How to Grow Your Manufacturing Business

One of the first steps to growing your manufacturing business is to free up your time. Make sure you have ‘growth focused’ meetings with key people. Schedule your mandatory meetings for growth-oriented people, and delegate the detail to others. Try to attend trade shows and exhibitions, and make sure you have a channel of funding for your expansion. It is not unusual for manufacturers to need a capital injection at critical times, so you should always be prepared for such a scenario. If you are looking to grow your manufacturing business, you should focus on enhancing your core competencies. This includes improving your sales and marketing skills. This will increase your revenue. It is also important to invest in new technology and equipment. This way, you can improve your bottom line and increase your bottom line. After all, there is no better time to expand than now! Here are some suggestions on how to grow your manufacturing companies in mexico. Studying your competition. You must learn from their expansion mistakes and learn from their success. If your manufacturing business is based on a single product, expansion will be difficult. To increase sales, you should diversify your product lines. This means adding complementary items and services. It is essential to diversify your business and stay ahead of your competition. You can start with an expansion plan. You can also start by marketing your core competencies to your customers. Connect with other manufacturing companies. This is a good way to connect with other companies. The Internet allows you to make contacts with suppliers and potential customers. It also helps you get knowledge about new technologies and markets. And it is a great way to expand your customer base. You will also need to invest in new technologies that will allow you to stay ahead of competition. And, remember that growth requires a constant investment in new technology and equipment. Identify your core strengths. Your manufacturing business should focus on what it does best. It should be able to adapt to changes in the market and its customers. The most important thing to do is identify your strengths. As a small manufacturer, your skills and expertise are the most important assets you can have. Those strengths should be the cornerstone of your company. Developing and marketing these core strengths will increase your chances of success. Identify your strengths and weaknesses. Identify your core strengths. Your core competencies should include all your processes and equipment. Investing in new technology is another key component of growing your manufacturing business. You should focus on the areas where you excel and work hard to improve them. If you don’t have good skills, then invest in training and education to improve these skills. By strengthening your core skills, you will also be able to expand your manufacturing business to a larger market. Know your strengths and market them. Your strengths and weaknesses will help you distinguish your products from your competitors and your customers. If your strengths aren’t well-known, market them. Find new markets and learn from your competitors. This way, you can learn from their mistakes and build on them. If you have an established manufacturing business, you should focus on a broader range of products and services. This way, you’ll be able to expand your sales faster. Once you know your strengths, focus on a growth mindset. There are many opportunities to increase your manufacturing business. It’s essential to invest in new technology to keep up with the demands of customers. If you want to reach the next level, invest in your core strengths. This will give you the confidence and the knowledge to develop your business. For the most successful manufacturers, they should look at the challenges of their competitors. In order to grow your manufacturing business, you should identify your strengths and market your capabilities. Identify your strengths and market them. If you have a strong expertise, you should invest in new technology. If you’re lacking in certain areas, you can consider investing in training to improve your skills and make new products. These efforts will lead to more profits in the long run. It’s vital to invest in new technologies in your manufacturing business.

Learn About The Types Of Dental Sedation

There are many different types of dental sedation, each designed to alleviate patient anxiety. This sedation method is effective for patients with extreme dental phobia, severe anxiety, or fear of needles and sharp objects. By learning about the various types of nitrous oxide, oral sedation, and IV saline sedation, you can make the best choice for you. There are several advantages to each type of saline, and you can find out The Best Worden Dentistry which is right for you. Nitrous oxide and laughing gas are the two main types of dental sedation. These sedatives are given through a nosepiece and allow the patient to breathe normally. Once the sedation has taken effect, the child will be fully conscious, but will be in a relaxed state. Having this type of saline-induced relaxation can significantly reduce anxiety during minor dental procedures, including cleanings. These methods can also be used to perform an examination. Among the types of sedative options, inhaled minimal sedation and IV saline sedation are the most common. This method uses nitrous oxide, which can be breathed in through a face mask to help the patient relax during the dental procedure. Once the sedative wears off, the patient is free to get on with their day. In contrast, oral saline consists of medication that is taken orally. This sedative method makes the patient sleepy but is significantly stronger than nitrous oxide. Typically, the drug used in this saline based saline is triazolam, which is also a popular sedative. Oral sedation (also known as conscious sedation) involves taking a prescribed sedative before the dental procedure. While the patient is awake during the appointment, they are very relaxed and may not remember the procedure. This method is most effective for patients with high levels of anxiety. It is also more convenient for families with young children who have trouble sitting still. It takes longer to wear off than oral saline, and they will need a ride home. There are several types of sedation for dental procedures. Inhaled minimal sedation uses nitrous oxide to put the patient at ease during the dental procedure. Unlike oral saline, it wears off within an hour, so it is safe to leave a patient alone. Oral sedation involves taking medication orally, which can help the patient to feel drowsy or sleep during the dental procedure. IV sedation is an effective choice for patients with anxiety during dental procedures. This form of sedation allows the patient to stay conscious during the procedure without any side effects. This type of saline is also safer for patients with high anxiety. In addition, it is more comfortable than oral sedation for many patients. Aside from the benefits of an IV saline solution, it also prevents the risk of a relapse. For children, laughing gas does not require any special preparation. However, before the appointment, kids should avoid eating any solid food or drinking non-clear liquids. After midnight, they can eat a light meal. They should avoid solid food and liquids until two hours before the appointment. It is also important to continue taking their daily medications as usual. It’s possible that they won’t be aware of the sedative effects of the gas. Depending on the type of sedation, your child may even forget about the procedure. Some sedation techniques are better suited for children with anxiety than others. If you’re worried about dental meds, be sure to discuss them with your dentist before the appointment. Another type of sedation for children is nitrous oxide, also known as “laughing gas.” This type of sedation makes the patient feel comfortable and relaxed, but is not intended to put them to sleep. Other types of sedation involve administering oral or IV solutions to the patient. If your child is nervous about undergoing dental invasive procedures, they should be taken by their parents or guardians.

How to Choose Best Air Compressor – Buying Guide

You will never know when you will need an air compressor until you start using it. If you have no idea what you are doing, you could be left frustrated and without a working air compressor. Here’s how to choose the best air compressor for your needs. Read on landroverbar to learn how to buy an inexpensive air compressor. Then, use this buying guide to find a quality one. Hopefully, this article will help you to purchase the right tool for your needs. An air compressor has many uses, from household projects to industrial ones. The right compressor is essential for a variety of tasks. They are attached to pneumatic tools and are more powerful than an electric power tool. They are versatile and can handle a wide range of jobs. There are many types, capacities, and applications. Here’s a buying guide to help you choose the right one for your needs.Choosing the right air compressor is an important part of any construction project. There are many different types and uses of air compressors, and finding the one that’s right for your needs is a crucial step in the building process. If you are using an air compressor for industrial purposes, you’ll need to choose a model that can keep up with your workload. Thankfully, there are buying guides for home and business use, and you can use them to find the right air compressor for your needs. Air compressors can be extremely useful for construction projects, as they can be attached to pneumatic tools. The increased pressure and power of an air compressor can increase productivity, reduce energy use, and improve productivity. In addition, a high-quality air compressor will last longer, and it is less likely to cause injury. Fortunately, the buying guide at Compressor World provides information to help you make the right decision when buying an air compressor. The first step in buying an air compressor is to decide how to use it. Consider whether you will need a portable or stationary unit. A wheeled air compressor is beneficial for moving to job sites, while a stationary model is better for larger projects. A stationary air compressor will be more powerful and durable, allowing you to perform your work with ease. If you plan to use your air tool in the home, choose a portable model. It is important to choose an air compressor that is the right size for your needs. It should be suited to your job and its environment. While it’s not uncommon to use a portable unit for home purposes, it is important to choose one that has the maximum volume for the most power. For example, if you work on cars, you should consider purchasing a stationary air compressor. The type of air compressor you choose should fit your job requirements. You’ll want to choose a portable air compressor for home use. If you’re working in an industrial setting, you should purchase a stationary air compressor. It will provide you with the power you need to complete your job. It can be difficult to find the best portable air compressor for your needs, but this guide will help you find the right one for your needs. You should be able to find an air compressor that’s perfect for your needs. You can find everything from wheelbarrows to heavy duty industrial air compressors, making this buying guide a great place to start. You’ll be able to find the best air compressor for your needs. Just be sure to read the manual to get the best information. You’ll also want to consider how much air you need for your job. If you’re not sure where to start, a reputable guide may help you decide which unit will be best. When choosing an air compressor, you need to consider the application. Depending on the type of work you’re doing, a portable unit might be best for your needs, while a stationary unit might be needed for industrial uses. When selecting a stationary air compressor, you should consider the features and capacity of the unit you’ll use it for. A stationary air compressor is generally more durable than a portable one.

How do I create a mood in the picture?

The mood of a picture depends very much on the light in the picture and the light depends on the colors used. Your own mood, however, is often not entirely innocent. We often choose colors that are pleasant to us and maybe even convey our own mood . Sometimes we may even need certain color tones when painting because we have special associations or memories or because they are simply good for us at the moment. Blue areas tend to leave us alone because they cautiously go into the distance. With orange-red pictures, the room feels a few degrees warmer. With special, own color combinations we can very easily express our own style, because the color is the first thing that affects us when we look at a picture. But the type of paint application also influences the mood in the picture. Are the colored areas rather sharply delimited from each other or are they misty and soft? Are the colors very opaque or more transparent? And how strong are the contrasts? Little, like in a fog? Or strong, like in glaring sunlight with strong shadows? At the moment I am experimenting with new lighting situations in my pictures in order to depict interesting moods. Anyone who knows my work knows that I tend to work in intense colors. Nevertheless, I once dared an experiment and worked with colors that were strange to me. But more on that later. In this picture with a bitumen fill, I used naturalistic colors that are classic for a sea picture and have a rather cool color tone. The picture looks fresh and just as you would imagine in clear weather by the sea. The light-dark contrasts create tension, but otherwise the design is unspectacular. The mood is a little different in this example. Here, too, the colors are not expressively alienated. By using cloudy and pure colors, the atmosphere is a little more differentiated. The sky is worked in cloudy blue-gray and looks foggy and diffuse. The foreground is more intensely colored and therefore stands out more. The special focus, however, is on the horizon, which is given special attention through the use of fluorescent yellow, orange and pink tones. The yellow accents also look like they are being lit by the sun. This is how it could look on a hot, hazy, humid day when the sun’s rays push their way through the cloud cover in a few places. In order to create an evening mood and at the same time to focus on the sky, in this picture I have resorted to warmer and yet bright colors, which I have distorted in many layers of cloudy over the sky. Due to the pink-yellow part, the clouds shine very intensely and this special mood is reflected in the colors of the horizon. Here is my experiment: Did you think this picture was not from me? I definitely felt the same way when I painted it. 😉The colors are not exactly typical for me, but I still wanted to demonstrate to you what the effect of such a color scheme is. It took a bit of effort, I’ll admit it. Only the contrast between the light, fresh light blue and the cloudy gray-beige tones I couldn’t help but breathe at least some tension and life into the picture. The picture would have looked even more diffuse and foggy if I hadn’t set the Payne’s gray accents on the horizon. This is how I imagine a cloudy wintry day at the sea. My favorite with a spectacular mood is this picture. In terms of color, it totally suits me and I love this mood and radiance that seems to glow from within. The warm colors are sometimes purer, sometimes broken and are enhanced with cool yellow. I achieved the luminosity through thinly glazed layers with neon pink and neon orange. Another contrast and focus is the dark area with umber colored ink on the horizon. This is how I imagine a sun-drenched landscape in the south. How about working consciously with different moods in the picture? It’s very easy: for example, intensify the light and dark areas in the image. In this way, the contrast diverges more strongly and it looks like light reflections next to shadow areas. If you now color the light areas with different yellow or warm colors and the shade tones are not black or gray, for example, but purple or in cooler colors, then you increase the mood. You would also have an increase through the complementary contrast and through the yellow tone a beautiful light. Also try setting the light tones a few tones lighter and using cooler and warmer light colors. You can detach yourself from the naturalistic depiction and experiment with the color tones, regardless of whether you are working in an objective or abstract way. You will see, your pictures become livelier and more expressive. Have fun with all experiments, let the color flow

Color, color, color

Do you feel the same way: When you see a nicely sorted collection of acrylic paints in an art supply store, your heart rises? A box of colored pencils or chalks in all colors makes your heart beat faster? The earthy shades of the ocher quarries in the French Roussillion put you in a color frenzy? Special evening sky moods make you rave about? A wonderful set with pigments will set off a head cinema, what could you paint with it? Clear case: you are infected with the color virus like me. Sometimes I just want to own and guard these special materials like the apple of my eye. For example the XL box of water-soluble oil pastels that I just wanted to look at and not use because they were so expensive. Or the wooden box with the pigment jars bought directly in the south of France to take the beautiful colors home with you. I suppose your heart beats for color too, otherwise you wouldn’t have ended up here with this article. But today I would like to look at color from very different angles.   Color perception From a physiological point of view, color is the reception of stimuli from the eye’s cone systems. These stimuli are first converted into opposing colors . In the brain , these arousal patterns are interpretable as colors t. From a psychological point of view, color is not only the processing of external sensory stimuli by the retina or brain function, but can also be viewed as a product of the subconscious (nervous system) and as stored information. Source: Bildsprache 1, Kerner and Duroy, p. 112 Scientists have been trying to fathom and analyze the phenomenon of color vision for centuries. The research of Isaac Newton (1643-1727) forms the basis for our understanding of color today. The English doctor Thomas Young (1773 – 18299 was the first to recognize that color is a sensation . Source: Imagery 1, Kerner and Duroy Color systems There were already attempts to organize the colors in systems in antiquity. The poet (and natural scientist) Johann Wolfgang Goethe (1749-1832) also studied the phenomenon of color for a long time. Among other things, he dealt with the “sensual and moral effect of colors. So he classified yellow in the category “serious / dignified, warm” as cheerful and cheerful, or blue in the category gracious / grace, dark as receding, pleasant and empty. Johannes Itten (1888-1967) worked as a master at the Bauhaus and his theory of the 7 color contrasts is taught to this day. Harald Küppers (born 1926) developed another color concept . It was of the opinion that in Itten’s color wheel, the shades designated as basic colors are not really basic colors, but mixed shades. Incidentally, I also agree. All other shades can be mixed from the primary colors primary cyan, primary yellow and primary magenta . Not from Itten’s basic shade of red, as this color consists of yellow and magenta. Source: Duden Art – Basic Knowledge School In the past centuries, however, color often had an additional symbolic value. This symbolism can have a completely different meaning in other cultures and can be understood differently. The meanings have also changed over time: For example, red was seen as the color of the devil in the Middle Ages and green was the color of love.   The effect and the symbolic meaning of the colors: Source: Duden Art – Basic Knowledge School Yellow looks warm, cheerful, extroverted and the symbolic meaning can be friendliness and optimism as well as recklessness, envy and jealousy. Orange looks exotic, lively and active and stands for joy, liveliness and fun. Red is very exciting, powerful and sometimes eccentric and symbolizes power, passion, love, but also aggressiveness and fire. Violet appears introverted, extravagant, melancholy and often stands for power, theology, but also vanity or renunciation. Blue has a calming, serious, longing, cold and distant effect. It stands for harmony, cleanliness, calm and passivity and peace. Green has a calming, fresh, natural, cheerful and young effect. The symbolic meaning is freshness, relaxation, hope, nature but also immaturity. White appears pure, empty, light and sometimes sterile and stands for purity, order, lightness and innocence. Black looks pessimistic and sad but also mysterious, solemn and serious. It stands for grief, end, hatred and misfortune   The how The different art styles in painting are characterized by their very special and in some cases pioneering use of colors. In Impressionism, the fleeting and rapidly changing impression of the moment is captured by painting. The light of the moment and the resulting colors are put together in fleeting and sometimes shimmering brushstrokes and with a lively style. At the beginning of the 20th century, expressionism increased the expression of color by painting . The shapes are simplified, in some cases almost flat. Strong, pure and contrasting colors become the absolute expression of emotions. The color is used separately from the naturalistic rendering and is intended to create a suggestive effect.   Color as material Initially only used as a coating and varnishing material in industry, acrylic paint has been used by artists as a versatile material since the mid-1950s . To this day, acrylic paint has a special charm, because the forms of expression can be more diverse than with hardly any other painting material. How is the colored area set, with brushwork ? Rich in shape and contrast or with a soft transition ? With structure (materials) and impasto relief ? Or light and translucent? This has an effect on the expression in terms of mood or can be used to create a color or aerial perspective (pure, bright warm colors are assigned to the foreground, everything behind is bluish, grayish, lighter ). The painting tools are also important for the specific, individual expression in the picture. Finally, two more examples that illustrate how the choice of color tones give the picture a completely different message. In his book “Thinking Like an Artist” Will Grompertz describes how the dejected and melancholy Picasso began to immerse his pictures in a mysterious blue color tone in 1901 , thereby shifting the mood of his pictures towards sentimental. On the one hand, this now matched his emotional state perfectly; on the other hand, it was the beginning of his “blue period” which made him known as “Picasso” and brought about the breakthrough. A wonderful article is devoted to the color blue in issue 4-18 of the magazine “Einfach.sein” . In “53 Shades of Blue” it is, among other things, attempts to make the blue of the sky measurable, but also some emotional worlds are hidden behind the color. “There is boundless longing in blue” it says there. The artist Andy Warhol is also concerned with the effect of the color blue (compared to red), so in simply. sein to read. By choosing the color of the background, he made one and the same woman portrait appear completely different. On the red ground on the woman THAT CONDITION dynamic / self-confident , on a blue ground , however,dreamy / wistful / serious . In process-oriented work, this means for us to pause and see HOW the spontaneously chosen colors work . Material as such, sensory perception or symbolic medium. No matter. In addition to all the theoretical approaches, color breathes life into artistic work and is very practical for every artist as a means of transporting their own handwriting . The possibilities and color combinations are inexhaustible. How about leaving the old paths for once and daring to try new colors in order to observe how the expression in the picture changes as a result? Painting remains an adventure that is always fascinating. Have fun with all experiments, let the color flow,

8 tips how you can increase the depth in the picture.

Often people come to my courses who want to learn to paint more freely . You want to loosen up and get to the image results with more ease . They have to function in everyday life through work and family and are therefore used to the mind taking the lead and spreading out so much that there is no place for intuition. Lately I have been reading more often about “ gut feeling ”, which ideally is placed next to the mind. Your gut feeling can help you to make decisions in a flash, without your mind weighing all the information for hours. In painting, it often doesn’t help you if you’re just in the “head”. Why? Even if you have mastered all the compositional rules perfectly, the picture may still lack the lightness, the specific swing or the disturbing factor that makes the whole thing really lively and individual. Often I only find pictures interesting when the rules of composition are turned a little upside down. The gut feeling can develop from the experience . In my opinion, it is good if the knowledge slides down a floor and you are more likely to “ feel ” what is to come next. You are then able to play freely with these rules and gain ease, but also your own clarity , because you do not cling to the rules of composition and bite into them.   How do you get out of the mind into the feeling, into your intuition? It is a good idea to open all your senses while painting: To really look carefully is an art that strengthens your perception. But also the other senses like hearing, taste, smell, feeling can help you to work less from the mind. Now you might be wondering what this is about now? Why can hearing be important for painters? I think all of this is good for perceiving more sensitively. There are people who take in their information primarily with their eyes, but there are also people who are auditory-oriented. Others have to feel something to feel what’s going on with it. So: what does it sound like when the paint is warped on the canvas? Does the brush rustle? How does the material you work with smell? Do you feel the pressure with which you guide your painting tool and how does it feel in your hand? To expand your possibilities, it is great if the less developed senses have something to do. And because “tasting” is really difficult when painting, there is a delicious lunch in the studio during all-day courses that stimulates all the senses🙂 Linking the left and right hemispheres of the brain Even if scientists do not agree, I am convinced that by activating both hemispheres of the brain, you can be holistically creative. Among other things , the left hemisphere  should be responsible for the rational handling of tasks. Logical skills, numbers, language, facts are ascribed to her. She has analytical tendencies and likes order. The right half of the brain  is more about fantasy, rhythm and feelings. It should be spontaneous, creative, intuitive and visual and also likes chaos. By networking the two halves, you can benefit from both sides. This can be done, for example, by working with both hands, for example with 2 pens in the right and left hand to draw in yourself (also crosswise). You can also try to approach tasks differently than you are used to: e.g. using your untrained hand to paint or draw. Then you also train the less pronounced half of the brain.   I am a person of movement. Although I also like “lying down” in all its variations (on the sofa, in the hammock, in bed, on the beach), I often only manage to change perspective through movement. I can also relax better through movement than through absolute rest. In the resting position, the thoughts circle in my head all the more, but through the movement I feel my body and the mind is calm ! Try not to just sit or stand in one spot during the painting process. Get moving, go around the table or easel, or put the picture on the floor so you can work with more momentum . You will see how the expression in the picture will change.   Can you only work when you feel like it or would it be helpful if you look for like-minded people with whom you get together too regularly and stick with it, because the communal experience  in the group inspires you? Or is it better when you have peace and quiet, are alone and you can concentrate fully on yourself? Try out how this aspect affects your painting.   How does the room have to be so that you feel comfortable  and you get into a good painting mood? Do you have to cover up or make space to work undisturbed  ? How must the noises be like the light? Does music inspire you or do fragrances open your senses? All of this can help you let the thinking fade into the background for a brief moment.   Stress and too little time kill creativity, as does too strong an inner critic and expectation pressure (also that of other people). Likewise distraction. Switch the phone to quiet when you go to the studio so that you can really get involved in the ” feeling “!   In one of my last week’s courses I had a participant whose intellect first wanted to ” understand ” the further procedure in the picture and who thought many, many steps in advance. After a while the saying came: “I’ll just do it!” Then I knew she was ready to put her mind back a little and dare to venture into the unknown and the unexpected . And I was allowed to accompany you in this important step !   Have fun with all experiments, let the color flow

Angelika, what are you doing with the picture edges?

I am often asked that and I had already told you in one of the last blog articles that I don’t pay so much attention to the edges of my work. However, there are different views and options, which I will briefly explain to you below. 1. You leave the edges as they are . It can also be seen in the large art houses: the traces of work that arise in the painting process can be found on the edge of the picture . Running tracks and splashes are therefore desirable in this case. I think this is an interesting option, it sometimes gives the viewer an insight into how the picture was created. 2. You consciously work in the edges . This is particularly recommended for deeper stretcher frames (XL frame strips) or for picture boards (Casani boxes). I drag all colored areas, lines or collage paper around the corner. The edge is treated like the front of the picture. By incorporating the wide picture borders, I came up with the idea of ​​working on cubes in order to bring the design into three dimensions. 3. You draw at least the color tones around the edge of the picture, a similar color scheme is enough . But since I work the pictures in many layers, I don’t know what the final color will look like until the very end. It is therefore advisable to wait until the work is completely finished, otherwise you will be more concerned with the edge than with the actual motif. 4. You tape off the edge. I’ve really never done that before, but I’ve seen it many times with participants. That way, the edge remains sparkling clean, of course , but looks like a foreign body depending on where the picture is hanging. This can work well on white walls, but less so on colored walls. When viewed from the side, the white border quickly becomes an unwanted focal point. 4. You draw a dark color from the edge to just over the front edge of the picture. This then works like a frame and a bit decorative. The dark edge gives the picture a hold and looks immediately refined. I have seen this with some colleagues. This can make sense, especially with abstract structural images, because the edge then appears calm. 5. You choose a frame, for example a shadow gap frame . Admittedly, that is simply too expensive for me. Since I paint a lot, I sell more often and I rearrange my work at home at least as often, it doesn’t make sense to frame the pictures every time. At times I would have to store them very carefully. But if you really have a great job that finds its final place, a suitable framing can increase the effect of the picture enormously. What are you doing with the edges Do you have options that I haven’t mentioned yet? I am very happy about your comments, enjoy all experiments, let the color flow

How do you achieve lightness in the picture?

Paint relaxed and easy A few years ago I worked with a lot of material in my pictures. Structural compounds and pastes, bitumen, marble waste and thick rusty surfaces. Gladly materials with a “life of their own”. However, thick layers of material often appear heavy. But that’s not all. It also depends on the painting how the design looks in your picture. My work has changed over the years, and its appearance has become lighter and lighter. At first unconsciously, then consciously used. I still enjoy working in different techniques and with a wide variety of materials. Often times, however, a brush, paint and a few pens are enough for me today. What is important for pictures to radiate lightness and looseness? 1. Transparencies Perhaps it is because I have mainly done watercolors for many years, but I also like to work diluted with acrylic paint. I let the paint run and flow, using liquid Indian ink so that the layers of paint run into one another naturally. They result in transparent, shimmering surfaces. Transparencies also bring depth into the picture. You can also work translucent with undiluted acrylic paint, e.g. B. with a linoleum roller. In this way you can create overlays in the picture, ie mix large and small shapes and use them stacked on top of each other. 2. Loose brushwork A loose brushstroke contributes significantly to the lightness of the picture. In doing so, I always try to find out how much unrest the picture can have. I also combine the structured area with a lot of brush marks with very calm elements, with little noticeable brush marks. 3. Play of lines An airy play of lines brings a lot of lightness into the picture, especially when the lines are delicate or sometimes thicker and thinner. It is also a way of enhancing the contrasts in your picture. 4. Organic, naturally created shapes A geometrical representation is constructed in the vast majority of cases and has a more uncomplicated effect. That’s why I use organic shapes that are created. Either through painterly and “intuitive brush swing” or through techniques in which the forms arise naturally, such as. B. pourings or washouts. 5. Dynamic arrangement Look for less static arrangements, but also work with diagonals, i.e. not only use vertical and horizontal arrangements. You can achieve a different effect just by placing the elements. 6. Coloring Last but not least, the coloring is important, whether your picture looks light or heavy. Powdery pastel tones or lightened, mixed colors have a lighter effect than pure colors, which are more striking. Ultimately, however, it is also a question of personality, with which image design options you feel comfortable. Everyone has their own preferences. For me it is the case that the reduction of materials leaves more and more space for my own painterly handwriting. It slows me down less, but lets the images emerge with ease. That can be seen and felt. You can find more about lightness in the picture and other rules of composition in my new ebook: Composition, playing with color, shape and contrast. Have fun with all experiments.

Paint sustainably

Small things, big impact! As you read the headline of this article, you might think: That too. Now she’s also adding her mustard on this subject. Especially since sustainability is used in all sorts of sensible and nonsensical contexts and is sometimes misused to promote advertising. It’s not that I’m an environmental activist. And there are a few things I could do about myself. In fact, the best thing would be to forego creative work entirely. But that is definitely not possible. People have always felt the need to express themselves artistically. And there are definitely different forms, if I wasn’t allowed to paint, draw or be creative, I would wither. So this is not an option. Nevertheless, my perspective has changed over the years. I’m looking for solutions how I can work creatively, but still not produce tons of unnecessary garbage. But everyone has to decide for themselves how the priorities are set. Sometimes there are small things that don’t hurt, but in the long run and in large measure they have an effect. Here are a few of those little things that I practice to reduce the junk Disposable gloves, Zewas or paper plates I hardly ever use such things. Washing hands, old tea towels, old T-shirts or empty plastic packaging that are already there anyway also serve the purpose and can be used several times. I don’t need a fresh plate every time, a sturdy cover made from wall paints or acrylic binders is very durable and can also be used with water-based glazes without softening. An old glass or plexiglass plate is also great. If the disposable cup is frowned upon, why not the disposable, palette, cardboard plate too? Use existing tools or misuse them You don’t always need the very best artist quality, you can also use existing tools for your painting. Dish brushes, rubber squeegees from the hardware store or pot sponges can withstand a long time. You can prime your pictures with remnants of white wall paint. A mixture of dish soap and sunflower oil can replace the solvent for your oil paint. Work with surfaces that can be revised Since I’ve been an artist for many years, I have a lot of painted canvases. A very large amount, really. And for some time now, I have rarely used a completely fresh canvas. In the majority of cases I recycle old pictures. Pictures that are outdated because I am at a different point in my development or pictures that I have never really worked out anything new and which are a repetition of earlier work. I can let such pictures go again and form the basis of a new design. Among other things, because I often over-paint the old pictures, I hardly ever varnish my work. It is difficult to get an absorbent primer back on a very smooth and sealed surface. Keeping the paint moist for the next day of painting I need a lot of paint for large canvases. But sometimes it’s hard to tell how much. Sometimes I put the paint directly on the canvas, then I can save myself the detour via the palette. If I have leftovers on the palette, I wrap them with the packaging film from the freshly bought canvases (mostly those of my course participants). If I can’t paint for a long time, I spray a little water over it with the spray bottle. The acrylic paint will last for a few days. Should I still have leftovers that I need to rinse off, I first remove most of the paint with an old rag or dirty paper before cleaning the palette. This means that less acrylic paint ends up in the sink. Maintaining materials well Unfortunately, many artist’s brushes no longer have the long service life they used to have, these are my experiences. But if you handle your material well, you will definitely benefit from it for longer. When I wash the brushes (which I usually only do at the end of the painting session, as I work wet on wet with the different shades) I then place them on an old terry towel to dry. I don’t put them in a jar, otherwise the moisture will pull into the clamp and the wood in it may swell. The brush hairs fall out quickly and the brush becomes unusable. Now and then painting on paper For me a playground: Working on paper. We use less material than when using stretcher frames and it takes up less space to store the finished pictures. In addition, you can let off steam on paper, because it is “only” paper. You can cut it wonderfully to change the composition or cut it into pieces to make cards, bookmarks, etc. out of it (if it doesn’t seem to work as a whole). You can also later integrate it into acrylic paintings. Collect materials and include them in collages Some participants bring real treasure chests with them: The collections of special papers, old documents or newspaper clippings are great to use in collages. I also enjoy self-made sketches twice: once when I draw them and a second time when they find a place in a picture. Patterned or structured fabrics can also be worked in perfectly. You can make it yourself and only touch it if necessary.You can use natural materials with acrylic binders (or white wall paint, if the structural compound should be white) to make the structure yourself: sand, ash or colored earths are structure and first coloring at the same time. And because you only do that when you need these substrates, nothing will go bad or firm. I am happy about everything that gets a second life! Have you already thought about this topic and do you have any further tips for me? Then I look forward to your comment! Have fun with all experiments, let the color flow,

My portrait palette

How do you actually mix skin tones? The road to my current range has been a long one – 12 years to be precise. Since I started painting faces until today. That implies that my palette is constantly changing – but it’s relatively solidified now. How it all started: I somehow mixed up my first faces in terms of color purely intuitively and without much background knowledge. The finished color “skin color” played a large part in this. Otherwise, I’ve tried this and that. I was very astonished when I was pointed out in a painting course that purple and green are essential color components of a face. I hadn’t noticed that myself until then, but then discovered it for myself and worked for a while with various green and purple colored tubes. The turning point: At some point I was told that the first thing I had to do was delete the color “skin color” from the range. I started mixing my skin color myself and found that the results looked much more natural. This opened up a whole new world for me and I began to deal more technically with mixing colors. I quickly realized that purple and green no longer had to land directly on the canvas from the tube, but only mixed or mixed in. What is the advantage of mixing over the pure colors from the tube?Why should I mix a purple instead of buying a purple directly? Well, the crucial difference is that the mixed colors also get along much better with each other. If I take a certain shade of purple directly from the tube, it will only stay purple until it is blurred into another color, and then it usually suddenly looks completely different, sometimes even dirty. But if I mix a purple from blue and red and this blue is also part of my mixed brown or gray that I paint, then the transitions when painting become softer and more natural and do not look dirty. The originally mixed purple shade is retained even longer, at first it simply becomes lighter or darker. Also, I don’t always have to completely clean the brush every now and then, My palette , which I am now presenting, is therefore always only the starting point for a painting session. As soon as the first brushstrokes are made, more and more colors are mixed wildly. Colors straight from the tube come in very small blobs on the left edge – these colors are usually only mixed and rarely applied directly! They can (more rarely) either simply be mixed with titanium white or (more often) in the color mixtures suggested below: cadmium yellow light, cadmium orange, cadmium red light, alizarin madder, ultramarine blue, sap green, ocher yellow, permanent green dark. At the very top, I press a very thick blob of titanium white onto the palette as this is an essential color that I need all the time. Now the first colors are mixed and come to the right edge: Titanium white + cadmium orange + ocher yellow> skin color Cadmium orange + ultramarine blue> medium brown Cadmium red light + ultramarine blue> brown Cadmium red light + ultramarine blue + permanent green dark> dark brown Cadmium red light + 2-3 parts ultramarine blue + permanent green dark> anthracite Alizarin madder + ultramarine blue> violet In the second row from the right I mix each of these color combinations from the very right row with a shot of titanium white in a lighter and more pastel variant. As you can see, cadmium yellow and sap green are not directly mixed. I usually only use them sparingly later and for certain accentuations. The colors ivory black, green umber and sienna brown at the bottom literally only lead a shadowy existence and can be used carefully here and there for shading. But they are often not necessary at all. Except: The ivory black always looks good in the pupils of the eyes. Incidentally, the suggested mixtures are suitable for all skin types!