizes a leaf basket with a “twist and lift” cover for removing debris.

The basin is covered with five or six galvanized grates that are covered with rocks to hide it. The grating holes only allow debris small enough to be drawn through openings in the suction drains where it can be collected in the pump basket for easy removal, thus keeping the basin free from collecting debris. There is no need to ever get into the basin. There is a fail-safe Aquafill water leveler to keep the basin full so you never need to worry about it running dry and burning up the pump. Not to mention that the total volume of the basin is available for water, unlike the liner pondless waterfall that wastes 80 percent of its capacity with gravel. Over several months the gravel plugs up with rotting debris, creating a putrid, slimy, filthy job for the pondless waterfall owner.

6. Last, but by no means least: The reason concrete pondless waterfalls do not need filters is because, unlike the water that slowly moves through the gravel in the basin of a liner pondless waterfall (where the water becomes stagnant from its inability to move freely), concrete pondless waterfalls have an open chamber in the basin, allowing the rapid and free flow of water. This rapid circulation assures that mosquito larvae cannot survive. Nor can algae survive since the basin is covered. This keeps out the sunlight, cools off the water and keeps it clear.

Since a pondless waterfall does not have a pond, you are not dealing with fish food, fish waste, and large quantities of decaying debris. Consequently, there is no need for a filter in a properly designed concrete pondless waterfall. Hundreds of pondless waterfalls since 1984 will attest to that fact.

An ounce of prevention is worth a pond cure. DH

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O.K. you saw a photo mosaic and you love this great idea and wish to give such a photo as a gift. What should you do next and how can you create such a photo that would not miss the point?

Photomosaic is an art that is gaining popularity in recent years. It has several forms and synonyms such as photomontage or phototiling. The techniques of forming this art are different and accordingly the final result. There is a technique that divides the master photo to smaller sections and picks the tiling photos according to the resemblance to each section. This technique usually uses a large number of tiling photos to find the best match to each section. The result might be appealing to the eye but I do find it lacking the personalization that I do expect from such an art. Especially when it is intended as a gift, due to the large number of cell photos required it might be difficult to present a subject

Another technique apply larger section of the master photo and embed or overlay the tiling photos so the master photo is more pronounce while viewed from a distance, while the details of each photo tile can be viewed in closer inspection of the photo.

In a third technique the tiling photos serve as the pixels of the master photo.

In this technique each tiling photo is tinted to the appropriate hue and intensity of the matching pixel of the master photo and replaces it.

With the last two techniques above it is easier to set a subject to the photo and get the personalization to the photo. Here are couple examples of a subject you can get with these techniques.

1) Assume you want to give such a photo to a friend of yours which is a freak of antic cars. You can pick photos of appropriate cars and use these as cell photos while creating your friend portrait. This way you get the personalization of the photo. It is not just a portrait. It has a deeper meaning in it.

2) You have your own small business. You can make a photo with the logo of your business made of photos of your employees/partners/customers/vendors who ever you want to give the feeling they are part of this operation to represent the business is made of the people in the organization and related to it.

You need to think of photo mosaic like an article, it has its title that can be seen from a distance and it has its detailed story that can be viewed in a close inspection, accordingly you can pick the proper photos for each photo mosaic you want to make.

To create the photo mosaic you can either download software and run it yourself, or get it done for you in a site that gives this service such as http://www.TweakPic.com

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