Personal Traits That Will Help You Learn How To Start A Blog Site Easily

ptwhNowadays, many people want to become a blogger but not all of them possess the personal traits that will help them learn how to start a blog site. Here are some of these personal traits. Check if you possess them before you venture into learning how to start a blog site. First and foremost, you must possess excellent writing skills. If you do not know how to write or how to blog, it will be difficult for you to fill your blog with content that is interesting.

One option is for you to hire other writer to supply content for your site. Second, ask yourself if you possess the patience to maintain and update your blog site. If you are a kind of person who wants quick results, blogging is not for you. Sometimes, it will take months or years for your blog site to be productive. Third, you must have vast experience in life. As one old saying goes, “You cannot give what you do not have.” Experience, whether actual or vicarious, will help a lot in making your blog site a success. If you think that you possess all these personal traits, then, you are now ready to start your own blog site.

How To Make A Blog Site That Can Change Your Life: Three Tips

Blogging has become a good preoccupation for people who have plenty f time in their hands. Learning how to make a blog site is easy and there are many platforms that can be used for free. However, if your aim is to augment your income using your blog site, it will be best to find an affordable platform to use since those that are given for free cannot be monetized right away.

Here are tips on how to make a blog that can change your life. The first thing that you must think about is how to increase traffic to your web site. Once you get a good number of visitors each day, some companies will get interested in advertising their business in your site. You will earn from these advertisements in three ways. You can get a commission is a sale is made through your web site. You can get paid per click.  The more clicks you get, the more money you will earn. Last, you can earn an amount from people who register or join as members. You can just imagine the revenues you will get from your blog site when it has hundreds of thousands of visitors each day. Start learning how to make a blog site now and experience a great change in your life.

Making A “Basket” Full Of Money

The first time collector Debbie Onie saw a Maine Indian fancy basket, she did not know what to make of it. “I had never seen anything like it,” she says of the four-inch-high fuchsia-colored basket with a matching lid that her husband, Larry, brought home one day in 1978. Although the Onies didn’t consider themselves collectors at the time, they did own some 20 baskets of various origins, all in natural colors that blended well with the traditional furnishings of their Colonial-style home. This new addition, small as it was, made a statement that the couple simply could not ignore.

A beautiful Penobscot basket.

A beautiful Penobscot basket.

The only information Larry had obtained from the dealer who had sold the basket to him was that it had been made in Maine by Penobscot Indians. So he and his wife took their new possession to a local auction house for a free appraisal in hopes of learning more about it. “The specialist took one look at it and told us it was from Hong Kong,” Debbie recalls. “We were disappointed, of course, but we weren’t so sure that he was right.”

That appraisal experience inspired the Onies, who are both teachers, to delve further. They contacted dealers, collectors, and scholars knowledgeable in Native American handicrafts and eventually discovered that the size, shape, materials, and colors of their basket indicated that it was indeed of Penobscot origin and dated to about 1930.

For the tribes that live in the state today – the Maliseet, the Micmac, the Passamaquoddy, and the Penobscot – known collectively as the Wabanaki, or “People of the Dawn” – basketmaking remains a significant part of daily life. A creation myth common to each of Maine’s four tribes relates how their ancestors emerged from a brown-ash tree when the Creator split it with an arrow. For thousands of years, these peoples have used ash splints to craft baskets for personal and community use and, for the past century, to sell to the general public.

Maine baskets fall into either of two categories: work baskets, sturdy woven wares used for gathering, storing, and transporting foodstuffs, and fancy baskets, decorative designs crafted for the tourist trade. Fancy basket production started in the 1880s, when vacationers began to flock to Maine resorts and spas such as Bar Harbor and Poland Spring. The native artisans who began to congregate at these places offered their handiwork for sale, finding an enormous appetite for delicate woven handkerchief baskets, powder-puff holders, purses, vases, wastebaskets, thimble baskets, candy dishes, knitting baskets, cradles, and fans.

Most fancy baskets were woven by women, who used both brown-ash splints for their baskets’ armature and the broad leaves of sweet grass (also commonly called Seneca grass) for the wales. Molds at the base helped hold the ash stakes in position while the artisans created intricate shapes. Both natural and synthetic dyes captured bold colors like strawberry red and corncob gold. Men undertook the tasks of finding and preparing the materials and constructing molds and tools.

The market for fancy baskets flourished until 1929, when the stock market crash brought an end to the grand summer retreats that the well-to-do had enjoyed earlier in the century. Although the Wabanaki continued to make baskets in the decades that followed, demand for their work was limited. Today the intricate designs, bold colors, and imaginative forms dating from the 1880s through the 1930s have found new appreciation among collectors.

“If you’re lucky, you can find examples with unfaded colors that have probably been stored away in a dark place for many years,” says Debbie Onie. “We have a wonderful collection of bright oranges, greens, and pinks as well as beautiful muted blues, reds, browns, and yellows.”

What began as a research project 21 years ago has become an obsession for the Onies. “This has taken over our lives,” Debbie says of the 700 to 800 Maine Indian fancy baskets that now fill the couple’s New England home. “We no longer have room for our clothes!”

One difference in the market that the Onies have noticed since they began their collection two decades ago is that vintage fancy baskets in good condition have become increasingly difficult to find. “We used to come across interesting pieces at antique shows and in little shops on the back roads of New England,” Larry recalls. “Now it’s more of a treasure hunt.”

According to the Onies, collectors should look to shops, flea markets, and auctions in Maine and other parts of New England to find antique and vintage fancy baskets. Pieces from distant parts of the country may also turn up in on-line auction sites, sometimes because their original owners took them along with them when they moved. Expect to pay anywhere from $25 to $300 for a fancy basket, depending on size, color, age, rarity, and condition.

Whether you are searching for these baskets in shops or viewing them at a museum, Larry and Debbie ask that you pay careful attention to the exquisite artistry that went into their construction. “The basket makers were so talented. Each creation is truly a work of art,” Debbie says. “Both the artistry and the makers have yet to receive the full recognition they should. But I think that’s beginning to change.”

Bringing Down The Hammer On Great Art

Founded in 1928, Hammer Galleries fills a six-story, turn-of-the-century townhouse at 33 West 57th Street. This beautiful, expansive space showcases Hammer’s exceptional selection of 19th- and 20th-century European and American paintings, including works by Renoir, Sisley, Grandma Moses and Marthe Grant, as well as one of the largest collections of Picasso ceramics. Hammer currently features a special exhibition of paintings by French Provencal artist Pierre Boncompain, whose lyrical compositions recall work by Matisse and Milton Avery. The gallery provides advisory services regarding acquisitions and sales, appraisals and installations.

At Ursus Books and Prints, Ltd., fall brings an exciting series of exhibitions. On view in October are paintings by Sarah Chermayeff. November marks the opening of a collection of photographs by Christopher Simon Sykes. Drawings by Joan Berg Victor fill the gallery in December just in time for the holiday season. Look for Ursus at the International Fine Art and Antiques Fair in New York, from October 15-21, where the gallery presents exceptional works on paper, including an exquisite Louis Clement chalk drawing, c. 1750.

Montgomery Gallery of downtown San Francisco is a premier resource for French Impressionist and Post-Impressionist masterworks. The collection includes works by such celebrated artists as Bonnard, Lebasque, Moret, Vuillard and Van Gogh. Among the gallery’s striking paintings is an exceptional 1920 picture by Henri Lebasque of his two children in the family garden. Known as a “painter of the good life,” Lebasque depicted simple scenes of daily living. Invest in a lifetime of visual pleasure for oneself: begin with a visit to Montgomery Gallery.

Plan that Roman holiday! In June 2000, an exhibition of paintings by Karla Roberson Man opens at Rome’s Studio S. Arte Contemporanea, across from the Spanish Steps. Inspired by travels from Lake Como, Tuscany and Tivoli to Florence and Rome, Man captures the romance, beauty, color and energy of Italian architecture and gardens. Trained at the University of Texas at Austin and having experience as an illustrator and set designer, Man brings an impressive sense of color and perspective to her paintings. The artist is available for portraits and other commissions.

Iran Lawrence Fiberart offers highly personalized and original contemporary art quilts composed of hand-dyed fabric strips intricately sewn together. An award-winning artist Iran Lawrence creates mesmerizing works that celebrate the spiritual vibrancy of humanity. Acclaimed for her technical expertise and artistic precision, Lawrence’s fiberarts have been exhibited worldwide at such major institutions as the White House, the Baltimore Museum of Art and the DuPont/Merck Pharmaceutical Corporation. Adept at fulfilling clients’ needs, Lawrence produces site-specific works for many private and corporate collections.

For beautifully vibrant, classic portraits heirlooms for the next generation — look to Birgitte Knaus. Her works in pastel, charcoal and sanguine pencil radiate with freshness and lightness. Knaus not only presents an exacting likeness, but captures the very essence of her subject’s personality. Due to her notable international reputation, Knaus’ clients include leading families of Europe and around the world, heads of state, film stars and other celebrities.

“What a birthday present!” Bill wrote. “The surprise unveiling was last night and the portrait of Annie is wonderful. It speaks. It’s her, captured completely. Thank you for painting it.” Canine portrait artist Judith Jarcho receives much fan mail. And why not? Her subjects are beloved friends who win our hearts with the wag of a tail or the flick of a whisker. Working from photographs, Jarcho captures a particular moment or memory to honor your special relationship with that cherished family pet. For a most memorable gift, commission a pet’s portrait.

Dream of owning a masterpiece? Prestige Fine Art offers museum-quality re-creations of premier artworks hand-painted by master artisans to such detail that they closely resemble the originals. The paintings of Van Gogh, Renoir, Monet and many others whose works grace the walls of national galleries around the world are now available for the choosing. Prestige utilizes the finest linen canvas, handcarved museum-style frames and a unique antique craqueled aging process.

An American Artist’s Take On Africa

During a trip to Tsukudu, artist John Banovich had been watching lions for over two hours from behind the wheel of a Land Cruiser, snapping photos and making field sketches, when a large male detached himself from the pride and ambled over for a look-see. Although lions were his primary focus on this safari, Banovich had also been tracking a family of cheetahs, and blood from some meat he had fed them had soaked into his camera bag. Before he knew it, the lion had hopped onto the vehicle, fracturing its retracted windshield, and treaded over Banovich with its plate-size paws to snatch the bag with its fearsome jaws. “So what did I do?” Banovich chuckles. “I tapped him on the snout with my tripod. The lion dropped the bag–and roared right in my face. `Okay, okay,’ I thought, `you can have my wallet, cash, credit cards, the title to my car–anything you want.’” Instead, the lion retired for a leisurely meal of blood-spattered canvas.

Banovich cheerfully admits to being “obsessed” by the drama of predation. (His father, a recreational hunter from Butte, Montana, used to spin bedtime stories pitting a rhino, say, against an elephant.) This spectacle, encountered daily in the bush veld, highlands, and flood plains of Africa, is the source for such signature images as The Defensive Line and The Offensive Line, a pair of 90″-long panoramic canvases that portray a face-off between a herd of Cape buffalo and a pride of lions in Kenya’s Masai-Mara Game Reserve. And it is Banovich’s readiness to confront savagery, whether explicitly or implicitly, along with his realistic yet painterly touch, his grasp of narrative moment, and the outsize scale of his work that sets him apart from much of his wildlife-artist peerage.banov

From an early date Banovich understood the importance of standing out from the crowd. Shortly after turning to art as a full-time career, he began painting on a large scale, creating The Power of One (not shown) and The Patriarch. The decision to “go big” entailed considerable risk, since large canvases require more time to complete and have higher price tags than smaller works. Also, he says, large-scale canvases multiply the degree of difficulty, since one must keep proportions and values consistent over a greater area. Fortunately for Banovich, both paintings sold. In fact, The Power of One helped him garner Best New Artist at the 1994 Game Conservation International Show in San Antonio, and later that year The Patriarch won Best of Show at the 1994 Pacific Rim Wildlife Art Show, making Banovich the first artist to walk away with its top prize for two consecutive years.

When Banovich returns to his studio from his annual visits to Africa, he brings a wealth of inspiration, observations, and source material, such as travel sketches and color slides. To facilitate the painting process, he stores the slides in binders and classifies them by subject: elephants; bull elephant sensing danger; bull elephant charging, frontal view. These photos, he emphasizes, serve as reference tools, never as the basis for composition. “I don’t paint from photographs,” he explains. “I photograph facts: eyes, ears, feet, and background.” Likewise, his sketches serve as documentation, but obviously not of moving subjects.

Enthusiasm, he says, is the single most important quality an artist can bring to his or her art. In January 1999, Banovich completed what is perhaps his most ambitious work, Clash of the Titans. The precipitating event–a vicious battle between two bull giraffes that he had witnessed two years earlier at Namibia’s Etosha National Park–is one rarely encountered in the wild, and it made an indelible impression on the artist. By late 1998, when Banovich’s schedule finally allowed him to begin the painting, the incident and its images had filtered so thoroughly through his psyche that he completed it in two months, whereas normally, he says, a painting of this size can easily consume half a year.

Paramount in Banovich’s mind was the sheer bulk of a mature male giraffe–which stands at 18 feet and weighs some 3,000 pounds–and for that he needed a jumbo canvas. To accommodate the increasing size of his paintings, Banovich has been experimenting with unconventional materials, replacing wooden stretcher bars with aluminum square tubing framed in wood, which makes the finished painting considerably lighter. Because stretching his previous jumbo canvas caused the linen material to buckle the aluminum tubing, with Clash of the Titans he turned to the more pliant and forgiving cotton.

Another consideration for the artist working on a grand scale is expense. The cost of producing a work like Clash of the Titans can run as high as $10,000, so careful planning and deft execution are essential. When planning his compositions, Banovich creates a series of thumbnail sketches, many simple line figures, before settling on the most persuasive image. Then he sketches with modeling and values, though for Clash of the Titans Banovich rendered a 12″-x-9″ oil painting, thus also laying the groundwork for the hues to come.

After toning the canvas with a mixture of stone-gray gesso and burnt sienna acrylic, Banovich outlines the composition, using the projected image of the finished sketch–or in this case, the miniature oil–as his guide to accurate proportions. With the aid of a ladder and a 4B graphite pencil, he sketches his subject from top to bottom, bringing in the details, the essential information that conveys volume and value.

Banovich’s greatest bugbear has been his tendency to overwork his paintings, to add too many strokes and spoil the spontaneity. The key to the simplicity of brushwork, he finds, lies in the underpainting. He uses thinned-down acrylic, which allows him to move quickly without getting caught up in absolute color. Using a wide brush, he paints the background and subject, creating texture and value. If he makes a mistake, he has learned to address it early, washing it out and using a hair dryer, if necessary, to save time. To monitor his progress, he frequently checks a mirror positioned 20 feet from the canvas.

Little of the finished layer is acrylic, although much of it shows through. Most important, perhaps, the underpainting prepares a road map for the oils. The more accurate the road map, the greater the confidence it imparts, allowing for more freedom, flamboyance, and aggression of brushwork with fewer strokes.

When satisfied with hue and value, Banovich seals the surface with an oil-based retouch varnish, which makes the acrylic look wet, providing a more accurate template for the oils. What follows Banovich describes as “drudgery,” since now he knows exactly where the painting is going. He paints from “lean to fat,” painting thinly at first and thicker toward the end, saving his lightest lights and darkest darks for the end.

Without realizing it, Banovich snapped three rolls of film during the: nine-minute fracas that was the basis for Clash of the Titans. The painting has the same effect: As the buffalo weavers fly through the rising dust and the giraffes, thunderous and warlike, pivot, and smash into each other, their entwined necks and weird faces appear strangely beautiful, almost amorous.