Art Of Concentration

At times we say to ourselves ‘I must concentrate to finish this job’, we know there are many times and situations within our daily life where it is necessary to concentrate to complete the job in hand. But how many of us really know how to concentrate, how to shutout all the distractions around us, how to be consciously aware of the task in front of us. The psychologists suggest that a man thinks of sex once every 30 seconds, which means of course he can concentrate on little else. And it is also a fact that when we do concentrate it is quite often on a subject that is no good for us and has no lasting benefits.

Yet we all instinctively know that if we are able to concentrate completely upon a subject it would be achieved quickly and with a minimum of distraction. In fact in those rare moments when we do completely concentrate time itself seems to contract, there is also an inner sense of joy and accomplishment whenever the task is completed.

Some call concentration an Art and being so it can be learnt and practiced, although the lessons and methods are fairly easy they do require a sense of discipline, but if mastered the benefits will be apparent throughout your life. Concentration also has an aspect about which most people are unaware, that is, when in deep concentration we are also connected more closely with our subconscious. This in itself can bring much understanding into our life. Many religious and philosophical practices are designed in order to stop our conscious mind being aware of the many distractions around us while contemplating, their procedures all have the one purpose of creating a deep connection initially to the subconscious and then to the higher spiritual realms. When we can fully concentrate upon a subject or a moment in time this connection opens and becomes available to us.

Closely associated with concentration is willpower, the relationship is totally dependent without one you cannot have the other. Think of an athlete in an Olympic running final, his willpower has sustained him in his goal of reaching the final and eventually winning. But it is at that moment just before the whistle blows where he needs his full concentration, if he allows distractions then all will be lost, the other competitors and all the spectators must be blocked from his mind. There are many other situations with which I'm sure you can imagine where both willpower and concentration are needed in equal parts.

We all have abilities and talents that we rarely use to the fullest potential, we often think if I could just concentrate that little bit more I might make a success of this particular project, although this article can barely do the subject of concentration justice, the following exercises may be a starting point from which you begin a journey of self-discovery.

We could apply concentration to each task that we performed during the day, this in itself would be beneficial, we would begin to experience an inner calm in the increasing chaotic world around us. Yet where the power of concentration can really help is when we apply it to a particular project or aspect in our life, a goal or desire that we wish to manifest. Thoughts have power, we know that when people experience fear, anxiety or worry, the body can react, hair can turn gray, hearts can stop. In equal measure thoughts of happiness and joy can light up our life. So the power of concentration can best be used on goals and desires that enhance our lives, using concentration in such a way allows us to create our own reality we take control of our life.

There are many ways in which you can use of the power of concentration here are but a few:-
· The breaking of bad habits
· Business projects especially if you are self employed
· Moral characteristics you may wish to strengthen or create
· The acquisition of wealth
· A new Romantic partner or strengthening your existing relationship.

While performing the following exercises you should have steady, deep breathing, but do not exert yourself. During meditation deep breathing helps the mind to remain still and calm. In fact a good exercise is simply to concentrate on your inhale and exhaling, while doing so you let any thoughts that arise from your mind just drift on by, do not think about them just let them go.

Exercise One.
Take a simple thought for example health, think of yourself in full health, think of that warm glow, the relaxed feeling you have when you're feeling healthy. Try to maintain this thought for as long as possible, don’t let other thoughts intrude, concentrate completely upon yourself. This is a good exercise to start with as it is not to specific, as it will allow only thoughts and images about yourself to intrude upon your mental process.

Exercise Two.
Hold your arm out in front of you at shoulder height. Raise your hand slightly so you can see your fingernails, concentrate upon your fingernails trying to keep your arms steady for at least one minute. Each time you perform this exercise try to extend the concentration time a little longer until performing the exercise for up to five minutes. Do this exercise with both arms.

Exercise Three.
Take a glass of water and hold it in front of you, fix your attention upon the top of the glass. Try to keep your arm as steady as possible concentrate upon the ripples your aim is to see no ripples, no movement within the water at all.

Exercise Four.
This exercise can be performed by either standing or sitting. Take a piece of plain paper and draw a visible dot in the center, place the paper on the wall in front of you and concentrate upon the dot. When you are relaxed imagine the air that you are breathing in is coming from the dot and the air you are exhaling is going into the dot. Start performing this exercise for at least five minutes and increase up to at least 20 minutes.

Exercise Five.
There is no time limit set upon this particular exercise, but if practiced on a regular basis can open your mind to its inner potential. Take a clock, one you can hear the ticking, your aim is not to concentrate upon the ticks, but upon the spaces between the ticks. As you gain experience with this exercise you may well notice that the ticks begin to dissolve in your mind and the time between the ticks becomes extended. But the longer you can perform this exercise and the deeper you can concentrate while doing it, your perception of time begins to disappear, the exercise is completed in no time at all.

It is only after an extensive use of these exercises that we begin to appreciate the benefits of concentration, like learning to ride a bike once we have mastered the Art it is something that never leaves us.

We all think we can concentrate but have you ever really tried?

Art Deco Interior Design: Is The Art Deco Design Right For Your Home?

The art deco interior design reminds us of clean geometrical shapes. The neatness and eclectic nature of this style is remarkable. Today there is a great re-emergence of this style that was vastly popular between 1920 and 1929.

The materials used in the Art deco interior design remind us of the modern age of machines. These materials usually used are stainless steel, aluminum, animal prints and inlaid wood work.

The design itself brings a look of luxury and reminds people about the beginning of the modern times. Although distinctly a style that sets itself apart from the classic period, art deco interior design does incorporate some elements of historical design from ancient Egypt and ancient Meso-American cultures.

This particular style is particularly suitable for decorating rooms where sharp geometrical angles can give the room a definite face lift. Bedrooms, Bathrooms, Entertainment centers all can benefit with an Art deco makeover.

The best thing about this particular interior decoration style is that only a bare minimum amount of furnishings are required. However, for the purposes of personalization some subtle touches like artwork or some decorative items can be added.

Flooring is a definite article that needs to be paid attention to when decorating with this style. Natural color flooring can complement the art deco look in a room.

Make sure you choose carpeting and flooring that brings out the best in your chosen style and theme. It takes only a little thought when it comes to giving a special touch to any room; for example, bathrooms do well with some rugs thrown in casually on the floor.

The bottom line: if you like a classic retro look that adds glamour to your house without the need for many frills, art deco could be the perfect choice. Decorating with art deco is definitely not for the faint hearted because it gives rooms a definite influx of attitude.

This style of interior design can make any room look sharp. Therefore, standout Art deco interior design is the way to go if you like sharp geometrical designs and you are interested in a look that stands apart from all the rest.

Art Lighting As Art

To treat Art lighting as art in and of itself requires first an understanding of the scientific and aesthetic qualities of light. Light is a universal constant, because the speed of light is the fastest velocity in physical reality, and it can neither be altered nor exceeded. Light always travels in a straight line, and any obstruction in its path casts a shadow. Light always reflects to some degree off of any surface, which is what makes it possible for us to see any work of art. Light also can fill a space without consuming it, making it possible to use any form of lighting as art provided the angle of incident is aimed correctly at the piece. Improper angles will not only create shadows resulting from light spillage, but they will create glare as the beam reflects off the surface of the work back toward the viewer’s eyes.

Because light possesses many qualities that are absolute and inviolate, it is in one sense impossible to completely eliminate glare and shadow, because no matter what you do, some light is going to reflect off the piece, and sooner or later, the light will encounter some sort of obstruction that casts a shadow. A skillful art lighting company who specializes in designing light as art understands this, and rather than engage in the futile attempt to eliminate glare and shadow in defiance of the laws of physics, works instead in harmony with Nature’s laws and seeks to position any resulting glare and shadow outside of the viewer’s line of sight.

The old cliché "Out of sight, out of mind," rings very true when approaching artwork lighting as an art form unique unto itself.

To accomplish this, it is necessary to understand angles from a three-dimensional, as opposed to a two-dimensional, point of view. Light striking the surface of any art, including modern contemporary art from a nearby fixture constitutes one angle of incident. The reflected light coming back to the observer constitutes a second. The two must be measured carefully in relation to one another if one is to determine the appropriate position of any lighting fixture. If the right balance is struck, then reflective glare and resulting shadow will be hidden from his or her line of sight, allowing for an uninhibited experience of light and art from that particular viewing angle.

This calls for the art lighting designer to take a number of factors into account when installing an picture or art lighting system. First, the designer has to pinpoint all points of observation within a room where viewers will possibly be standing when they view various works. These points vary greatly based upon the environment and the type of room involved. Vantage points in museums are vastly different from those in office foyers and private living rooms. Secondly, the designer has to look at the surface of the art itself to assess its reflective qualities. High-end photography and certain forms of paint cause the surface of the image to have a “sheen” that acts as a virtual mirror, casting not only reflected color back into the eyes, but portions of the light beam itself. Dimmable, recessed art lighting is often required for such artwork in order to disperse illumination sufficiently not to shine back into the eyes.

Finally, one very important element to art lighting as art that many fail to even consider is the size and type of frame housing the piece in residential art designs. Light from a fixture that is placed too high will actually be blocked by the upper lip of the frame and cast what is called a “frame shadow” over the work. Something as simple as adjusting the level of the painting can often remedy this problem, although in formal galleries this may not be an option, and special fixtures with complex reflectors and filters may be needed to create a more indirect “wash” of luminance that results in both painting and frame being bathed in a radiant field of light as opposed to a bright beam of focused, direct light.

Perhaps one of the best tools available to art lighting consultants is a high-end art projector that allows for a variety of lighting level adjustments, advanced lighting filters and special reflectors, and the ability to proportionately size a beam to the precise dimensions of a work. While this does not completely eliminate glare and shadow (which the laws of physics mandate are inevitable with any form of lighting), it does give the collector or curator more power to control these negative elements, or in some cases, even turn them into art lighting attributes.

For example, many painters such as Goya, and certain genres such as surrealism, rely upon shadows to emphasize themes connected to the dark side of man, or the apparent duality of Nature itself. Placing too much light on such artwork will diminish its statement by overriding elements of shadow that the artist intended to be present. Phantom art lighting projectors can be dimmed and adjusted for such works so as to create a “lighted from within” effect that preserves the artist’s use of dark elements and negative images, providing just enough visibility for the viewer to see the work and its key aesthetic elements.

In a philosophical sense, we might say then that even darkness comes from light, and reality is more of a variation in luminance instead of a contrast between light and absence of light. Art challenges our thinking in much the same manner, forcing us to confront a world of color, light, and shadow that coalesce together in often-ambiguous patterns that force us to question our view of the world and explore the unknown through the eyes of the artist. The same hold true when designing and installing and designing landscape lighting.

To light art, you must understand both light and art, and art as light from the vantage point of a trained consultant. While becoming a consultant may take years of training and practice, with the help of a qualified electrical contractor, you can achieve the same results through partnership and dialogue with an expert.

Art Lighting As Art

To treat Art lighting as art in and of itself requires first an understanding of the scientific and aesthetic qualities of light. Light is a universal constant, because the speed of light is the fastest velocity in physical reality, and it can neither be altered nor exceeded. Light always travels in a straight line, and any obstruction in its path casts a shadow. Light always reflects to some degree off of any surface, which is what makes it possible for us to see any work of art. Light also can fill a space without consuming it, making it possible to use any form of lighting as art provided the angle of incident is aimed correctly at the piece. Improper angles will not only create shadows resulting from light spillage, but they will create glare as the beam reflects off the surface of the work back toward the viewer’s eyes.

Because light possesses many qualities that are absolute and inviolate, it is in one sense impossible to completely eliminate glare and shadow, because no matter what you do, some light is going to reflect off the piece, and sooner or later, the light will encounter some sort of obstruction that casts a shadow. A skillful art lighting company who specializes in designing light as art understands this, and rather than engage in the futile attempt to eliminate glare and shadow in defiance of the laws of physics, works instead in harmony with Nature’s laws and seeks to position any resulting glare and shadow outside of the viewer’s line of sight.

The old cliché "Out of sight, out of mind," rings very true when approaching artwork lighting as an art form unique unto itself.

To accomplish this, it is necessary to understand angles from a three-dimensional, as opposed to a two-dimensional, point of view. Light striking the surface of any art, including modern contemporary art from a nearby fixture constitutes one angle of incident. The reflected light coming back to the observer constitutes a second. The two must be measured carefully in relation to one another if one is to determine the appropriate position of any lighting fixture. If the right balance is struck, then reflective glare and resulting shadow will be hidden from his or her line of sight, allowing for an uninhibited experience of light and art from that particular viewing angle.

This calls for the art lighting designer to take a number of factors into account when installing an picture or art lighting system. First, the designer has to pinpoint all points of observation within a room where viewers will possibly be standing when they view various works. These points vary greatly based upon the environment and the type of room involved. Vantage points in museums are vastly different from those in office foyers and private living rooms. Secondly, the designer has to look at the surface of the art itself to assess its reflective qualities. High-end photography and certain forms of paint cause the surface of the image to have a “sheen” that acts as a virtual mirror, casting not only reflected color back into the eyes, but portions of the light beam itself. Dimmable, recessed art lighting is often required for such artwork in order to disperse illumination sufficiently not to shine back into the eyes.

Finally, one very important element to art lighting as art that many fail to even consider is the size and type of frame housing the piece in residential art designs. Light from a fixture that is placed too high will actually be blocked by the upper lip of the frame and cast what is called a “frame shadow” over the work. Something as simple as adjusting the level of the painting can often remedy this problem, although in formal galleries this may not be an option, and special fixtures with complex reflectors and filters may be needed to create a more indirect “wash” of luminance that results in both painting and frame being bathed in a radiant field of light as opposed to a bright beam of focused, direct light.

Perhaps one of the best tools available to art lighting consultants is a high-end art projector that allows for a variety of lighting level adjustments, advanced lighting filters and special reflectors, and the ability to proportionately size a beam to the precise dimensions of a work. While this does not completely eliminate glare and shadow (which the laws of physics mandate are inevitable with any form of lighting), it does give the collector or curator more power to control these negative elements, or in some cases, even turn them into art lighting attributes.

For example, many painters such as Goya, and certain genres such as surrealism, rely upon shadows to emphasize themes connected to the dark side of man, or the apparent duality of Nature itself. Placing too much light on such artwork will diminish its statement by overriding elements of shadow that the artist intended to be present. Phantom art lighting projectors can be dimmed and adjusted for such works so as to create a “lighted from within” effect that preserves the artist’s use of dark elements and negative images, providing just enough visibility for the viewer to see the work and its key aesthetic elements.

In a philosophical sense, we might say then that even darkness comes from light, and reality is more of a variation in luminance instead of a contrast between light and absence of light. Art challenges our thinking in much the same manner, forcing us to confront a world of color, light, and shadow that coalesce together in often-ambiguous patterns that force us to question our view of the world and explore the unknown through the eyes of the artist. The same hold true when designing and installing and designing landscape lighting.

To light art, you must understand both light and art, and art as light from the vantage point of a trained consultant. While becoming a consultant may take years of training and practice, with the help of a qualified electrical contractor, you can achieve the same results through partnership and dialogue with an expert.

Art Lighting As Art

To treat Art lighting as art in and of itself requires first an understanding of the scientific and aesthetic qualities of light. Light is a universal constant, because the speed of light is the fastest velocity in physical reality, and it can neither be altered nor exceeded. Light always travels in a straight line, and any obstruction in its path casts a shadow. Light always reflects to some degree off of any surface, which is what makes it possible for us to see any work of art. Light also can fill a space without consuming it, making it possible to use any form of lighting as art provided the angle of incident is aimed correctly at the piece. Improper angles will not only create shadows resulting from light spillage, but they will create glare as the beam reflects off the surface of the work back toward the viewer’s eyes.

Because light possesses many qualities that are absolute and inviolate, it is in one sense impossible to completely eliminate glare and shadow, because no matter what you do, some light is going to reflect off the piece, and sooner or later, the light will encounter some sort of obstruction that casts a shadow. A skillful art lighting company who specializes in designing light as art understands this, and rather than engage in the futile attempt to eliminate glare and shadow in defiance of the laws of physics, works instead in harmony with Nature’s laws and seeks to position any resulting glare and shadow outside of the viewer’s line of sight.

The old cliché "Out of sight, out of mind," rings very true when approaching artwork lighting as an art form unique unto itself.

To accomplish this, it is necessary to understand angles from a three-dimensional, as opposed to a two-dimensional, point of view. Light striking the surface of any art, including modern contemporary art from a nearby fixture constitutes one angle of incident. The reflected light coming back to the observer constitutes a second. The two must be measured carefully in relation to one another if one is to determine the appropriate position of any lighting fixture. If the right balance is struck, then reflective glare and resulting shadow will be hidden from his or her line of sight, allowing for an uninhibited experience of light and art from that particular viewing angle.

This calls for the art lighting designer to take a number of factors into account when installing an picture or art lighting system. First, the designer has to pinpoint all points of observation within a room where viewers will possibly be standing when they view various works. These points vary greatly based upon the environment and the type of room involved. Vantage points in museums are vastly different from those in office foyers and private living rooms. Secondly, the designer has to look at the surface of the art itself to assess its reflective qualities. High-end photography and certain forms of paint cause the surface of the image to have a “sheen” that acts as a virtual mirror, casting not only reflected color back into the eyes, but portions of the light beam itself. Dimmable, recessed art lighting is often required for such artwork in order to disperse illumination sufficiently not to shine back into the eyes.

Finally, one very important element to art lighting as art that many fail to even consider is the size and type of frame housing the piece in residential art designs. Light from a fixture that is placed too high will actually be blocked by the upper lip of the frame and cast what is called a “frame shadow” over the work. Something as simple as adjusting the level of the painting can often remedy this problem, although in formal galleries this may not be an option, and special fixtures with complex reflectors and filters may be needed to create a more indirect “wash” of luminance that results in both painting and frame being bathed in a radiant field of light as opposed to a bright beam of focused, direct light.

Perhaps one of the best tools available to art lighting consultants is a high-end art projector that allows for a variety of lighting level adjustments, advanced lighting filters and special reflectors, and the ability to proportionately size a beam to the precise dimensions of a work. While this does not completely eliminate glare and shadow (which the laws of physics mandate are inevitable with any form of lighting), it does give the collector or curator more power to control these negative elements, or in some cases, even turn them into art lighting attributes.

For example, many painters such as Goya, and certain genres such as surrealism, rely upon shadows to emphasize themes connected to the dark side of man, or the apparent duality of Nature itself. Placing too much light on such artwork will diminish its statement by overriding elements of shadow that the artist intended to be present. Phantom art lighting projectors can be dimmed and adjusted for such works so as to create a “lighted from within” effect that preserves the artist’s use of dark elements and negative images, providing just enough visibility for the viewer to see the work and its key aesthetic elements.

In a philosophical sense, we might say then that even darkness comes from light, and reality is more of a variation in luminance instead of a contrast between light and absence of light. Art challenges our thinking in much the same manner, forcing us to confront a world of color, light, and shadow that coalesce together in often-ambiguous patterns that force us to question our view of the world and explore the unknown through the eyes of the artist. The same hold true when designing and installing and designing landscape lighting.

To light art, you must understand both light and art, and art as light from the vantage point of a trained consultant. While becoming a consultant may take years of training and practice, with the help of a qualified electrical contractor, you can achieve the same results through partnership and dialogue with an expert.

Art Lighting As Art

To treat Art lighting as art in and of itself requires first an understanding of the scientific and aesthetic qualities of light. Light is a universal constant, because the speed of light is the fastest velocity in physical reality, and it can neither be altered nor exceeded. Light always travels in a straight line, and any obstruction in its path casts a shadow. Light always reflects to some degree off of any surface, which is what makes it possible for us to see any work of art. Light also can fill a space without consuming it, making it possible to use any form of lighting as art provided the angle of incident is aimed correctly at the piece. Improper angles will not only create shadows resulting from light spillage, but they will create glare as the beam reflects off the surface of the work back toward the viewer’s eyes.

Because light possesses many qualities that are absolute and inviolate, it is in one sense impossible to completely eliminate glare and shadow, because no matter what you do, some light is going to reflect off the piece, and sooner or later, the light will encounter some sort of obstruction that casts a shadow. A skillful art lighting company who specializes in designing light as art understands this, and rather than engage in the futile attempt to eliminate glare and shadow in defiance of the laws of physics, works instead in harmony with Nature’s laws and seeks to position any resulting glare and shadow outside of the viewer’s line of sight.

The old cliché "Out of sight, out of mind," rings very true when approaching artwork lighting as an art form unique unto itself.

To accomplish this, it is necessary to understand angles from a three-dimensional, as opposed to a two-dimensional, point of view. Light striking the surface of any art, including modern contemporary art from a nearby fixture constitutes one angle of incident. The reflected light coming back to the observer constitutes a second. The two must be measured carefully in relation to one another if one is to determine the appropriate position of any lighting fixture. If the right balance is struck, then reflective glare and resulting shadow will be hidden from his or her line of sight, allowing for an uninhibited experience of light and art from that particular viewing angle.

This calls for the art lighting designer to take a number of factors into account when installing an picture or art lighting system. First, the designer has to pinpoint all points of observation within a room where viewers will possibly be standing when they view various works. These points vary greatly based upon the environment and the type of room involved. Vantage points in museums are vastly different from those in office foyers and private living rooms. Secondly, the designer has to look at the surface of the art itself to assess its reflective qualities. High-end photography and certain forms of paint cause the surface of the image to have a “sheen” that acts as a virtual mirror, casting not only reflected color back into the eyes, but portions of the light beam itself. Dimmable, recessed art lighting is often required for such artwork in order to disperse illumination sufficiently not to shine back into the eyes.

Finally, one very important element to art lighting as art that many fail to even consider is the size and type of frame housing the piece in residential art designs. Light from a fixture that is placed too high will actually be blocked by the upper lip of the frame and cast what is called a “frame shadow” over the work. Something as simple as adjusting the level of the painting can often remedy this problem, although in formal galleries this may not be an option, and special fixtures with complex reflectors and filters may be needed to create a more indirect “wash” of luminance that results in both painting and frame being bathed in a radiant field of light as opposed to a bright beam of focused, direct light.

Perhaps one of the best tools available to art lighting consultants is a high-end art projector that allows for a variety of lighting level adjustments, advanced lighting filters and special reflectors, and the ability to proportionately size a beam to the precise dimensions of a work. While this does not completely eliminate glare and shadow (which the laws of physics mandate are inevitable with any form of lighting), it does give the collector or curator more power to control these negative elements, or in some cases, even turn them into art lighting attributes.

For example, many painters such as Goya, and certain genres such as surrealism, rely upon shadows to emphasize themes connected to the dark side of man, or the apparent duality of Nature itself. Placing too much light on such artwork will diminish its statement by overriding elements of shadow that the artist intended to be present. Phantom art lighting projectors can be dimmed and adjusted for such works so as to create a “lighted from within” effect that preserves the artist’s use of dark elements and negative images, providing just enough visibility for the viewer to see the work and its key aesthetic elements.

In a philosophical sense, we might say then that even darkness comes from light, and reality is more of a variation in luminance instead of a contrast between light and absence of light. Art challenges our thinking in much the same manner, forcing us to confront a world of color, light, and shadow that coalesce together in often-ambiguous patterns that force us to question our view of the world and explore the unknown through the eyes of the artist. The same hold true when designing and installing and designing landscape lighting.

To light art, you must understand both light and art, and art as light from the vantage point of a trained consultant. While becoming a consultant may take years of training and practice, with the help of a qualified electrical contractor, you can achieve the same results through partnership and dialogue with an expert.

Art Lighting As Art

To treat Art lighting as art in and of itself requires first an understanding of the scientific and aesthetic qualities of light. Light is a universal constant, because the speed of light is the fastest velocity in physical reality, and it can neither be altered nor exceeded. Light always travels in a straight line, and any obstruction in its path casts a shadow. Light always reflects to some degree off of any surface, which is what makes it possible for us to see any work of art. Light also can fill a space without consuming it, making it possible to use any form of lighting as art provided the angle of incident is aimed correctly at the piece. Improper angles will not only create shadows resulting from light spillage, but they will create glare as the beam reflects off the surface of the work back toward the viewer’s eyes.

Because light possesses many qualities that are absolute and inviolate, it is in one sense impossible to completely eliminate glare and shadow, because no matter what you do, some light is going to reflect off the piece, and sooner or later, the light will encounter some sort of obstruction that casts a shadow. A skillful art lighting company who specializes in designing light as art understands this, and rather than engage in the futile attempt to eliminate glare and shadow in defiance of the laws of physics, works instead in harmony with Nature’s laws and seeks to position any resulting glare and shadow outside of the viewer’s line of sight.

The old cliché "Out of sight, out of mind," rings very true when approaching artwork lighting as an art form unique unto itself.

To accomplish this, it is necessary to understand angles from a three-dimensional, as opposed to a two-dimensional, point of view. Light striking the surface of any art, including modern contemporary art from a nearby fixture constitutes one angle of incident. The reflected light coming back to the observer constitutes a second. The two must be measured carefully in relation to one another if one is to determine the appropriate position of any lighting fixture. If the right balance is struck, then reflective glare and resulting shadow will be hidden from his or her line of sight, allowing for an uninhibited experience of light and art from that particular viewing angle.

This calls for the art lighting designer to take a number of factors into account when installing an picture or art lighting system. First, the designer has to pinpoint all points of observation within a room where viewers will possibly be standing when they view various works. These points vary greatly based upon the environment and the type of room involved. Vantage points in museums are vastly different from those in office foyers and private living rooms. Secondly, the designer has to look at the surface of the art itself to assess its reflective qualities. High-end photography and certain forms of paint cause the surface of the image to have a “sheen” that acts as a virtual mirror, casting not only reflected color back into the eyes, but portions of the light beam itself. Dimmable, recessed art lighting is often required for such artwork in order to disperse illumination sufficiently not to shine back into the eyes.

Finally, one very important element to art lighting as art that many fail to even consider is the size and type of frame housing the piece in residential art designs. Light from a fixture that is placed too high will actually be blocked by the upper lip of the frame and cast what is called a “frame shadow” over the work. Something as simple as adjusting the level of the painting can often remedy this problem, although in formal galleries this may not be an option, and special fixtures with complex reflectors and filters may be needed to create a more indirect “wash” of luminance that results in both painting and frame being bathed in a radiant field of light as opposed to a bright beam of focused, direct light.

Perhaps one of the best tools available to art lighting consultants is a high-end art projector that allows for a variety of lighting level adjustments, advanced lighting filters and special reflectors, and the ability to proportionately size a beam to the precise dimensions of a work. While this does not completely eliminate glare and shadow (which the laws of physics mandate are inevitable with any form of lighting), it does give the collector or curator more power to control these negative elements, or in some cases, even turn them into art lighting attributes.

For example, many painters such as Goya, and certain genres such as surrealism, rely upon shadows to emphasize themes connected to the dark side of man, or the apparent duality of Nature itself. Placing too much light on such artwork will diminish its statement by overriding elements of shadow that the artist intended to be present. Phantom art lighting projectors can be dimmed and adjusted for such works so as to create a “lighted from within” effect that preserves the artist’s use of dark elements and negative images, providing just enough visibility for the viewer to see the work and its key aesthetic elements.

In a philosophical sense, we might say then that even darkness comes from light, and reality is more of a variation in luminance instead of a contrast between light and absence of light. Art challenges our thinking in much the same manner, forcing us to confront a world of color, light, and shadow that coalesce together in often-ambiguous patterns that force us to question our view of the world and explore the unknown through the eyes of the artist. The same hold true when designing and installing and designing landscape lighting.

To light art, you must understand both light and art, and art as light from the vantage point of a trained consultant. While becoming a consultant may take years of training and practice, with the help of a qualified electrical contractor, you can achieve the same results through partnership and dialogue with an expert.

The Art Of Cleaning Art

Art is a part of life and for some, it is their way of life. Others usually consider art as a worthy investment. Regardless of how you see art, restoring and preserving art pieces are important techniques to maintain their value. Painting restoration is a serious matter; that is why most people prefer to have their paintings professionally restored. However, if you like the thought of restoring your own pieces, lots of practice and familiarity with techniques are necessary. Because according to statistics, more paintings and art works are destroyed each year by inept restoration and cleaning than by accidental burning or fire.

Clouded varnish, dirt, and smoke are the usual culprits that cause paintings to become dirty. Restoring paintings by cleaning it is the logical step of most owners. However, wiping paintings with rags or whatever liquid is damaging. Art restoration professionals recommend researching restoration techniques on the internet or attending seminars on restoring paintings before embarking on a restoration mission.

Art works look more elegant and classic when preserved in their original frames. As it is, detaching paintings from their frames is necessary and important before the actual cleaning. Non-removal of the frames not only causes discomfort and unease in cleaning, it also causes scratches and abrasion. Remove the frames by laying the picture backside up on a flat surface layered with foam or cushion to avoid scratching the frames. Vacuum accumulated dust on the frames' back and remove nails gently with a metal ruler and pliers. Secure the nails on board with labels of their previous positions. For example, secure and label the nails plucked from the lower right side of the frame as "lower right". This way, each nail fits exactly on its previous place without causing added strain on the frame. Marking the frame is also a good idea to be able to return it to its original position.

After removing paintings from their frame, it is better to inspect the kind of dirt build-up on the paintings. Knowing the kind of dirt to be removed is necessary in finding and using the right product and tools. Anti-mildew solutions remove mildew build-up or "foxing" effectively. However, soaking the painting in these solutions damages the colors and the painting. To prevent this, soak or spray the solution on a cotton pad and wipe on the area affected with foxing. Follow up with a water-dipped cotton pad and wipe dry. Periodically check cotton pads to see if some color or paint was dissolved. For dirt build-up that requires light to medium cleaning, slicing an onion in half and dipping it in lemon juice remove grime and dirt off art work. Rub paintings with lemon-soaked onion using a circular motion for even application. Slice the onion regularly to expose a fresh layer. An alternative is using warm water with lemon detergent or washing soda. Finish either treatment by wiping their painting with a moist sponge and leaving it to dry. Art works respond to this treatment with improved depth of color.

Experts recommend leaving varnish removal and painting repair to the professionals. Art works do not sell well or look good if extensively damaged. As these types of restoration require complicated techniques, the chances of botching the job are high if done by amateurs. The job is expensive but make the value of your paintings appreciate.

The Great Art Of Nursery Art

The great artists of the last century had many goals, from trying to draw as a child draws to attempts to discover what art is. Indeed it can be said that many of the works of art in the last century where works that searched for a meaning, for a purpose, and which communicated this search to others. For this reason it can be said that the last century’s art was in many ways an attempt to discover the philosophy of art.

It can also be said that in many ways art for children follows many of these same goals, however rather then an attempt to understand art, the art created for children often attempts to understand something much more meaningful that is the children it is created for. In this way children’s art is an attempt to understand life, happiness, joy, love and family. Perhaps more importantly the creation of nursery art is and attempts to communicate the high emotions of happiness and joy. Such lofty goals may not be fully achievable for any adult, however it is for this reason, this difficulty, mixed with the pleasure such art can give to children and adults, art for children is one of the highest forms of art there is. Make no mistake, nursery art no matter how cute or seemingly trivial is still art, great art in fact, as was proven in the last century art is what artists and society feels is art. So if children and parents feel that something is art then it truly is art as surely as if the top art critiques in the world gave it rave reviews.

Yet despite the fact that the last century was in essence an attempt to prove that many things are art the art created for children was somehow left out of arts lofty world. It is perhaps because people think of art for children as wall art, décor that people grow out of, that so many within the art world look down on even the greatest works of children’s art. It is important to note however the last thousand years of art have been building towards the goal of understanding composition, not only to discover the way pictures move, but to understand what art looks good. What purpose was all this effort if not to help make art better, and so more decorative? Children’s art is merely the descendent of a long chain of great art from the Renaissance to the Deco period attempting to grace the places we live.

Further while it is true that some people grow out of cute and warm works of art not all people do, from the works of Precious Moments to those of Bergsma there have been works of cute art that many adults have found delight in. In addition should any work of art appeal strongly only to one segment it is still great art, and should be defended as such. In the case of art intended for children and in many ways their parents as well the target segment of the population is perhaps the most important because this art will shape the future rather then simply communicate the present.

The Art Of Travel And The Art Of Writing

In Alain de Botton’s engaging book, The Art of Travel, he distinguishes between the anticipation and recollection of travel versus the reality of actually traveling.

When we anticipate, we study travel brochures and create in our imagination all sorts of exotic adventures, lying ahead of us. Once really there, we photograph the Eiffel Tower with our friends or family, their arms slung over one another’s shoulders and grinning into the camera. That forms the recollection, the moments we choose to remember.

Magically gone from memory are the delayed flight, the lousy food and the hotel room overlooking the alley, where the garbage collectors banged tins at 5am. But, if we otherwise enjoy ourselves, we select those ‘good moments’ and photograph them to construct a different reality from the real reality.

De Botton’s next idea is fascinating. He says that’s exactly what the artist does. Whether writing a novel, painting a picture or scoring a symphony, the artist imagines the outline of the work [anticipates the delights of the trip] then selects that which is felt to have artistic value [forgets the garbage men and includes friends at the Eiffel Tower]. Just as the traveler now has a fine and satisfying memory of the trip, the artist has a wonderful novel, painting or musical score. The artist has created art through imagination, selection, rejection and combination of artistic elements resulting in something new. The happy traveler has created a wonderful trip.

Then he tells of a man who had a very peculiar experience. After feasting his eyes upon paintings by Jan Steen and Rembrandt, this traveler anticipated beauty, joviality and simplicity in Holland. Many paintings of laughing, carousing cavaliers had fixed this image in his mind, along with quaint houses and canals. But on a trip to Amsterdam and Haarlem, he was strangely disappointed.

No, according to De Botton, the paintings had not lied. Certainly, there were a number of jovial people and pretty maids pouring milk, but the images of them were diluted in this traveler’s mind, by all the other ordinary, boring things he saw. Such commonplace items simply did not fit his mental picture. Thus, reality did not compare to an afternoon of viewing the works of Rembrandt in a gallery. And why not? Because Rembrandt and Steen had, by selecting and combining elements, captured the essence of the beauty of Holland, thereby intensifying it.

This is exactly what a writer or any artist tries to do and as a traveler, you may do much the same thing

When writing about a day in your protagonist’s life, you don’t start with what he had for breakfast or that his car wouldn’t start unless it’s germane to the plot or his character. You compress. You select and embellish. You toss out. All the details of your story must combine to intensify real life in order to create something interesting and of artistic merit. When I started writing the first novel in the Osgoode Trilogy, Conduct in Question, I had to learn it wasn’t necessary to build the whole city with lengthy descriptions of setting and character, before Harry Jenkins [the protagonist lawyer] could do anything. But many nineteenth century novelists did write numerous pages with glowing descriptions of the Scottish moors or a county hamlet. And that was necessary because, with the difficulty of travel, a reader might well need help in picturing the setting. But today, with the ease of travel, the surfeit of film, web and television images, no reader needs more than the briefest description. Just write walking down Fifth Avenue and the reader immediately gets the picture.

In a novel, usually only the most meaningful, coherent thoughts are included, unless you are James Joyce, the brilliant stream of consciousness writer. And so, you as the writer can order your protagonists thoughts so as to make complete and utter sense apparently the first time. In the Osgoode Trilogy, the protagonist, Harry Jenkins, does lots of thinking and analyzing [the novels are mysteries, after all]. But his coherence of thought is only produced after much editing and revising. Not much like real life, you say?

Same for dialogue. Interesting characters in books speak better and much more on point than people really do, partly because the writer is able to take back words. In real life, we often wish in retrospect, if only I had said this or that to set him straight. No problem for the writer. Hit the delete button and let him say something truly sharp and incisive.

And so, after comparing what the traveler and the writer do, what can we conclude? I quote De Botton in the Art of Travel.

The anticipatory and artistic imaginations omit and compress, they cut away the periods of boredom and direct our attention to critical moments and, without either lying or embellishing, thus lend to life vividness and a coherence that it may lack in the distracting woolliness of the present.

And so therein lies the difference between Art and Life! And so, the similarity between the traveler and writer.

The Art Of Travel And The Art Of Writing

In Alain de Botton’s engaging book, The Art of Travel, he distinguishes between the anticipation and recollection of travel versus the reality of actually traveling.

When we anticipate, we study travel brochures and create in our imagination all sorts of exotic adventures, lying ahead of us. Once really there, we photograph the Eiffel Tower with our friends or family, their arms slung over one another’s shoulders and grinning into the camera. That forms the recollection, the moments we choose to remember.

Magically gone from memory are the delayed flight, the lousy food and the hotel room overlooking the alley, where the garbage collectors banged tins at 5am. But, if we otherwise enjoy ourselves, we select those ‘good moments’ and photograph them to construct a different reality from the real reality.

De Botton’s next idea is fascinating. He says that’s exactly what the artist does. Whether writing a novel, painting a picture or scoring a symphony, the artist imagines the outline of the work [anticipates the delights of the trip] then selects that which is felt to have artistic value [forgets the garbage men and includes friends at the Eiffel Tower]. Just as the traveler now has a fine and satisfying memory of the trip, the artist has a wonderful novel, painting or musical score. The artist has created art through imagination, selection, rejection and combination of artistic elements resulting in something new. The happy traveler has created a wonderful trip.

Then he tells of a man who had a very peculiar experience. After feasting his eyes upon paintings by Jan Steen and Rembrandt, this traveler anticipated beauty, joviality and simplicity in Holland. Many paintings of laughing, carousing cavaliers had fixed this image in his mind, along with quaint houses and canals. But on a trip to Amsterdam and Haarlem, he was strangely disappointed.

No, according to De Botton, the paintings had not lied. Certainly, there were a number of jovial people and pretty maids pouring milk, but the images of them were diluted in this traveler’s mind, by all the other ordinary, boring things he saw. Such commonplace items simply did not fit his mental picture. Thus, reality did not compare to an afternoon of viewing the works of Rembrandt in a gallery. And why not? Because Rembrandt and Steen had, by selecting and combining elements, captured the essence of the beauty of Holland, thereby intensifying it.

This is exactly what a writer or any artist tries to do and as a traveler, you may do much the same thing

When writing about a day in your protagonist’s life, you don’t start with what he had for breakfast or that his car wouldn’t start unless it’s germane to the plot or his character. You compress. You select and embellish. You toss out. All the details of your story must combine to intensify real life in order to create something interesting and of artistic merit. When I started writing the first novel in the Osgoode Trilogy, Conduct in Question, I had to learn it wasn’t necessary to build the whole city with lengthy descriptions of setting and character, before Harry Jenkins [the protagonist lawyer] could do anything. But many nineteenth century novelists did write numerous pages with glowing descriptions of the Scottish moors or a county hamlet. And that was necessary because, with the difficulty of travel, a reader might well need help in picturing the setting. But today, with the ease of travel, the surfeit of film, web and television images, no reader needs more than the briefest description. Just write walking down Fifth Avenue and the reader immediately gets the picture.

In a novel, usually only the most meaningful, coherent thoughts are included, unless you are James Joyce, the brilliant stream of consciousness writer. And so, you as the writer can order your protagonists thoughts so as to make complete and utter sense apparently the first time. In the Osgoode Trilogy, the protagonist, Harry Jenkins, does lots of thinking and analyzing [the novels are mysteries, after all]. But his coherence of thought is only produced after much editing and revising. Not much like real life, you say?

Same for dialogue. Interesting characters in books speak better and much more on point than people really do, partly because the writer is able to take back words. In real life, we often wish in retrospect, if only I had said this or that to set him straight. No problem for the writer. Hit the delete button and let him say something truly sharp and incisive.

And so, after comparing what the traveler and the writer do, what can we conclude? I quote De Botton in the Art of Travel.

The anticipatory and artistic imaginations omit and compress, they cut away the periods of boredom and direct our attention to critical moments and, without either lying or embellishing, thus lend to life vividness and a coherence that it may lack in the distracting woolliness of the present.

And so therein lies the difference between Art and Life! And so, the similarity between the traveler and writer.

The Art Of Travel And The Art Of Writing

In Alain de Botton’s engaging book, The Art of Travel, he distinguishes between the anticipation and recollection of travel versus the reality of actually traveling.

When we anticipate, we study travel brochures and create in our imagination all sorts of exotic adventures, lying ahead of us. Once really there, we photograph the Eiffel Tower with our friends or family, their arms slung over one another’s shoulders and grinning into the camera. That forms the recollection, the moments we choose to remember.

Magically gone from memory are the delayed flight, the lousy food and the hotel room overlooking the alley, where the garbage collectors banged tins at 5am. But, if we otherwise enjoy ourselves, we select those ‘good moments’ and photograph them to construct a different reality from the real reality.

De Botton’s next idea is fascinating. He says that’s exactly what the artist does. Whether writing a novel, painting a picture or scoring a symphony, the artist imagines the outline of the work [anticipates the delights of the trip] then selects that which is felt to have artistic value [forgets the garbage men and includes friends at the Eiffel Tower]. Just as the traveler now has a fine and satisfying memory of the trip, the artist has a wonderful novel, painting or musical score. The artist has created art through imagination, selection, rejection and combination of artistic elements resulting in something new. The happy traveler has created a wonderful trip.

Then he tells of a man who had a very peculiar experience. After feasting his eyes upon paintings by Jan Steen and Rembrandt, this traveler anticipated beauty, joviality and simplicity in Holland. Many paintings of laughing, carousing cavaliers had fixed this image in his mind, along with quaint houses and canals. But on a trip to Amsterdam and Haarlem, he was strangely disappointed.

No, according to De Botton, the paintings had not lied. Certainly, there were a number of jovial people and pretty maids pouring milk, but the images of them were diluted in this traveler’s mind, by all the other ordinary, boring things he saw. Such commonplace items simply did not fit his mental picture. Thus, reality did not compare to an afternoon of viewing the works of Rembrandt in a gallery. And why not? Because Rembrandt and Steen had, by selecting and combining elements, captured the essence of the beauty of Holland, thereby intensifying it.

This is exactly what a writer or any artist tries to do and as a traveler, you may do much the same thing

When writing about a day in your protagonist’s life, you don’t start with what he had for breakfast or that his car wouldn’t start unless it’s germane to the plot or his character. You compress. You select and embellish. You toss out. All the details of your story must combine to intensify real life in order to create something interesting and of artistic merit. When I started writing the first novel in the Osgoode Trilogy, Conduct in Question, I had to learn it wasn’t necessary to build the whole city with lengthy descriptions of setting and character, before Harry Jenkins [the protagonist lawyer] could do anything. But many nineteenth century novelists did write numerous pages with glowing descriptions of the Scottish moors or a county hamlet. And that was necessary because, with the difficulty of travel, a reader might well need help in picturing the setting. But today, with the ease of travel, the surfeit of film, web and television images, no reader needs more than the briefest description. Just write walking down Fifth Avenue and the reader immediately gets the picture.

In a novel, usually only the most meaningful, coherent thoughts are included, unless you are James Joyce, the brilliant stream of consciousness writer. And so, you as the writer can order your protagonists thoughts so as to make complete and utter sense apparently the first time. In the Osgoode Trilogy, the protagonist, Harry Jenkins, does lots of thinking and analyzing [the novels are mysteries, after all]. But his coherence of thought is only produced after much editing and revising. Not much like real life, you say?

Same for dialogue. Interesting characters in books speak better and much more on point than people really do, partly because the writer is able to take back words. In real life, we often wish in retrospect, if only I had said this or that to set him straight. No problem for the writer. Hit the delete button and let him say something truly sharp and incisive.

And so, after comparing what the traveler and the writer do, what can we conclude? I quote De Botton in the Art of Travel.

The anticipatory and artistic imaginations omit and compress, they cut away the periods of boredom and direct our attention to critical moments and, without either lying or embellishing, thus lend to life vividness and a coherence that it may lack in the distracting woolliness of the present.

And so therein lies the difference between Art and Life! And so, the similarity between the traveler and writer.

Scroll Saw Art And Art In Wood

Creating scroll saw art in wood, and scroll saw portraits takes a lot of time and patience on the artist's part. Each portrait starts out as an idea, and goes through many stages before he, or she can show off the finished product. These stages include, but are not limited to, selection of a workable image, filtering and pattern making, wood selection, transferring the pattern to the work piece, drilling, cutting, and finally framing and finishing the artwork.

Finding a workable image to create a scroll saw pattern from is not very difficult. Images with solid dark (shadows), and light (highlighted) areas work the best. Light shining on the subjects in the image from an angle, produce the best results. These images can include photos captured by a digital camera, or artwork scanned into a computer. The computer is an important part in creating great scroll saw patterns and portraits in wood. It is possible to convert an image to a pattern by hand, but it is extremely difficult and time consuming.

The best and fastest way to create a scroll saw pattern from an image is to use photo editing software like Adobe Photoshop. This editing software allows you to isolate the dark and light areas of the image to create a completely black and white pattern. The black areas will be the areas cut out of the wood to create the dark areas of the portrait or scroll saw art. Find the best filters to separate the dark and light areas of the image. "Poster edges" is a good way to start the process. The light areas can be touched up by hand with white-out to add finishing touches to the pattern before you transfer it to you work piece.

When the pattern is ready to be applied to your work piece, it's time to select a flat, clear piece of 1/8" furniture plywood to work with. Baltic birch is the favorite for me. It is very light, free of dark spots and flaws. Cut the birch to fit your pattern and frame. After a light sanding, the work piece is completely covered on the top side with masking tape. The scroll saw pattern is printed out on the computer scaled to fit the area to be cut as well as the frame. Spray the masking tape with a light coat of high quality contact adhesive like 3M. Before it has a chance to dry, place the pattern on the work piece and smooth out any bubbles. You have to work fast, and apply it in the correct position the first time, or you will have to start over. Let the work piece dry for about an hour before continuing.

Now that the work piece has the scroll saw pattern on it, and it's dry, it's time to drill lots and lots of tiny holes in it. Using the smallest drill bit that will allow the scroll saw blade to pass through it is a good idea. Every black area in the pattern must have at least one hole drilled in it for the scroll saw blade to pass through. Yes, every dark are is and individual cut and must have a hole drilled through it. On the opposite side of the coin, every light are must me connected to "all" other light areas, or sections of light areas will fall out of the artwork as the dark areas are cut out. Remember this when creating your pattern also. It's more work to fix it later, after you've started cutting. Now the cutting begins. Work from the center of your scroll saw portrait out, as this helps keep the work rigid and strong as you are cutting. I like to use a 2/0 size spiral type scroll saw blade on my "portraits in wood". This style scroll saw blade will cut in any direction, keeping you from having to constantly turn your artwork while cutting. Cut your first black area out of your piece remembering to start near the center of the work and leaving enough white area thickness so it won’t break off while you handle and cut it. It looks bad when you have to glue a broken of area back into the portrait. Now the tension on the blade is loosened, the top of the blade is taken out of the upper holder on the saw, and threaded through your next drilled hole. Keep cutting until all the dark areas are removed.

The time has come to remove what remains of your pattern from the scroll saw portrait. Carefully peel the masking tape from the wood, being careful not to break any of the thin areas of the portrait or scroll saw art. Now you can see a little of how your work will look when it's completed. Hold it up to a black background to admire all your hard work. Clean up the "fuzz" on the back side of the scroll saw art with fine sandpaper. Be careful not to break the portrait.

Use a matt or semi-gloss style clear spray finish on the face of the scroll saw art, making sure to get finish on the inside of the cut areas to create a finished look. Let the scroll saw art dry overnight. Now it's time to set it in the frame. A frame with glass or plexi-glass is recommended, as it makes the scroll saw art much easier to clean and dust later. Cut a backer board from wood, particle board or cardboard to fit your frame in back of the scroll saw art. Spray a light coat of spray adhesive on the backer board, and apply your dark or "black" backing material to it. I like to use black felt purchased at the fabric store, as it creates very dark negative space in your scroll saw portrait. Let it dry and add it to the frame in back of your portrait or scroll saw art. Insert the frames back and you’re done!

Now that you've spent 10, 15 or even 20 hours creating this heirloom quality art in wood, it's time to hand it over to your customer, loved one, or hang it on your own wall. Enjoy it, be proud of it, it's truly one of a kind, especially if you used your own photo or image. And it took a long time to create. Check out some finished work by following the link in the Authors area.

The Art Of Selecting Your Home's Art

Art should be personal. Selecting pieces that you really love should not be influenced by the color of the carpet or your couch. To really make a statement, art should be chosen based on it's own merits.

You have just moved into a new home. Perhaps it's your first real home that you plan to invest time and money into decorating and styling. You are eagerly looking for ideas to help make your home comfortable and beautiful.

You have just been looking through a magazine for decorating ideas and admire a gorgeous home that highlighted the owner's fantastic art collection. You realize that the bare walls in your home create an emptiness that is crying out for attention.

With this sudden urge to fill them up, what are you going to choose for art?

It is not hard to find art - whether you choose originals or reproductions. The variety and diversity of styles is enormous, so where do you begin in making your selection?

Try to purchase art as you would any other piece of furnishing that you plan to have for years. You want to select pieces that you will love and appreciate for a long time - whether you keep your couch or not.

When you admire artwork in a gallery or even in a fantastically decorated home you will notice that it is the art that sets the tone, not the other way around. Artwork should be featured, and not chosen to compliment it's surroundings.

You will likely find that you are drawn to works that are in colors or themes that suit your home anyway. If you do like traditional decorating styles, it is quite likely that you will been drawn to more traditional styles of artwork as well. The same is true of more modern or contemporary tastes.

Talking to a gallery owner or interior decorator, you may also find them able to give you suggestions on how the artwork could best be appreciated. Using picture lights to illuminate the artwork will add enormously to it's appeal as well as to the mood of a room.

Your artwork will make a significant statement about you personally. It is well worth your efforts to select pieces one at a time and choose art that truly reflects you instead of filling your walls with mediocre work that you will tire of quickly. By making thoughtful choices and viewing each piece as an investment, you will always find a special place for your art in any home.

The Art Of Learning The Art Of Fine Cooking

When we talk about "The art of fine cooking" some people get a bit confused about what this means. They think it has to do with the fact that fine cooking will taste better then their own cooking but that not is really true. Fine cooking has a lot to do with presentation, how food looks on the plate it served on. Yes it should taste good as well but that is not the same as saying that it tastes better then a home cooked meal. The 'art' part in "The fine art of cooking" is probably because sometimes the plates look like little paintings.

Learning Fine Cooking is an art in itself

Have you ever wondered if you would be able to cook like those chefs in those highly acclaimed restaurants? Maybe someone even suggested to you that you should visit a culinary school and start taking lessons. Probably that is not what you need to do, not if it is just for some fun at home or maybe throw a dinner party and impress your friends and family. Their is nothing wrong with following a small course and trying things out by yourself untill you get the hang of it. You do need some natural talent if you want to create a nice display on the plate but if you have that bit of talent then you can go a long way. Do some research by watching television programs about cooking or look what the chef at your favorite restaurant creates for you, maybe ask him or her about the ingredients, if you dare to. Or take a look on the internet if you can find any good tips and recipes but you also need picutres with those then we are talking about the art of fine cooking and that means something for the eye as well.

If your ultimate goal is to find employment in a restaurant that does fine cooking then a bit of cooking and trying out at home will not be enough. Then you should find a good culinary school and attend classes there and finish with a diploma. Have a plan for other employment in the back of your mind because getting a job in the restaurant business will not be easy. You don't want your talent and time invested in learning the art of fine cooking wasted in a stuffy kitchen at a road diner or some buffet were no one appreciates what you can create. If you can't find a job the moment you graduate from school and don't want to relocate then do something completely different so you won't get disappointed about the profession.

Amateur or professional, when you get the change to show your talent you should do it. Be it for friends and family or for guests in the restaurant you cook for people will appreciate the effort you put in creating a dish that not only makes the taste buts sparkle but also is a pleasure for the eyes. In the end that is what the art of fine cooking is about, to give the mouth and eyes an evening you will not forget.

How To Select An Art Piece In An Art Auction

Nowadays, there are many art auction houses available online such as sotheby and ebay. However, before attempting to bid for a fine art auction, there are some points you need to take note especially if you are a beginner to art auctions.

If you are new to fine art auctions, you might first decide what it is you like to collect. Is it abstract art, oil-based painting, impression art etc?

You also might want to read up on the art category that you prefer to buy. Take for example, you are into abstract art. It would help you in your art auctions if you knew more about abstract art history, the various abstract art movements. The best way to start would be on the internet. One such site is www.artsconnected.org. They provide comprehensive search tools for visitors to research on their favorite art category.

The other way is to browse the various art magazines, books, periodicals. You could go to your local bookstore, amazon or even the local library. Visit a few fine art auction houses and get a feel for the type of art you are interested in. Art Auction houses will usually provide detailed information on the art piece being auctioned.

How Do I Know The Art Piece I Like Is Real?

Ok, so you finally found an art piece you like. The next question you are probably asking is how do I know it is authentic? Since the value of an art piece is subjective depending on the person looking at it, it would be best if you can afford it to get a professional art appraiser to value the art piece.

For large fine art auction houses such as sotheby, you can be assured that the art piece is already appraised and is authentic. However, if you are looking for an art piece at smaller auction houses or online art auctions such as ebay, you do need to be extra careful. Particularly so for online art auctions where there are many fake art pieces being auctioned.

If you like a fine art being auctioned online, the best way if possible would be to communicate with the art seller before buying. Online art auctions usually keep a track record of the art seller’s sales history and can help you to determine whether the seller is a reputable person.

Mk Fine Art Is A Creative Base For Art Lovers

The concept of art has found a new meaning with the support of Mk Fine Arts. The need of art in ones life is as important as a person’s own life. The extreme need of art is possibly because of the way paintings reflect your life, your way of understanding things, ideas, thinks and point of view. The painters or artists always reflect the lifestyle or some aspect of perceiving things. Mk fine art is a famous fine art group run by Mirek Klabal and Maryann Klabal, who belong to Greenwich Connecticut. Fine art is a creative field and you got to have a special appreciation for it. One should have a creative bent of mind to understand the real truth and meaning behind the masterpieces.

Mk fine art has a collection of one of the most renowned and excellent pieces of arts. These masterpieces have been painted by a variety of top artists. It is because of this that Mk fine art has never compromised on the collection of art masterpieces that adorn their art galleries. Marc Chagall is one of the greatest artists, whose work adorns the art galleries of Mirek Klabal. Apart from Chagall’s masterpieces, Mk fine art galleries have a collection of Pablo Picasso, Salvador Dali, Vincent Van Gogh, Gustav, Joan Miro and many more. Mirek and Maryann Klabal have dedicated their life towards creating a new place of art in the world of appreciation.

Mirek Klabal is quite particular about the person to whom he sells his collection. In fact, he likes to personally meet the person and get important details. Basically, he tries to make a relationship with his buyers and to decide whether or not the buyer would be able to take care of that piece of art or not. Mk fine arts have grown on the graph of popularity, over time. They have been involved in making certain contributions to charities and raising funds for National Alliance of Autism Research. Mk fine art has become a well known name in the field of art and has become famous for catering to the senses of the elite.

If you are new to the world of art and wish to buy one of the best works of a famous artist, then Mirek Klabal of Mk fine arts is there to help you. You may come across a variety of art dealers who are simply a fraud selling fake art pieces using the name of Picasso or Chagall or any other renowned artists. Mirek will not only guide you through the proper way of buying your favorite art piece, but will also explain to you the intricacies of art field. He would help you in every possible manner to select the right masterpiece and save you from buying an art masterpiece from a fraud. Mk fine art is the most reliable person to go for genuine art masterpieces. You don’t have to worry about the quality and excellence of painting bought from Mk fine art.

Money is so precious and even when someone desires to part with it to buy an incredible art piece; the number on thing on their mind is not to buy from a fraud. Art pieces from Mk fine art have a special value, so you don’t have to think even a little bit about buying masterpieces from Mk fine art. It is because quality work and original work is guaranteed here. Art brings a sense of reflection in ones life and if it is genuine then it will bring out surge of true emotions in your life. Art signifies beauty that is embedded with creativity and intelligence. Moreover, fine arts’ wares are meant to add shine to the ambience of your place.

Authenticity Of Eskimo Inuit Art And Native American Art

Both Inuit Eskimo art and Native American art have gained international recognition as valuable art forms over the past few decades. However, the rising popularity of both Inuit Eskimo art and Native American art has resulted in the increased proliferation of imitations and mass-produced reproductions of original Native arts. Some obvious fakes are made in Asia from molds where the finished pieces are forms of plastic, resin or ceramic.

Other fakes are actually made of cast stone simulating actual Inuit Eskimo art carvings and wood for imitation Native American carvings. These fakes, which are harder to distinguish from authentic artwork, are often hand carved reproductions of an original piece of artwork. Workshops have illegally reproduced hundreds of copies without the artisan’s permission. The counterfeiting companies would then attach some type of tag that claims the fake pieces were influenced by aboriginal artisans and even background information on the Native designs used in the artwork. Some even go as far as adding in Inuit syllabics on the bottom of the fake Inuit Eskimo art carvings.

These are very deceptive tactics on their part since they give the consumers the impression that the imitations are authentic and income producing for the aboriginal communities. Fakes and imitations have lowered the image of authentic Inuit Eskimo art and Native American art. Sales of genuine aboriginal artwork have declined which in turn have deprived aboriginal artisans of income. The argument against these claims is that not every consumer can afford to buy authentic Inuit Eskimo art or Native American art so the souvenir level reproductions legitimately meet this part of the market. The imitations, which are usually low priced, enable students visiting Canada for example, to bring home a Canadian souvenir without breaking their travel budget. This claim would have more support from Native communities if aboriginal artisans were paid a fair royalty as income for each imitation and reproduction piece sold. However, this is seldom the case since most of the time, no royalties are paid at all.

The obvious fakes can be spotted quite easily. An imitation of an Inuit Eskimo art carving spotted at a gift shop was not made of stone as it was not cold to the touch. It was very light in weight unlike a stone which has some mass to it. The detail and the bottom of the piece had the molded look to it. There was even a sticker on the bottom with the company name Wolf Originals. Side by side comparisons of similar pieces in the souvenir store revealed that they were all identical in every detail, which is impossible for original artwork.

A black totem pole had a very flat uniform back and bottom again giving away the fact that it came from a mold. Other totem poles made from wood or mixed wood with a claim that they were hand painted were among many similar pieces in the store. All of these examples were each priced less than $20 Canadian which was another indicator that they were not original artwork.

Imitations of Inuit Eskimo art sculptures were recently spotted for sale in shops located at major Canadian airports. From a distance, these Inuit Eskimo art sculptures of hunters, polar bears and Inuit women with children looked very authentic. However, each piece had several identical copies on the same shelf.

To avoid accidentally buying a fake or imitation, it is suggested that consumers buy Inuit Eskimo art and Native American art from only reputable galleries and dealers rather than from tourist souvenir shops. A piece of original, authentic Inuit Eskimo art or Native American art is one of a kind. There should be no other identical pieces on the shelves. In addition, original Inuit Eskimo art carvings should come with an Igloo tag (or sticker) which is a Canadian government registered trademark. Inuit Eskimo art carvings that are certified by the Canadian government to be handmade by Inuit artisans, come with Igloo tags.

Art Master New York: Mirek Klabal’s Art Gallery Is The Perfect Destination To Buy Masterpieces!

You have been searching for that masterpiece by Chagall for a long time and suddenly you find out that the masterpiece is up for sale, what would you do? Go ahead and buy it without giving even a second thought? Well you may just be heading towards disaster if you do not cross check and get more information about the piece of art that you want to buy. For art lovers buying a piece of art is like buying a lifetime possession, so naturally you would want to buy things that are perfect and also the best.

Mirek Klabal is one name in the art world that you can completely bank upon. He is an art master in New York, and can turn out to be the best guide for helping you in buying any thing related to the art world. There are several art masters that work towards helping out art lovers to buy the kind of art they are looking for. Mirek Klabal, the New York based art dealer is of the view that art lovers always buy genuine pieces of art from and not fake ones from a fraud art master.

Mirek Klabal has many art galleries located in New York and has an incredible collection of art masterpieces in these galleries. Art pieces from all prominent artists can be found in his galleries and buying from him is also hassle free. An art master is the source through which anyone can buy great pieces of art and fine arts.

If you are buying from Klabal’s gallery, MK Fine Arts, be sure to check out all his galleries and see what he has in his collection. You may just find exactly what you have wanted to always buy. If you find with Klabal what you wanted to buy, nothing can be better than this. You can be rest assured that you will get the best at the most appropriate price.

It may be very common for you to find an art master who has an incredible collection of art pieces, but he is not willing to buy or share anything with other art lovers. Mirek Klabal is a completely different person in this regard and simply loves to indulge all art lovers. He does not believe in hoarding and hiding away his collection from art lovers. Rather he believes in displaying and sharing his collection with one and all. So if you find that he has the piece of art that you have so desperately wanted to buy, you can get it from him without any hassles.

Being an art master in New York, buying, collecting and selling arts and fine art is not the only thing Mirek Klabal is involved with. He likes helping out people in distress and consequently does whatever he has in his capacity to help out people in any kind of suffering. He is one art master who strives to be different from the rest of the horde and has in fact been very successful in doing this.

The Fine Art Of Product Sourcing: How To Find Art To Sell Through Your E-Biz

Art has a huge market online. In fact, it’s one of the most popular categories on eBay. According to appraiser Alan Bamberger, of http://ArtBusiness.com, selling art isn’t as challenging as many online sellers fear.

A Simple Plan
So how do you get started sourcing art to sell through your E-Biz? Bamberger recommends following several steps for an easy entry into the world of art retail:

1. Find a Niche
Many Internet retailers feel under-qualified to sell art because they know so little about it. You don’t need to be an art expert to sell it, but you need to learn about whatever it is that you’re selling. You can study as you go and become an expert in your category.

It’s imperative you find an area to specialize in because selling broad isn’t a good strategy. “A little bit of everything is a recipe for disaster,” warns Bamberger. “You have to zero in on a niche area – from there, you can start acquiring a knowledge base.” For example, if you like beach paintings, you might concentrate on paintings of Connecticut beaches or Miami beaches.

2. Do Some Talent Scouting
When looking at an artist’s resume, you need to verify that they show and sell consistently. You can start your talent search online. Try Googling the type of art you want to sell, such as “coastal scene paintings.” Or look on eBay at thousands of artists who represent themselves there. Other useful sites include:

• http://AbsoluteArts.com, where thousands of artists have their own galleries

• http://Guild.com, where craft artisans show their works

• http://ArtExpos.com, home site to a large art tradeshow

• http://ArtNet.com, where many of the world’s leading galleries display high-end art

While some dealers may qualify you to ensure you’re serious about buying before speaking with you directly, the majority of artists and galleries will be more than happy to talk to you and sell you some art. Until you’ve acquired an expertise in your field, it’s best to only buy from reputable dealers, galleries, agents, etc.

3. Establish Fair Market Value
How do you know what you should be paying for a piece? There are a number of indicators that can help you arrive at the right price:

• See who’s selling similar art and what prices they’re getting. Art is similar to real estate in this regard – no two pieces are alike, but the prices for similar works won’t be too far off.

• Look at the artist’s track record, how far they are in their career. The more accomplished an artist becomes, the more their work acquires a premium value.

• Use an online database service, like http://www.ArtPrice.com or http://www.GordonsArt.com, which lists millions of art auction records and is constantly updated with the latest auction results from all over the world.

The bottom line in determining what you can pay for a piece is, Do you have room to mark it up? There’s no standard pricing mark-up for art. You simply have to figure out your expenses, what you need to be making, and how much you need to sell, and set your prices accordingly.

Following Through
Selling art online can be a very profitable venture. It’s just a matter of doing your homework – finding the right niche, the right artists, and the right price. Says Bamberger, “Art isn’t some mystical commodity only art people know about—it’s very matter-of-fact. Any online retailer who takes the time to do their research can be very successful in this area.”

Art Master Mirek Klabal: Your Guide To Buy The Art Masterpieces!

Art has different meanings for different people. But one thing is common for all; everyone loves and appreciates good art. Again good art also holds different meanings for different people. Well, it all boils down to individual choice and selection. So, if you want to buy a piece of art then you must know whom to approach. Yes, the art master is the best guide for you in this matter. Mirek Klabal is a New York based art master and dealer who has been helping people by showcasing the best art and helping them in buying them.

The art world is infested with fraud art masters and this is exactly why you have to make a proper selection when looking for a reputable and knowledgeable art master. So ask many questions about the art dealer before you set about buying a piece of art from the dealer. Dealing with Mirek Klabal means that you are tension free during every step related to the purchasing of art.

Mirek Klabal has art galleries located in New York, which has a huge collection of art masterpieces. If you are looking for Chagall, then Mirek Klabal has a huge collection from which you can buy. He has a huge collection and so you must be wondering why on earth someone would share his or her collection of Chagall. Well this is where Klabal is different and way ahead form all the other art maters and dealers who are working as art dealers.

Klabal firmly believes that sharing things with others, whether its art or any other thing, is a source of great joy. He is one person who believes in really doing what he feels, not like other art dealers who say great things buy fall shy of actually executing it. Just make sure that you make a wise choice and do not fall prey to fraud art masters and dealers while buying a piece of art.

You must be very careful when buying Chagall or any other art masterpieces due to the presence of a large number of fake art pieces. Well, it is so easy to get duped if you do not posses proper knowledge about the art masterpiece that you are purchasing. You may think that you have made a great bargain and deal only to find that the piece of art is absolute fake. Leaving aside the monetary loss, you will feel cheated and hurt if you do not get the original piece of work done by your favorite artist, so take great caution beforehand.

Art master Mirek Klabal is a great source for you to go to buy the kind of art that you have always wanted to possess. Mirek Klabal works in conjunction with different art dealers and mostly works towards selling masterpiece art to customers. He is a great person to go to get advice from about whether or not another art dealer is a fraud.

Art Marketing Tips - Launch A Successful Business Selling Your Art Or Crafts

Define your goals and get organized - What are your goals as an artist? Do you hope and dream to one day have your artwork displayed in a museum or do you just want to sell enough of your art to make a good living? Defining your goals is an important first step toward your success as an artist. Realize your long-term goal and then set reasonable and attainable short-term goals.

Build your confidence - You need to believe in yourself and your artwork. If not, your marketing efforts will be less effective as the fear of rejection will hold you back. You have to learn to take risks. No one is going to come knocking at your studio door. Get out there and meet new people, network with other artists, open a booth at an art show, etc.

Get in a business mentality – If you want to be successful with your art business, then you will have to learn how to juggle more than one task. This means learning how to become successful as a businessperson. The artists that are most successful have learned how to enjoy both creating and marketing their art.

Art fairs – Art fairs open up great doors of opportunity for artists. They enable artists to market directly to the public without the need of an agent. The public loves art fairs. They usually come to these art fairs with the intention to purchase something, which creates more opportunity for an artist to make a sale and get recognized. You can find a wealth of information about art fairs online. One such place is http://www.sunshineartist.com/. Sunshine Artist is a great magazine that provides detailed information about art fairs and festivals. Check it out!

Follow up – You must get into the habit of following up with anyone who has shown interest or has appreciated your art. That person who saw your painting in the doctors office, or the person who took your business card at your last art show are leads who can possibly turn into paying customers. They may also be able to help you in other ways you never thought possible. It’s important therefore to keep in touch with everyone. Create a mailing list and ask your contacts if they would like to be added. You can send out mailers whenever you create a new piece, or to notify your contacts of upcoming exhibits or art fairs you will be attending.

Customer service – You must go above and beyond your customer’s expectations if you want to set yourself apart from the competition. Make sure you treat your customers and leads with the utmost professionalism. Answer all inquiries promptly. Send out thank you notes and instructions for preserving and caring for the art with all of your orders. Customer service is important to all businesses, and your art business should be no exception.

Artist agents - You are your own best agent. No one knows your art better then you, and no one can express yourself and your art better than you can. An agent generally deals with more than one artist at a time so their focus is not on you and your art alone. Agents usually charge a lot of money as well. By the time it’s all said and done, the artist doesn’t make very much on the sale. It’s better to learn the ropes yourself and learn how to reach your buyers directly.

Get your own unique website - The Internet has become a huge platform for selling goods and services. More and more people are going online then ever before and artists are taking advantage of this amazing opportunity. If you want to expand your business and reach more people on a worldwide scale, you should definitely consider getting your own website. You can market and sell your artwork directly online with your own website. Your website is also a great way to organize and showcase your art to interested galleries and the people you meet in public.

How To Buy Or Shop For Authentic Canadian Inuit Art (Eskimo Art) Sculptures

Many visitors to Canada will be exposed to Inuit art (Eskimo art) sculptures while touring the country. These are the magnificent hand made sculptures carved from stone by the Inuit artists living in the northern Arctic regions of Canada. While in some of the major Canadian cities (Toronto, Vancouver, Montreal, Ottawa and Quebec City) or other tourist areas popular with international visitors such as Banff, Inuit sculptures will be seen at various retail shops and displayed at some museums. Since Inuit art has been getting more and more international exposure, people may be seeing this Canadian fine art form at galleries and museums located outside Canada too. As a result, it will be natural for many tourists and art collectors to decide that they would like to purchase Inuit sculptures as nice souvenirs for their homes or as very unique gifts for others. Assuming that the intention is to acquire an authentic piece of Inuit art rather than a cheap tourist imitation, the question arises on how does one tell apart the real thing from the fakes?

It would be pretty disappointing to bring home a piece only to find out later that it isn’t authentic or even made in Canada. If one is lucky enough to be traveling in the Canadian Arctic where the Inuit live and make their wonderful artwork, then it can be safely assumed that any Inuit art piece purchased from a local northern store or directly from an Inuit carver would be authentic. One would have to be more careful elsewhere in Canada, especially in tourist areas where all sorts of other Canadian souvenirs such as t-shirts, hockey jerseys, postcards, key chains, maple syrup and other Native Canadian arts are sold.

The safest places to shop for Inuit sculptures to ensure authenticity are always the reputable galleries that specialize in Canadian Inuit art and Eskimo art. Some of these galleries have advertisements in the city tourist guides found in hotels. Reputable Inuit art galleries are also listed in Inuit Art Quarterly magazine which is devoted entirely to Inuit art. These galleries will usually be located in the downtown tourist areas of major cities. When one walks into these galleries, one will see that there will be only Inuit art and maybe Native art but none of the other usual tourist souvenirs such as t-shirts or postcards. These galleries will have only authentic Inuit art for sale as they do not deal with imitations or fakes. Just to be even safer, make sure that the piece you are interested in comes with a Canadian government Igloo tag certifying that it was hand made by a Canadian Inuit artist. The Inuit sculpture may be signed by the carver either in English or Inuit syllabics but not all authentic pieces are signed. So be aware that an unsigned piece may still be indeed authentic.

Some of these Inuit art galleries also have websites so you could shop and buy authentic Inuit art sculpture from home anywhere in the world. In addition to these street retail specialty galleries, there are now reputable online galleries that also specialize in authentic Inuit art. These online galleries are a good option for buying Inuit art since the prices are usually lower than those at street retail galleries because of lower overheads. Of course, like any other shopping on the internet, one must be careful so when dealing with an online gallery, make sure that their pieces also come with the official Igloo tags to ensure authenticity.

Some tourist shops do carry authentic Inuit art as well as the other touristy souvenirs in order to cater to all types of tourists. When shopping at these types of stores, it is possible to tell apart the real pieces from the reproductions. Authentic Inuit sculpture is carved from stone and therefore should have some weight or mass to it. Stone is also cold to the touch. A reproduction made of plastic or resin from a mold will be much lighter in weight and will not be cold to the touch. A reproduction will sometimes have a company name on it such as Wolf Originals or Boma and will never feature an artist’s signature. An authentic Inuit sculpture is a one of a kind piece of artwork and nothing else on the store shelves will look exactly like it. If there are duplicates of a certain piece with exact details, the piece is not authentic. If a piece looks too perfect in detail with absolute straight bottoms or sides, it is probably not real. Of course, if a piece features a sticker indicating that is was made in an Asian country, then it is obviously a fake. There will also be a huge price difference between authentic pieces and the imitations.

Where it becomes more difficult to determine authenticity are with the reproductions that are also made of stone. This can be a real gray area to those unfamiliar with authentic Inuit art. They do have mass and may even have some type of tag indicating that it was hand made but if there are other pieces on the shelves that look too similar in detail, they are most likely not authentic. If a seller claims that such as piece is authentic, ask to see the official Igloo tag that comes with it which will have information on the artist, location where it was made and the year it was carved. If the Igloo tag is not available, move on. The authentic pieces with the accompanying official Igloo tags will always be the highest priced and are usually kept in a separate (perhaps even locked) shelf within the store.