Integrating Art Into Your Home

Here are my favourite tips for using art to set the mood of each area and make your friends jealous of your amazing house design.

Hang low or not at all

Guess what? You don’t really have to hang your artwork. It’s 2017–don’t hesitate to lean that poor boy from a wall.

But if you do need to hang the piece, let’s get down to basics. The base of the artwork (or its framework) should just be 8-16 inches above your couch or table. Yep, hang low. You need to place the work so that the core of the piece is at eye level, and unless you are Michael Jordan, you are going to need to lower your hanging expectations.

If you are planning to hang multiple smaller artworks in rows or columns, stick to the exact same principle: begin the lowest row just 8-16 inches over your item of furniture. This can help create a unified design statement.

If you’re prepared to take the dip and sit rather than hang, fireplaces and shelves are a wonderful focal point in any room, but occasionally floors are great also! Yup, you heard me, put the art on the ground, (framed of course). This is a superb way to dress down a space and create a relaxed and welcoming vibe.

A colour for every mood

Choose colours dependent on the mood you need to create in each room. For instance, grey is calming, so consider highlighting your bedroom layout or theme on various gradients of grey. Yellow sets a welcoming, cheerful disposition, so a bit of artwork which has a bright yellow hue is ideal for the living area. And functions that shout with orange or red are amazing from the dining area, and will spark lively discussions between dinner guests.

Lastly, most of us remember from science class that white is the presence of all colours, but it does not mean white will bring character to a room. Quite the opposite! There is a reason gallery spaces have white walls–to allow you to ignore the walls and concentrate on the artwork. So, in case you purchase white art, be sure that the wall it hangs on is brilliant.

Design a room around an artwork

To start, locate your focal point: Walk in the area and determine where your eyes land first; this is the best place for a piece of statement art, and you can base the rest of the area’s layout on it. This may be as simple as picking out among the secondary colours on your central piece of art and flowing it throughout the room–an accent pillow here, a lampshade there. The theme does not have to take over the layout, but it is going to help the eye join all of the pieces in the room, and make a unifying statement on your décor and design.

One of my favourite ways to construct a theme is via texture. You can have as many colours or patterns as you like, but when they’re in precisely the identical fabric or feel, it truly brings the room together in a subliminal yet powerful manner.

Bear in mind, you can always use your artwork to mimic the life span of the room. Put simply: If the art is of food, hang it in the kitchen, if it is of a bunch of friends laughing, hang it in the living area. But do not take this too literally or else it may get weird fast from the toilet…

Don’t forget your bathroom!

Think about your bathroom for a gallery–the ideal place to hang your quirkiest art pieces. Get a little crazy and show your character. Some of the greatest art can be somewhat uncomfortable at first glance, but when you really see it, you won’t have the ability to stop admiring it. The extra bonus here is that your guests will find a kick out of the functions in a private setting (and they could stare for as long as they need!).

The Fundamentals of Shoe Design

The shoe design sector is interesting, exceptionally creative, and demanding. Since the industry is also highly competitive, it’s necessary that those entering this career path have a comprehensive understanding of the fashion industry.

 

The role of a shoe designer sounds simple; it’s to produce kids, men’s and women’s shoes. It can be seen as accessory, they may also be viewed as original and innovative works of art. A shoe designer should use their understanding of various fashion styles, different kinds of materials and design methods to conceptualise and develop their own footwear designs.

 

Since the shoe design career route is multifaceted, designers are required to also have a comprehensive understanding of the fashion market. They have to know how to draw, how to design their pieces, the way to cut and sew fabric, and how to use certain design applications and other applications on the computer so as to develop their designs digitally.

 

Creating close contacts within the industry through internships or other programs such as networking with small business advisors in the field can also help shoe designers achieve success. Furthermore, a degree from a fashion design school isn’t essential to become a thriving shoe designer, but it may be beneficial when applying for internships and securing employment in the industry. In actuality, most employers prefer designers who have a comprehensive understanding of footwear design from a respectable school.

 

There are degrees, diplomas and other courses out there that concentrate especially on shoe design, while other programs may focus on both shoe layout and accessories design. Topics covered frequently include computer-aided design (CAD), footwear advertising strategies, collection development, and implemented footwear design, drawing, pattern drafting and other relevant courses. And, although getting an education is important, work experience is crucial. Therefore, participating in internships and apprenticeships through high quality advisors, retailers and shoe makers while at school or after finishing your education can help earn the respect and attention of potential employers.

 

Develop Industry Specific Skills

 

While anyone can try their hands in shoe design, investing your time in learning more about the craft and developing your skill set is the ideal way to make your mark within the industry. It’s necessary that a shoe designer has a clear comprehension of colours, lines, shapes, textures, and motion, and how these concepts interact with the human body in movement.

 

While it’s important that you have artistic ability, learning to conceptualise your eyesight can be necessary; how your designs will look with several distinct wardrobes like going out shoes may be women’s pumps compared to hanging out shoes would be women’s sneakers, styles of hair, and makeup. The shoe design process requires plenty of research, ideation, and prototyping before you’re able to present a whole collection. Prior to, starting a collection, a shoe designer needs to first ask themselves a few fundamental questions:

 

  • Who are you designing for?
  • What do they want?
  • Where will your designs be worn?

 

When you have the answer to these questions, you can begin to execute your designs. While the design process might vary based upon your customer and your final vision, this simple process is one which needs to be followed.

 

It’s also very common for shoe designers to work in collaboration with other designers and artists to acquire knowledge and experience. This is a superb way to find out more about different design procedures and gain expertise by forming design concepts as a team. As a shoe designer, developing your skill set is paramount. Whether you decide to practice with a hands-on strategy, through independent research or through an accredited bachelor’s degree program is your choice.

 

The shoe design industry is one that is ever-changing, requiring those who enter this field to maintain a particular set of skills which are adaptable. At a minimum, it’s essential for shoe designers to understand colour concept, have a fundamental understanding of cutting and sewing, pattern making, and fashion sketching. Designers must also be knowledgeable about the fashion business, have a broad understanding of fabrics and materials used in creating different sorts of men’s and women’s shoes, and comprehension of shoe engineering, illustration skills, proficiency with CAD software applications, and modelling software, powerful marketing abilities, knowledge of trends within the business, and of all of the differs types of footwear on the market today. Designers might also opt to specialise in one kind of footwear, such as women’s sandals, or they might decide to design various kinds of shoes, sandals, sneakers, etc. they may opt to design for ladies, men, kids, or enter the functional and developing field of orthopaedic footwear design.

 

Build Your Portfolio & Pursue Professional Development

 

To achieve success in the shoe design business, it’s important that potential designers learn how to construct a strong portfolio, their own private brand, and business connections.

 

Whether you chose to build your portfolio online or with bodily prototypes, this is a vitally important first step on your shoe design career. With a strong portfolio, you have a higher probability of being approved for an internship application. You also increase the possibility of selling your footwear designs. This is also a wonderful way to begin building your reputation within the market, as insiders have a reference point when considering your layouts, and how you’ve progressed overtime.

 

With the invention of the web, social networking, as well as the 24-hour news cycle, it is more important today than ever before to create a personal brand. Therefore, success within the fashion industry depends heavily on your personal brand. Although it’s always important to keep in mind who you’re designing for, it’s also a fantastic idea to have a clear brand identity in your mind to distinguish yourself from other shoe designers. Your individuality and exceptional design style are what people will remember, and what will finally land your first job.

 

The fashion design industry is highly competitive and because of this, making the correct connections is among the best ways to be certain that your shoe designs are seen. While it may be hard to know where to begin, applying for an Internship or apprenticeship, studying under performers that are already successful in the market, and investing in continuing education are all great Ways to create lasting connections in the business. It should also be mentioned that New York and California employ most shoe designers, so designers that Want to have the best chance of gaining employment and getting well-known may want to consider relocating.

Remembering the Art of Robert Rooney

The art of Robert Rooney’s first stood out in a 1968 Exhibition titled ‘The Field’ for the introduction of the new St Kilda Road construction of Melbourne’s National Gallery of Victoria, later it toured to the Art Gallery of NSW.

Its colour-field and hard-edge abstraction comprised Australia’s plunge to a new global movement following the messiness of abstract expressionism.

But, Rooney’s Kind-Hearted Kitchen-Gardens were distinct from the majority of The Field: much less dull, more private, more regional. (A bookish humour, he discovered those titles by opportunity, headers of facing pages in a dictionary.) Indirectly motivated by a Melbourne hardware front display; placed next to a clothing store on the left and a fresh food store on the right, it consisted of gaudy paint cans backed with a painted cut-out home and backyard, they weren’t satirical, he stated, but felt the absurdity. They were subjective in appearance, however the tough colour, seriality and common-object vision and contours (locate the clothing pins) aligned them with anti-abstract pop artwork.

After the NGV exhibition and Popism, recognized that Rooney was a significant contributor to this substantial 20th-century movement. Rene Block, European curator of this 1990 Biennale of Sydney, The Readymade Boomerang, recognized Rooney’s indebtedness to dadaism along with Marcel Duchamp’s ready-made items and graphics, the origin of pop and conceptual artwork. On the other hand, in 1983 at Canberra, the National Gallery of Australia exhibited A Melbourne Mood: Cool Contemporary Art emphasised Rooney’s regionalism. His job was a voice for what he called “the secret life of the suburbs”.

His own suburban foundation was Broomfield Road, Hawthorn East, in which his Parents settled in 1939 when he was two, and he stayed there nearly until his death, which happened only a couple weeks following his mother’s at a nursing home where she’d been because Rooney was diagnosed with Parkinson’s disease.

Rooney never went abroad, and possibly only once interstate, but was likely better educated about new artwork than anybody in Australia; the entire world came to him through magazines and books. For 20 years from 1959, he was employed as a salesman at Melbourne bookshops; for 18 years before 1999 he was the Melbourne art critic for The Australian. In addition, he worked as a critic for The Age.

Rooney neglected a Swinburne Technical College commercial artwork diploma course in design and illustration, however he didn’t squander the experience.

“There’s not one self-invented image,” he said, “To me, creativity is choosing something and structuring it.” He became a connoisseur of marketing, technical diagrams, comic strip pictures, noting their occasional odd potency, and many years later will rework them as higher art canvases.

The top gallerists took him on — Bruce Pollard in Pinacotheca, Jan Minchin in Tolarno — and most of significant Australian art museums have extensive holdings of the job. In 2013 his closing exhibition of new work was The Box Brownie Years 1956-58, that included reworkings of his own Swinburne-period photos of young drama, ambiguously dangerous and innocent. In true Rooney fashion, this last display was famously Melbourne with the opening night having catering from hawthorn, the alcohol from yarra valley wineries and of course, all the works inspired by the only place he had ever called home; Melbourne

Familiarity with children’s publications made a particular interest in the Strangeness of youth. Back in 1990, for a retrospective at Monash University, he recalled artwork he’d made aged five, “encouraged by his mother to cut up photos in the Australian Women’s Weekly and glue unique heads on bodies”, an ancient taste for contradiction and violence.

Rooney’s father, Patrick, was a maintenance engineer with the national air force; as a youngster, Robert posed for a garden photo in a flying ensemble with a gun. War was a part of life in Melbourne; even decades after the great conflict had finished. Back in 1983 Rooney gave an exhibition of wartime-imagery paintings that the army named ‘As You Are’.

When I saw his Broomfield Road studio in 1979, to pick a Kind-Hearted Kitchen-Garden along with also a Superknit for the National Gallery (both works are now on display in Canberra) Rooney explained his parental circumstance: “My father built the kitchen himself, an addition: there was a bit of a garden there, a lemon tree. Added in the mid-1950s. Yes, the 1967-68 paintings were given characteristically 1950s colours.” He showed me a shrub by the entrance: “My mother (Beatrice) once painted that,” then with a well-timed pause. “No, not a picture; she painted directly on to the leaves, some with pointillist dots, some with abstract-expressionist gestures. With my leftover acrylics at the time of the Kitchen-Garden paintings.” The mature kid and his parentals got on well, appreciating each other’s eccentricities and humour.

Self-observation, also, was a part of Rooney’s artwork. Within my 1979, I presume he staged a bogus display of the following day’s garments neatly folded awaiting the afternoon, as noticed in his Garments 3 December 1972-19 March 1973. This was a conceptual job I’d obtained for the Art Gallery of NSW from the 1973 survey exhibition of recent Australian art, and it included 107 little black commercially published photos taken each evening for more than four years, all looking much the same, largely centred on short underpants — that the triangular shape of that supported a reading of those structures as cubist still-lifes.

Through the 1970s Rooney created similar landscape and inside photoworks. Following the return to painting in 1980 he favored human-interest figure topics, and subtly suggested that contemporary “Australian” art and lifestyle (such as Holden motor vehicles, BBQ’s and Wineries in the Yarra Valley and other regions) were often more American than we cared to think.

Rooney’s work has a freshness of youthful discovery but also the elegance and intelligence of adulthood. It’s worn exceptionally well. Before Ron Radford abandoned the NGA he’d Rooney in head for its collection of mature artist retrospective exhibitions. It is high time for somebody to have the job.

The Positives Art has on the Elderly

While at best you may envision retirement and your “golden years,” as sitting on the porch and watching the neighbourhood kids ride their bicycles around, or at worst relying on a walker, chair alarm and other equipment in an assisted living home; both these stereotypes don’t have to ring true.

Retirement and aging can be—and should be—much more vibrant than merely sitting at a window watching the world go by. Elderly adults benefit from exercising their creativity; in fact, some therapists use creative arts as an integral part of their sessions with elderly patients. Here are some benefits of keeping your elderly loved one engaged in the creative arts.

Increased contact and strengthened relationships with others for many elderly people; one of the largest problems they face, is that of isolation and loneliness.

When an elderly person remains at home all day and does not have many opportunities for interaction, his or her overall sense of health and well-being suffers.

Depression may set in, and some studies have shown that isolated and depressed people are actually more susceptible to physical maladies such as chronic disease and even death.

The creative arts help to build strong relationships. By providing a way for an elderly person to establish and maintain strong contacts with others, the creative arts help to build strong relationships. This, in turn, leads to an enhanced quality of life and even the possibility of a longer life for your elderly loved one.

As people age, they sometimes lose the ability to communicate effectively or engage in activities that they once enjoyed. This can be frustrating and overwhelming and can contribute to a poor quality of life or other issues.

By providing the elderly with another way to express themselves, the creative arts can serve a cathartic purpose and allow elderly persons a way of communicating to others. By painting, crafting, moulding, or otherwise creating art, elderly people are able to continue to leave their mark on the world. This can be therapeutic for them, especially if they are experiencing a loss of ability in other areas.

Regular participation in the creative arts yields a significant increase in an elderly person’s overall physical health and can indirectly act as fall prevention training.

In addition to fighting depression, as noted above, those elderly people who regularly engage in participatory art programs (programs wherein they assisted in creating the art as opposed to merely observing it) actually have better physical health than those who do not.

In one study, after a twelve-month period of engaging in participatory art activities, the elderly people who were engaged reported a higher rate of physical health, fewer accidental falls, a decrease in the amount and types of medications they needed, and a decrease in the number of times they needed to visit the doctor or other healthcare professional. A control group—comprised of similarly situated elderly people who did not participate in the art activities—did not report the same benefits.

This study and others like it, show a definite correlation between participation in a regular creative art activity and increased physical health. As such, caregivers may wish to consider enrolling their elderly loved ones in some sort of creative art activity on a regular basis, both to improve the quality of life and act as a way of preserving their physical health and wellbeing.

Your elderly loved one may be experiencing some frustrations with the age-related decline in his or her physical abilities. Participation in a creative arts program can provide him or her with a great way of letting out his or her feelings in a positive way.

Participatory creative arts programs lead to an increased sense of wellbeing as well as decreased rates of psychological issues such as depression. In addition, regular engagement in a participatory creative arts regime can have positive impacts on the physical health of the elderly.

If you are acting as a caregiver to an elderly loved one, it would be well worth your time to enrol him or her in some sort of arts program. Overall, being creative in the arts dramatically helps the elderly in many various ways.

Australian Artists Take the Global Design Award 2017

Taking the prestigious Athenaeum and European Centre’s Design Award for International Architecture is Australia’s very first engineered wood commercial building. International House Sydney, made by Tzannes within this Barangaroo redevelopment, gained recognition from among the world’s top design institutions: the Chicago Athenaeum and the European Centre for Architecture, Art, Design and Urban Studies. Here is the sixth major global design award Tzannes has obtained in the previous couple of decades.

The LendLease-developed International House Sydney opened its doors before this calendar year, as the ‘front door’ into Barangaroo South. The project is constructed entirely of cross-laminated wood (CLT) and glue-laminated wood (GLT), such as flooring, columns, walls, roofing, laminated architectural timbers, elevator shafts, egress stairs and bracing bays. The six above-ground industrial degrees are supported by one ground-level retail flooring of conventional concrete.

‘Tzannes’ layout turns the constraints of structural engineered mass wood and recycled hardwood to advantage, establishing a powerful visual presence and legible load route through the construction column and beam structure, so mesmerizing, you’d think it was part of some exhibition installations . A statement issued by Tzannes in reaction to this award explained that the double-height colonnade bracing columns, made from recycled iron bark, evoke memories of this forests’ origins of timber, these early trees admired in their brand new industrial usage to further differentiate the structure and its own particular contribution to the design of the public domain.

Absolutely, approximately 3,500 cubic metres of sustainably grown and recycled wood were utilized in the building of International House Sydney. This conscious choice to not utilize concrete supposed that “thousands of tonnes of greenhouse gases” were averted. International House Sydney is an exemplar of placemaking structure that reduces adverse environmental impacts from the constructed environment by using glue laminated architectural trusses. Tzannes states that it provides an ongoing store for carbon monoxidedioxide towards the potential of industrial building construction across the world.

Seven jobs by Australian architects have also received awards in the world’s most extensive architecture awards application. The International Architecture awards for 2017 were organised by the European Centre for Architecture, Art, Design and Urban Studies and the Chicago Athenaeum Museum of Architecture and Design at Dallas, Texas to 75 jobs from a listing of 300. One of the granted Australian jobs involving various immense equipment including slab cranes and frannas was, as above, International House at Sydney’s Barangaroo by Tzannes, the biggest commercial construction made of engineered wood on earth.

Also getting an Award were John Wardle Architects and Boston-based clinic NADAAA at the University of Melbourne’s Melbourne School of Design. Finished in 2014, the building includes four different facades that sew a light-filled atrium in the middle of the school meant to foster collaborative action. John Wardle described the building as an area for research and learning that alone exemplifies plenty of possibilities for pupils to take into consideration when reacting to needs of complex issues.

Christian Narkiewicz-Laine, president of the Chicago Athaeneum, stated that the 2017 prizes demonstrate a devotion to the greatest standards in building design which affect contemporary design now. These new buildings reveal the wonderful quality of architectural talent running across the world, in addition to the vision and determination of their visionary customers who commission them.

The awards set a spotlight on a number of the bigger and exceptional, but not as ambitious, endeavors. They reveal that funding, place, low loader and crane hire or a number of different challenges are no limitations to the creation of excellent quality structure as long as you have the dedication of an ingenious and competent architect working with a wonderful customer.

An all-male panel of jurors was convened in Dallas, Texas composed of architects out of a combination of Texas-based clinics and federal clinics with Texan offices. The panel included Bang Dang (Fang and Dang), Rick Del Monte (The Beck Group), Daniel Dupuis (Kendall/Heaton Associates), Mattia Flabiano III (Page Southerland Page), Brian Kuper (GFF), Heath May (HKS), Ricardo Muñoz (Page Southerland Page), Tom Reisenbichler (Perkins and Will) and Tom Philippi (Smithgroup JJR).

An awards presentation will take place in Athens, adjoining to the Acropolis, on 8. September. Selected projects will be modeled and displayed in a glass showcase in Athens in September, prior to being toured through Europe over 2018.

The World’s Most Exciting Fossil Museum

When he is not fixing people’s pipes as part of regular residential plumbing services, Steve Etches enjoys nothing better than scanning the seas down in Kimmeridge Bay in Dorset, awaiting ancient lifeforms to show themselves.

For more than 35 years, the 67-year-old, who runs a plumbing and heating company, has spent his spare time carefully finding, cleaning and exploring a mind-blowing selection of over 2,000 marine fossils, from up to 150 million years back, including several world-firsts.

Incredibly, only 10 percent of Steve’s discoveries in the late Jurassic Kimmeridgian period are on display in the carbon-neutral Etches Collection museum, which opened late last year in the village of Kimmeridge, a brief walk from Steve’s house, where he once placed everything in the garage.

All shiny and wooden, the memorial is shaped somewhat like the hull of a ship, With the exhibits in glass cases at the lower half, over which the fossils are brought to life with giant screens showing CGI versions of monsters that once swam in our oceans, giving the effect of being in an aquarium.

Here are a few of Steve’s most important finds…

The impressive one

Bear in mind the giant mosasaur which jumps from the water in Jurassic Earth? Steve’s collection includes this striking jaw of an equally powerful aquatic monster: the pliosaur.

It was a hard-won fossil, since it did not come out in one hit. Steve, who found that the hinge part and then, over four decades, collected and stuck pieces back together, with the tooth-bearing section tantalisingly staying put in the cliff.

Before his wife was going to have their last child and before his day job in hot water service repairs, he went around there very early one morning and there was a massive great hole in the cliff, about 40-foot long and this terrific heap of sand, rubble and grass at the foot of it.

He remembers pulling the top of the shale debris back and the tip of the jaw stuck out and he knew he had got it! There are two pieces he never found and a few teeth missing, but after that week they had a very severe storm and it removed all the debris, so he considers themselves lucky.

The young one

Ichthyosaurs are now in vogue with palaeontologists after several recent discoveries, and Steve’s juvenile specimen, the most complete Kimmeridgian ichthyosaur thus far, is of special interest.

Apart from having a full stomach, showing this marine reptile had eaten squid and fish before it expired, there is also a section of skin over its ribs, which shows lines which might have helped streamline the animal.

After Steve and a friend spotted what looked like fish bones sticking out of the base of a cliff, it was another bold mission to recoup the fossil. They cut a massive great gap in the cliff, it took all day – but it was a justifiable threat we were ready to take.

The stomach segment came out and they worked in the dark to find the skull, digging out an enormous slab, not actually able to find out what it was. They carried it back a mile and a half – it took them about three and a half hours to clean it up and discover the tip of the jaw. It was then he knew he had the whole lot.

Those Darwin did not find

Steve has a collection of goose barnacles (nicknamed Darwin’s Missing Barnacles) on display in the museum’s exhibition display services. Charles Darwin was enthusiastic about those arthropods and analyzed several living specimens off the coast of Japan, but could never prove they’d originated in the Jurassic period.

A few years ago, a professor came to see Steve’s barnacles and was quite excited. He had said, ‘I don’t know if you realise, but I’m pretty sure this complete goose barnacle is the best I’ve ever seen’.

Steve’s find proved something Darwin had just been able to hypothesise, and therefore he has been given deserved recognition from the scientific community. Since that time, he discovered a 2.8 metre [fossilised] log, covered in thousands of Barnacles – and they are the most beautiful, best maintained Jurassic barnacles anybody’s ever seen.

The egg hunt

Another world first for Steve was his discovery of ammonite eggs. He found what seemed like two sacks of eggs, but without a reference book on little fossil eggs to consult, he compared them to modern-day cuttlefish eggs.

The form of the cuttlefish eggs is like those, so he thought that if they are not cuttlefish eggs, the other common cephalopod we have got are ammonites. There are over 8,000 species of ammonites, but nobody found the eggs.

After discovering that they were near real ammonite fossils, he teamed up with A world-famous ammonite palaeontologist to write a joint paper on his fossils and whether they were really ammonite eggs. And he’s since found more that are going to be taken out of their modular exhibition spaces to be CAT scanned to determine if they have miniature ammonite embryos inside.

Advice for Final Year Arts Students

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As an arts student, I really struggled with my last few years of study. When you think about creating art compared to the demands of educational institutions it becomes quickly apparent why many very intelligent, super creative people don’t do well. For me, I was lucky my parents insisted I initially get a year 11 tutor and then a year 12 tutor for the harder subjects I was taking, I know this isn’t an easily available option for everyone so here’s some general advice for getting through your final schooling years

The final year of secondary school is significant, but it will not be the most significant year of your lifetime. Keep things in perspective since you are much more than your ATAR score.

Your performance at Year 12 is just an indication of your skill at a test or exam at the same point in time, it’s more about mastering mindset and acing exams more than anything else. It doesn’t restrain your potential success or enjoyment in the future.

 

If you believe that the time is not right for you to finish Year 12, or you have a burning passion to do something aside from educational studies, then discuss this with your professional development counsellor and learn what your choices are (TAFE, an apprenticeship, full-time employment, volunteering, or part-time employment). Keep in mind you have several means to achieve your objectives.

Look after yourself

Your mind and body are tightly connected – caring for your own body has good rewards for your brain and increases your possibility mindset. Tasks like games, dancing, yoga or walking can boost your performance by increasing oxygen to your brain. It’s also good at reducing overall stress from tensions in other parts in your life and the demand/pressures of school and/or work.

Some anxiety may be useful in keeping us inspired — without it we’d find it really hard to stay alert! But during Year 12, and particularly during test time, you might locate your stress levels climbing high into the ‘crucial zone’, resulting in a dramatic reduction in functionality. Proven strategies for beating anxiety include:

Comfort: Smartphone programs such as Smiling Mind can help

Time management: Try making a record of actions and prioritise

Connecting with other people: Discuss your concerns, laugh, be positive!

Remember to be kind to yourself: Take time out to perform the things you like or help you keep your wellbeing

 

Get a Great night’s sleep

Sleep is very important to our bodies to recoup and recharge. Without it, it can be tough to focus and remember things. It may make it tough to maintain your energy levels. Sleep is food for the mind and is crucial to your health, the same as the air you breathe, the water you drink and the food that you consume.

To Help You to Get a Fantastic night’s sleep, it is helpful to:

  • Get up at precisely the exact same time every morning
  • Avoid too much alcohol or caffeine in the afternoon
  • Write down your worries before going to bed so that you may get the job done on a few solutions another day
  • Do something relaxing for approximately 30 minutes prior to visiting Mattress
  • Prevent fractures in the daytime
  • Get active daily.

If you can’t sleep: Get up for around 15-20 minutes in the event that you cannot sleep instead of staying in bed feeling stressed — return to bed if you are feeling more relaxed and tired

Managing your Study Load

stress, study, year 11 tutorAfter finishing your school evaluations and other long-term Commitments, recall your targets and motives for finishing these landmarks by writing them down and putting them someplace where you may see them frequently, such as close to your PC.

It’s also very important to study clever, by eliminating distractions like social websites. Research proves that students using social websites while learning (even if just from the background) earn 20 percent lower marks than students who do not!

If You’re struggling to stay on focus, There’s some applications that could help by temporarily preventing you from social networking websites, addictive apps and games. Attempt Cold Turkey for PCs or even Self-Control on Macs.

Obtaining support

We all know sometimes life does obstruct our ability to study. Matters Like depression, issues at school or home, body image problems, binge drinking and medication are things that could block you from staying focused.

These issues can occur in almost any year of school and may be overly large to handle alone. Speak to your student welfare officer, a trustworthy adult, online or telephone services for some guidance and alternative solutions.

If You Would like to encourage your buddy but you are concerned about saying the incorrect thing or making the problem worse, the beyondblue Check-in program takes you through four simple, quick actions to decide what you may state and how you may support your buddy.

Remember too that you can also use your friends as support to study. One of my long-time friends practically became my math tutor throughout year 12, every week me and a few other friends would meet to study, but it was also a great way to check-in with everyone and a good productive social event

In Summary

It’s not worth putting yourself through hell for what should be some of the best years of your life. Remember school isn’t everything and never let it kill your creative vibe. There’s so many ways to become an artist and get involved in the art world besides the traditional route. Take school seriously but never so seriously that it’s detrimental to your health, relationships and life

Different Styles of Painting

Throughout history, painting has been used to communicate a variety of social and political ideals. As different movements have emerged and disbanded different reactions have evoked new styles to represent these ideals. Although a lot of deep thought has often gone into developing these new styles it doesn’t take much thought to appreciate and enjoy these pieces.

Abstract

In painting and art in general abstract is a term used to describe pieces that do not depict conventional objects, people or settings. In abstract art, people use color and shape to reflect their ideas or statement.

The term first started to gain widespread use during the early nineteenth century. Abstract was used to describe works from cubist and futurist movements where the subject would be portrayed in a new light.

Abstract works would focus on the values and properties of their subject rather than the external appearance to produce an image truly abstract in form from other works of the era. Famous artists of abstract works include Jackson Pollock and Pablo Picasso amongst much more.

Expressionism

Expressionism is an art form which encompasses works of literature, music, and films as well as paintings and other forms of art.

In expressionist paintings, the artist visually changes their subject to evoke an emotional response. These emotional reactions are usually showing negative emotions such as tension, angst, and fear.

One of the most iconic examples of expressionist painting is The Scream by Munch. Other noted artists include Kandinsky, Greco, and Kubin.

Cubism

Cubism emerged during the early twentieth century and was originally deemed as abstract art. Although the two are connected and share creative influences there are enough differences to differentiate them as separate styles.

Cubism formed part of a new wave movement of avant-garde arts that not only effected painting but also writing, music and all creative arts. The avant-garde movement inspired people and brought change by challenging existing forms and conceptions by creating new works seemingly of another era further ahead in time.

How cubism differs from abstract works is that cubism features traditional objects and people as subjects in a new form. While abstract would focus on using unrelated colors and shapes to present a perception of the subject cubism would take segments of the subject and rearrange them into new forms. The subject will often be shown from multiple viewpoints and angles in the same piece to demonstrate its roles and context in order to challenge our perception.

The finished pieces often have a jagged, somewhat haphazard look as the surfaces and textures become entwined with the subject leaving trademark open spaces that are left open to interpretation.

A classic demonstration would be Picasso’s series of portraits where the subjects face would be distorted and rearranged into a blocky, misshapen form. Other notable artists of the Cubist movement include Fernand Leger and Georges Braque.