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Layered: Essential Watercolor Techniques
Autumn Chiu, Watercolorist & Instagram Artist
11 Lessons (1h 10m)
2. Materials
3. What is Watercolor?
4. Wet on Wet
6. Water Control
7. Lifting
10. Layered Mountains
11. Final + GIVEAWAY!
In this class, you'll learn to use watercolors techniques that will improve your overall painting experience.
We will go over basic supplies, wet on wet (charging in color), glazing, water control, and lifting. You'll put these techniques to use in the final project painting!
The class is for beginners who want to learn basic, fundamental skills for watercolor painting or experienced painters who want to refresh their skills!
Autumn Chiu
Watercolorist & Instagram Artist
Art Watercolors Painting Fine Art Watercolor Creative Watercolor Painting
Don't forget to upload a photo of your finished piece to the project section to be entered in the giveaway! **
The class project is a simple painting you can do in one sitting. It's easy and repetitive, perfect for those of you who want to practice your new watercolor skills. The painting is a simplified gradient mountain range!, but these techniques can be used in almost any watercolor concept you can think of!
Find me on Instagram: @artchiu
Supplies!
Arkaar Creation Watercolors
Sketchbook Co. Sketchbook.
All other supplies on Amazon*
Reference of original painting:
Color Theory Resources:
Text Post
*Affiliate links. This helps me earn money at no extra cost to you!
** Giveaway not sponsored by Skillshare, Instagram, or Patreon. No purchase necessary to win.
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1. Introduction: Hi there. Welcome to this watercolor class on skills Through. My name is Autumn. I've been painting drawing for about 20 years. My art has evolved through many stages, including charcoal drawings, oil paintings and, most importantly, watercolors. Throughout my life, nothing has infatuated me more than watercolors. It's such a versatile medium, and I know that you'll love it, too. In this class, we will be going over basic watercolor techniques, including washes, glazing, blending, water control and lifting at the end of the class. You'll have a better understanding of these techniques as well as this finish watercolor painting. This class is aimed at beginners or anyone who wants a refresher. I'm a self taught watercolor is so I know it could be very difficult and frustrating to learn. But with patience and a little guidance, I know that you can master it and love it as much 2. Materials: So the first thing we're going to talk about are the supplies that you need. If you're purchasing supplies for the class, don't worry about getting the highest quality. But I would definitely urge you to stay away from dollar stores or like the cheap section of my goals or whatever art supply store you have closest to you. Um, if you're using the cheapest supplies and you aren't getting the results that you desire, it is most likely the supplies holding you back and not necessarily you or your technique with that said, you absolutely don't need to go out and spend hundreds of dollars on really expensive professional grade supplies because you can do ah lot with very little. I'm gonna go ahead and show you what I'm using and some alternatives, and then we can. So the first thing you need are watercolors. I'm gonna be using these ones in this vintage 10 by a small company named our Car Creation . They're based in India, and we're actually gonna be giving away this exact palette in giveaway post on instagram, too. Anybody who takes the class and leaves a project, so if you're interested, I'll leave more information. The final video of this class BS. I'm gonna be using these pains, but, um Teoh demo some of the color properties of layering pain. I'm gonna be using this very primary set. This is by white nights. It's super affordable. If you have a place that sells these near you where you're going to be, like ordering stuff online. I definitely recommend this brand because everything is very basic. And, um, the colors don't do weird things. They layer great and our overall agree set to learn from other alternatives would be, ah, Windsor, Newton Cotman, which I don't have on me. But it's the paint brand that I used when I was first, like taking art Seriously, I had, like, this huge 70 set studio palate, and I use that for, like, a good 10 years before I switch to another brand. So, um, I would really recommend that one. There's also other brands. Um, I personally also used like this. Here is Daniel Smith paints squeezed into pans. Um, this is more on the expensive side, but, um, it's totally not necessary. So once you get your pains, we're going to need something to mix them in. Now, these pallets, a lot of them come with mixing space. So that's great. You don't need anything extra. But since I'm gonna be mostly using my, um, vintage 10 for, like, the final painting, I also brought along this little porcelain palate. Um, I was gifted this by your friend, but I'm pretty sure she got off of Amazon and they're like, only a couple dollars, and it's awesome. The wells really like make it easy to mix this of the colors in specific areas. But, um, if you don't have anything like that, you can use packaging like plastic will work. Um, I used to use just like an old white plate that I got on a thrift store. So there's like, a lot of options there. So the next thing we need to talk about our brushes, you definitely don't need to get expensive ones up until, like probably two years ago, I used really cheap ones. I still use really cheap ones, but these ones right here are like my my go to one's, um, these two are by Windsor Newton. They are pointed rounds, and, um, this one's in a size eight and this one's in a size four. These air natural hair brushes, um, honestly, like there is a difference between natural and synthetic. But when you're starting out like that, difference is so small that it really doesn't matter. Um, but yes. So these are my favorite brushes of all time. And then I also have this one by the brand silver. It's a squirrel brush. It holds a lot of water. Um, so, yeah, I I prefer the round brushes for blending, but I also have this one, which is by Princeton, which is a cheaper brand. And, um, it's a flat. So has, like, this little square rectangular tip. Um, so really, you know, these These will get me through, like, any painting. Sometimes I only use one like I just did a painting where I just use this one. Um, you know, But whatever works, whatever you have works, there's also, um, let me grab this. I have these ones I used to teach painting classes like those pain and step classes. And I got a whole bunch of these then and they are just, like, dirt. Cheap, like, really old guy. Kind of nasty, but, um, they're actually really good for painting to, like, I have no problems painting with, you know, this as opposed to this. So, you know, whatever works. My only thing is that as long as the hair doesn't come out, that's like, my biggest pet peeve. It could really ruin a wash if you get, like, dollar sore paintbrushes or those ones that come in like Crayola. Paints like those are awful. So I would get, like, you know, some brushes that costs, like, maybe one or $2 apiece, But, um, I wouldn't worry too much other than that, so yeah, brushes. Okay, So the next things you need are, um, a dish with water. This cup is from a handmade maker, and she sells her stuff at case for making. And, um, some paper, towel or rag. I usually have a rag, but it's really gross. So I thought like I'd save you guys the trouble of looking at that, um, bso these air to simple supplies. You don't have to use anything fancy. Just get a yogurt container or you know something, anything. And that's good to go. As long as the holds water, you're good. Okay. So the next thing. We need to talk about his paper. Um, I would kind of urge you to spend a little bit more money on paper just because cheap paper really, really can, like, hurt your overall experience. Um, if you get really cheap paper, it can start pilling, which is where, like, the paper fibres break up, which you absolutely don't want. Um, you can also get water blooms and on even texture and buckling where your pain won't even let down correctly. So I just would stay away from really cheap stuff. Um, I would say that the thinnest paper you should go for is £90. Um, so that refers to like the thickness of the paper. Um, so £90 paper is okay. You'll definitely get some buckling, which is where the paper will get wavy. And so the water will, like, fill in the lower parts of the wave. Um, so I don't I don't typically paint with £90 paper. I like to go for £140 paper. It's just a little bit thicker. Um, and it tends to hold the washes better. Now there is ah whole debate in the art community if cotton content in your paper does anything like, if if it's better for your watercolors, if it's worse, if it's whatever I personally don't really care. Um I'm I think that if a paper works, well, then whatever, it doesn't matter what it's made up of. Um, so, you know, if you wanted to be caught in paper, go out and buy com paper, you know, whatever. No big deal. Um, uh, I would say that, um, I would stay away from sketchbooks right now just while you're practicing on Lee. Because when you open a sketchbook and you have this paper open and like, the paper tends to stand up like this, and then you get this, like, part where the paper seeps down into the crease. Um and I mean, I paint in sketchbooks all the time, but when you're learning and practicing, that could be a little bit difficult to deal with. So I would say, stay away from sketchbooks that aren't spiral bound. Um, okay. And then you can use scrap paper. I have a couple of these or handmade. Um, this is by Qadi. You know, whatever is good. Tiny, big, weird size doesn't matter. Um, I will say that my go to paper Have some right here I go to paper when practicing is this It's Fabbri on a studio, £140 cold press and it is awesome for beginners or practice. I mean, I've been painting for 20 years, and I still use it all the time. Um, yeah, it's just on overall really good, affordable paper that handles water and paint really well. Um, now I said, cold press, which is that refers to the texture or the tooth of the paper. Cold press is the most common. I find that most artists use that. It's where there's, like, a little bit of texture, but it's not too crazy Now, In contrast, you could see this handmade paper here is really texture. That would be rough. There's also something called hot press, which is really flat and smooth. I don't really like heart press paper, but if you don't like texture, that might be something you want to get. Um, so, yeah, I'm going to be using this arches pad. This is really expensive paper. You don't need to get this, Atal. I don't actually use this very often. I only bought it because it's in this block format where it is glued. If you concede the black here, it's glued on the sides, which means that when I'm painting, it'll lay completely flat. There won't be any buckling. And, um yeah, so I bought this specifically for teaching just because I thought it would be easier to look at, um, but totally don't go out and buy arches paper if you're just starting out like that is totally not necessary. Okay, so just a couple other things that you might want to get Obviously a pencil of some sort. I actually don't use pencils a lot, but if you need to draw out where you want your leg radiance to be, you know, go for it. This one is a black wing pencil, but it literally doesn't matter. Um, okay, and then this is washi tape. So this is like, that thin paper tape that's, like, super easy to rip. Um, it is kind of sticky, but not too sticky. Um, this could be used to make borders. So, like you paint up to the border and then you can remove the tape and you have a nice clean edge. Yeah, this tape is by empty. It's a really good brand, sticky enough but not, you know, crazy. And then the last thing is this heat tool. I got it at a craft store for, like, 15 bucks, and it's a lifesaver. I am super impatient. I hate, hate, hate waiting for my pains to dry, which is, like, why don't you oils anymore? Um, but this thing has really, like, saved me. I used to use a hair dryer, and that's totally fine. You could use that. But I find that the hair dryer pushes way too much air crazy, right? And it can push the pain around more, whereas this is more he oriented. And so, like, the heat is what's drawing the paint, not the air. Um, with that said, I have burned a lot of paper with this. So when you're using this, you want to keep it moving. You don't want to stay in one place, uh, for a long extended period of time, because you will definitely burn through your paper and then you're painting will be ruined . So, um, yeah, just be cautious of that. And also, you know, it's really hot and you don't want to touch it. I have burned my fingers before, so just be very careful with that. Or if you're younger, stick with a hair dryer or just let it dry naturally. So that's it for all of the materials that you need in the next part, we're going to talk about what makes up watercolors and its properties so that you can better understand how it works. 3. What is Watercolor?: so the first thing we need to talk about is the makeup of watercolors. Typically, it's made out of two things, but sometimes they add a little something extra. Ah, the first thing is the pigment. So that's the color, the thing that makes it look the way it looks. And binder Binder is the thing that holds the paint together. This is typically gum Arabic, but I know that some companies use other things, but I'm not really sure. Um, but yes. Oh, how watercolors work is that the binder is water soluble. So when I take water on my brush and put it on some paint, it's the binder that is dissolving with the water. So once in contact with water, the pigments attached to the binder will be ableto flow. Yeah, so that that's pretty much it for pains. In this next part, we're going to talk about, um, simple techniques, the 1st 1 being wet on wet and how you can use that in your work 4. Wet on Wet: Okay, So the first technique we're going to talk about is wet on what this is when you add wet paint to a wet surface. The reason you would do this is to get softer lines or to get the paint flowing or charging in color. So let's kind of talk about all those things. Um, so first in foremost, you would need to put some water on your paper. Now, this isn't just limited to adding paint to water. You cannot paint paint, but first of all, I'm just gonna wet the surface. Um, we're going to talk about water control in a later video section, but, um, for now, I'm just wedding. It and mook dive deeper into that part later on. Um, so I have that now you need what paint. So I'm going to go ahead and activate this paint here by putting water on it. Some paints are harder to activate, so you might have to, like, scrub around. But if you're getting a beginner set or even these handmade pains are really easy to reactivate, Um, you know, But I just want to point that out. Uh, in case the paint you have isn't activating as quickly. Eso I have very wet paint on my brush. And now I'm just going to touch the wet surface and you can see the paint starts to flow. Now some paints will flow quicker. Um, some papers allow your pain to flow quicker. How wet your paper is allows it to flow quicker. So it's, um, a lot of trial and error, and you have to do a lot of practicing to kind of get the hang of how wet everything should be or, you know, all that stuff. So a lot of it is just playing around and seeing what works. Um, so, yeah, we have that. And from that, I can also, you know, paint full lines and get Grady INTs, um, which I will show you how to do in glazing as well. Um, but it's pretty simple. Let's get another square, and I can show you how to do like a proper radiant. Now, my paint water is already very blue, obviously, cause that yellow is green. Um, so you might want to get to water cups, one with clean water and one where you wash your brush off. I'm really, really bad at that, though I always end up using both for both things. So, um, you know, I'll just clean out this water later, but since we're just practicing, it's fine. So I have my, um, little square, but probably makes it easier to see anyways, And now, um, and we're gonna go over this later, but I know that I have too much water here, so I'm gonna soak some up, which again will talk about later. Um, and now I'm gonna take my pain. And this is what's called charging in. So when you just add paint to make something more vivid so even I can start doing it here. Can ADM or paint? Because I I would want this bottom part to the darker Um, So I have that now I'm taking my brush, I'm cleaning it off, and I dried it off on my paper towel. Just so it's it's damp, but it's not too wet. And now I'm going to start blending this edge. At some point, you're going to get ah, too much paint on your brush, and you're gonna need toe rents it again and start blending again. So from that I know that's going to give me a nice Grady in. But I want this Grady int to come up further. Okay? Sorry about that noise. My cat is being weird, but anyway, so I know that I want this to come up further, so I'm going to charge in some more color, maybe bring it up more. Now I am cleaning off my brush and I'm gonna dry it off so that it's damp, but not what? And go ahead and start blending. Now, if you add too much water here, you're going to get something called a bloom, which will talk more about in the water control section. But now I can see my brush was depositing mawr color than blending. So I clean my brush off again and drying it, and I'm gonna keep on keeping on. So I know that's going to give me pretty pretty nice Grady int. Um I can also charge in some more color down here, um, to darken it up Now you don't have to use the same color If you want. You can use a different color. Doesn't matter. But the important thing is that this section, this whole thing is wet while you're working on it. If not, it becomes wet on dry, which is a different thing. Um, but if you want to get these very soft radiance, it's a lot easier on wet on wet eso. At this point, we have to just needed to dry. Um, I can tell I have too much water here, so I'm going to soak some up, Um, and then I'm going to use my heat gun to dry it. But, you know, you can let it dry naturally. Um, yes. So I'm going to do that, and then I'll come back and talk to you guys. Okay, so, um, we have our radiance. Try. Um, you can see that the edges are very soft. That's one of the best things. About what? On what? That can get you really soft lines. You don't even have to use it in like the sense of a background. You can use that in, like, line work. And just if you want fuzzy lines. Um, the only thing about this is that it could be pretty unpredictable sometimes. So, like when I dropped in these dots, I didn't know that they would be thes final shapes or even that they would like, bloom out that, ah, far eso, you know, keep that in mind honestly, like that's one of the best things about watercolors. It's the charm of it kind of gives you this fluid, unpredictable quality that I really love. Um, so, you know, roll with the punches. That's the big thing with water colors. You don't always know what you're going to get, but sometimes it's really awesome. And you got to just, you know, experiment and have fun. And that's the biggest part of it. So so that's what on what? Um, and the next one, we're going to talk about layering, um, paints and, um, the effect that has or why you would want to do that. And, um, we'll go from there so I'll see you in the next part. 5. Layering: Okay, so the next thing we're going to talk about is layering. This is also called glazing. Um, this is when you apply layer or layers of paint on top of each other, but you let them dry in between. So when I was adding more paint in this one, we called it charging in because it was wet and we were adding mawr wet paint into the already wet surface. So, um, so this is a little different because you let it dry in between. Um, so why the heck would you want to do this? It can help you dark in your washes. So you can, um, say Okay, we let these dry over here say, I wanted this whole thing to be darker or part of it to be darker than I could add another layer on top. This would be considered glazing, and that would darken it up. So I'm going to maybe show you a little bit. Actually, I'll just show you on this one. Since we already have it painted, it's pretty dry. And let's just take us blue. Okay, so now I have that I'm gonna go ahead and let that dry and then I'll come back and show you what it looks like. Okay, so now that this is dry, you can see that the area where the the bright blue wash overlaps are indigo Radiant is a lot darker. Eso that is something you can do now. You can even do this and soften that edge and and continue with ingredient. But that was just for demonstration purposes. And we'll talk about doing that later. Eso another reason to do this Or, you know, glazing in general is to neutralize the colors that you have. So let's put down put down this reddish color. No, I went. I switched over to the White Knights paints just because they're so primary. And I feel like it would be easier for you to see um so here is red. Now, I'm not going to go for a color theory just because that's the whole topic and of itself. But, um, to neutralize a color, you would use the opposite color on the color wheel. So whatever its complement is so the complement of Fred is green and so we can add green on top of this to neutralize it. I'm going to go ahead and dry this and then we'll add the green layer. Okay, so there's our red layer dried, and now I'm gonna go ahead and take green. I think this is green. Yeah. Okay, so I'm taking green, and I'm just going to do a layer off the thoughts, and I'm gonna let that dry, and then we will look at what it looks like. Okay, so that's what it looks like dry. So, as you can tell, the area where the red and green overlap is more of like a dark, muddy, brownish greenish color. Um, so that's what neutralizing does, so it makes it less vivid. Now, this is an extreme case. You probably would pre mix your colors, but say you are painting Ah, flower and it's red. But in nature, maybe it's not that read. Um, you would do like a a wash of green. So maybe something more watery. Um, that will not be so, so intense. Eso if you put that on top, I mean, already, you can see what the neutralization would look like. They're so you know, like this is a more exaggerated thing. But, um, kind of hopes illustrate the point I hope. Um So the next thing that we want to talk about is, um, kind of along the same lines, but it's changing colors. So, um, say you put down Let's see you. Actually, let's say we put down red again and, um, we realized, oh, crap, that should have been orange. We can also put, um, yellow on top of that to make it appear more orange. So I'm going to go ahead and drive this and then we'll do a yellow where? Okay, so I went ahead and dried that, um, back over here. You can see that light very thin wash of green. Help neutralize that. It's more of like a neutral red a dark right now, so that would be more realistic. Toe what you would probably use it for, um so going back to changing colors. Here's our red swatch. And now let's say we want to add yellow. Hopefully, my paint isn't to green for mobile blue that we've been using. That's pretty yellow. OK, so with a yellow swatch, I'm just gonna go right over it, and then we'll let that dry and we'll see what it looks like. All right, so It's pretty subtle, but hopefully you can see that this is definitely way more orange than this red here. So that's kind of along the same lines if you wanted to change the color, but you've already put something down, so you would use basic color theory for that. I might do a cross on that later, but, um, it's such a huge topic that they can't really cover it now. I will definitely add some images and some links to good resource is toe. Look at if you're a little bit confused or if you haven't ever learned that or, you know you haven't heard about it in a long time. Um, so maybe that can help you out. Um, now the other thing kind of goes along with this to you can use it to make colors more vivid. So we had, like, an indigo color, but adding that ultra marine blue on top has made it more vivid. Um, the biggest thing, though, is just absolutely make sure that your layers are fully dried. If you go in with something that's kind of drive a kind of damp, your lines are going to be blurry and maybe that's the effect you're going for, and that's great. But if you're going for more separated layers, it's you're gonna have a hard time without If your previous layer is what another issue that you may have, Um, let's go ahead and paint us watch so I can kind of show you What I'm talking about is that , um when you are putting your brush over something that's kind of damp, you're going to pick up the paint that's already there. Um, eso. By doing that, you're going to create an uneven wash, and maybe you want that texture, and that's absolutely fine. Um, but I if you're going for something smoother, um, you'll have a hard time doing that if you're not letting your layers dry. Um, if you don't let your layer fully dry and you have something on top, thebe paint will just bleed into each other. So say I was trying to do, um, that thing where I made it. Orange. If I add some yellow, see how the paint immediately starts flowing outwards, it starts doing the white on wet thing, and, um, you know, that's a beautiful looking enough itself, but like, you know, If you're trying to go for distinct layers, that's not Look, you're going for so just some things to be cautious and and worry about a little bit while you're doing this just so that you get the look that you're going for. So in the next part, we're going to talk about water control, which is super important. Um, so go ahead and head over to that one once you're done practicing and we'll talk about that . 6. Water Control: The next thing we're going to talk about is water control. It's a super important aspect of watercolors. It takes a lot of practice, but we'll go over a few tips that will help you understand the properties of water on that will help you get closer to the results that you're looking for. When we talked about what On what washes, we talked about how the paint flows and how that's dependent on how wet your paper is. Ah, great way to see without actually touching the paper. How white your paper is is if it's Chinese. So we just did this wash here, Um, and if I tilt it, you can see that it is still shiny, so it's pretty wet now. In contrast, these ones aren't shiny at all, so I know that they are try, um, so this will actually change how shiny it is, depending on how dry it is. So it's really, really wet now. But when I drive a little bit with my heat gun, okay, I don't know if you concede that it has a slight sheen to it, so it's still definitely wet, but it's not. It's more like damp. Instead of like soaking eso. If I touched it, I could definitely feel the wetness. And if I actually just take a dry brush, you see how easy it lifts. Now, if you want your paint to really spread out when you're doing wet on wet washes, you're gonna want really wet paper. Um, I would be careful because you don't want your paper to be too wet or else the paint will not flow and I'll show you what I mean. So I'm gonna make this super wet like that is incredibly. What if I tilted? Do you see how it's beating up? It will definitely start sliding around if I tilt it anymore. Now that is way too wet. But I'll show you what the paint does. Sorry about those burns. Um, so you see, it's starting to spread out. That's great. That's what we want. But also do you see how the water is starting to push it back on itself? That's a beautiful technique. If you want to do some abstract things or things that are more textural, that's great. But if you're trying to get clean washes, um, you can see already it's changed again. It's it's not doing what I want it to dio Um now, in contrast, I can go ahead and, um, clean off my brush a little bit, a wet, another area that's really Web by. Not so what? That you can see it. Beating that right there is pretty wet, but definitely not is what as that. And I'm going to go ahead and take my really wet pay and top it in. See the difference that did a nice bloom. But it's not changing so much because of the water that's backing it up in doing weird things. Um, now say you have way too much water like we do here. There's even a little bit maybe too much here. Um, you wanna soak up that extra water? It's easy peasy. Just make sure that your brushes clean so you don't deposit color. Eso minds clean, but you don't want it to be soaking wet or else the brush can't hold any more water. So I dry it just a little bit. So it's damp were not wet, and I will just lightly touch where the water is now Here. There's so much water, so I'm gonna have to dry my brush off again and keep doing it until I pick up all of that water. Well, it was a lot of water. Okay, so now we have a wet surface, but nothing too crazy where it's not beating up. Well, it's still a little bit. That's a little bit better. There we go. Um, so this happens a lot to me, like all the time. I used way too much water, and that's fine. Um, I just, you know, will pick a little bit off the edge where it's beating up. So that way, it'll dry smoothly. So say we, um, left that huge bead there that will take so long to dry. And so Theo Edge will continue to dry and move, and you'll get, like, a weird mark wherever the edges drying. I'm going to go ahead and demonstrate that for you. Okay, I'm going to show you kind of what happens if you have way too much water while it's trying . So and this one, I'm going to use so much water. Okay. And now we'll add our paint. All right, now, in this next one, we're gonna use a lot of water, but not so much that it's beating up there on 10. Now, already. You could see this massive beat of water. Um, I'm gonna go ahead and dry these two, and we'll talk about what it looks like. This is gonna take a long time to dry. Um, so he helped me back in a few. Okay. So you can tell that there is a huge difference. This'll one is a lot smoother, a lot more even. And this one is weird. It's got a lot of weird water blooms. It has weird edges that have dried. Um, so essentially, what happens is when you're drying this or, you know, you don't even have to be using, like he gun. Like if you're letting a dry naturally, it will do the same thing Where so that huge glob of water shifted to this side and this stride really quickly because of Blake didn't have all that water. So once that dried, you have an edge there for where this water is kind of sloshing around. Eventually, some of that dried and then it went to this weird, like, six kind of shape. And so that drive. Then you've got another edge, and he kept going and going and go in. And then that's why you got such an uneven Ah, wash. Um, Now, this happens a lot to me because I used way too much water the way to fix that. I actually ended up doing at the end because there's just so much water. And I was already trying it for so long. Is that I While I was drawing it, I took my damp, clean brush and started dotting where earthy beet of water waas This will allow it to dry quicker. Um, so do you see this darker area here? And that could have benefited from me just picking up that little extra pain. So this is my current sketchbook. Um, all right, let's look at this one here. So if you can tell, this bottom part is a little bit darker now, this is when I did like I did the background wash first, and the paint started to be here, especially because it's in a sketchbook. And this is the higher part at this point in the sketchbook. So it started to run down here while I was drawing it, I started to pick up that excess paint with my brush while drying it. Kind of like a good balance between picking up way too much where you'll get like white spots and not picking up enough where it will still flow back. And you'll get that weird line. Um, so again, it's just something that you have to practice. But that's something I regularly dio because I'm always adding way too much water. Okay, so I'm going to show you how you can on another layer and blend out the edges. So this would be like how we did this over here, where we added that extra blue on top. But this time we're gonna soften that edge to create the Grady int eso. I have this just like, weird blue patch and say I want the bottom part to be darker. So I'm going to take paint and just stick it where I want it. And now the key to this is to blend it with a damp, clean brush. So I'm cleaning my brush off, drying off the extra, and I'm going to start going over this edge. Now. You want to be careful because you don't want to go over too much because that can lift the layer underneath, and then you'll not have, um a smooth radiant. Not that it matters in this case, because the first wash was kind of lumpy anyways, but I don't know if you saw that, but I didn't wash my brush off, and then I deposited a ton more color right here. So now I gotta fix, that s so make sure you wash your brush off if you pick up too much pain and you just keep going over that edge until you got what you are looking for. So I would say, um, something like that, I'm going to start dragging some of this color up because I don't want it to stay in one strip. And now we'll go ahead and dry that and look at what, um, what it looks like afterwards. Okay, So as you can see, this is a lot darker. We have a pretty smooth edge. It is kind of stuck in this bar. I think that I would do it again and bring it up more, but it's just for demonstration. But, um, that is a lot, um, smoother and more of ingredient than this. Over here, you can see the difference More smooth, straight bar. Another way that they do. This is where I will just wet the entire surface and then add my color like I'm doing a wet on what? But it's already on top of something that I've painted. Um, you want to be really careful with this because you don't want to go over too much because you'll start lifting, which we'll talk about in the next section. Um, but so I'm, like, very lightly touching my brush to the paper. Um, you don't want to be scrubbing at all for this. I can already tell you at away too much water on here like I always dio So I'm just picking up some of that extra. And now I'm going to I'm gonna do, like, do this pink color just so you can see the difference. Um, I'm gonna put it in up here and try to get a Grady int from this pink down to the blue. Um, so I'm just going to drop in the pink now. I'm going to help blend it. I could let it do it naturally, but I want a little bit more control, so I'm taking my damp but clean brush not too wet. And I'm going to just go over the edge. Now you can drag it, um, up to pull that color up. But, uh, do whatever you think is right. All right, now I'm gonna try that, and we can look at it. All right, so that's pretty dry. Um, as you can tell, we got a nice little Grady int going on up here. Um, the reason that I went the whole surface is so I absolutely will not get any weird lines again. It doesn't matter for such a lumpy first wash anyways, um, and I kind of like the texture. But if you want something more smooth than you're gonna like a way to achieve that is by wedding the whole area and then having your second layer on top. Um, it really helps blurt things out in a song as you dry it correctly or let it dry naturally , like you shouldn't get any weird lines. Just make sure to stop up any like, huge beat of water. If you have something like that. So the next topic we're going to go over is lifting, and this is going to help you correct your mistakes or lighten areas, but I will talk to you about that in the next video. 7. Lifting: Okay, so this next section is about lifting. That is when you pull the paint off the paper paint that you've already set down. So you can use this to correct mistakes or lane areas. I don't do it too much in my work, but it's very helpful. I kind of like the weird, unpredictable nature of watercolors. But lifting can really help you. It's kind of like an eraser. Almost eso to do this. You wanna have a clean brush and you do want more water, so you're not going to dry it off? Um, now say, I want to lift this out. I'm placing the water down, and I'm using my brush to kind of scrub it away. You're never gonna get anything completely clean. Um, I mean, some pains will allow it, but every pain is different. Every paper is different. So, um, you kind of never know what you're going to be able to dio. But as you could see here, I was able to lift that out pretty well. And now there's like, that white spot. Um, I'll say I wanted toe lift this whole area. I could put water down and start scrubbing now I'm gonna clean my brush off in between just toe. Get rid of some of the paint. Now. Not all papers can handle being scrubbed. Um, I don't know if you could tell, but this paper is handmade, but some fibers are pulling up on it. Um, so you're gonna want tougher paper. This'll tends to be higher quality paper. So things like arches or Fabbiano artistic? Oh, things like that. But every paper that I recommended today should be okay for a little bit of scrubbing. Um, obviously, I'm scrubbing pretty hard, so we're getting some particles. Um, they, uh, so too big of a deal, though, Um, Okay. So I'll drive that and show you what it looks like when it is dry. All right, that's pretty dry. At this point, I can maybe try toe, pull up some of the weird paper re bits that came up. Um, but this is just practice, so I mean, there are ways to get around it if you did get cheap paper, but, um, yeah, like I said before, you're gonna want to get, like, something a little stronger If you plan on doing a lot of lifting. Um, yeah, so that is basically it. And then after that, you can lay on top of it or keep it white when you know whatever you want to dio. Um, but that is basically the eraser that you have with watercolors. Okay, so next up, we're gonna be talking about our project and what we're going to paint, and we're gonna set up for it, so we'll see you over there, and we can get started. 8. Set Up: Okay, so we're ready to set up for a project. We're gonna be painting this here. This is something I did in my sketchbook, but we're gonna recreate it. Um, we can pick whatever colors. We what? I think I'm going to go with yellow and indigo just to kind of show you how to colors would work. But feel free to start out monochromatic, if that's easier for you. Um, but yeah. So I think that's what I'm going to do with that. I want to prep my surface by taping off a boundary if you don't want to. That's fine. I did it with this one, but it will just make it cleaner and easier. Um, but, you know, do whatever you want to dio. I'm going to use this washi tape and tape out a border here. Um, you could measure it if you want it to be perfect. But, you know, this is just practice, so it's totally okay that it's not perfect. Um, you can also do any other shape or size, whatever you feel like doing. Um, I just kind of did it in that rectangular form, uh, in my sketchbook. Just because that's what fit on the page. But, um so whatever you want to do is great. Not big enough. Okay, so I have this border done, and I have my paints ready. I think I'm gonna just mix them in this little 10. Um, but if I wanted to get my palate ready, I could do that. My brushes air here. My water is clean and ready. Right off camera. And we are good to go. So if you're ready to start than head over to the next lesson 9. Background: Okay, I'm going to put a photo of my, um, original sketch in the resource section. Just so you have something to look at, Um, if you're doing a monochromatic thing, But if you're following with two colors than it's gonna be pretty similar to what I'm doing . But if this is such an easy project, so if you feel overwhelmed, just take a deep breath and we're we're going to get right into it. It's gonna be easy, I promise. Um, so the first thing we want to do is ah, base layer a background layer. When you're painting with watercolors, you want to go from lightest to darkest. So, um, this also tends to be like what's furthest away, because that tends to be later. Um, so I know that I want my sky to be yellow, and I want my foreground to be a dark indigo. So it makes more sense for me to start with the yellow and slowly build up to the end ago than doing the indigo and trying to paint around that with the other shapes. Um, but yes. So we're gonna go ahead and get started. I'm just going Teoh, take my brush, take my yellow and just put it right in. Now, if you wanted to do what? On what? That would be totally fine. Um, I'm just gonna started this way because it gets essentially the same results. Okay, Now I want to soften this edge. Um, now, if if, ah I made it this bright yellow all the way down when I put my really, really dark in to go it's gonna be green. I want the end to go to stand out and be its own thing So that's why I want toe, um put like a greedy int of yellow and center, Just the full thing as yellow. Um, that just seems to be the best way that I found to do two colors. But if you're doing monochromatic, you could literally just do like a very light wash of blue the whole way down. Um, so to get this to fade out into pretty much nothing, I'm cleaning off my brush and, um, wiping off some of the excess water. So it's It's damp, but not wet. And I'm just going to go over the edges now. This down here doesn't matter too much because it is going to be covered up. Um, and because that pain is so light, you're absolutely not going to see it. Now, if you have a very harsh line and your pain isn't so light, you will see it. So just be a little bit careful with that. I see that I have, like, two lines here, Um, that I kind of want to break up a little bit because I don't want that look. But if you want that look, go for it. So I'm just kind of pulling the color down with a clean, damp brush. I'm going to go up here and do the same thing. I'm being incredibly light when I do this, Um, as you could tell, because when when my brush, when I'm pushing hard on my brush, you'll see it fan out like that. But that's not the case when I'm, uh, blending here. Also, the reason I picked this brush was because it holds a lot of water and the the the brush head is a lot bigger than say, like, if I used this one, I would have to do a lot more like going back and getting pain because it's so small. Um okay, so we're good with this background. I'm gonna go ahead and write with my heat gun, and then we'll be ready for the next layers. 10. Layered Mountains: Okay, so this is dry. The next thing I want to do is add in a little sun or moon or whatever. You don't have to do this. Um, I think I'm going to do it in yellow, but, uh, do whatever it is you want to dio. I'm just I'm taking my smaller brush because it's easier for smaller details. And I'm just gonna paint a little circle. If you wanted to do, like, a crescent, that would be cool. Or like, an actual star something. Yeah, and it definitely doesn't have to be perfect. Okay, so I could drive that with my heat gun right now, but since I'm not gonna really be touching it again, I'm just gonna let it dry. Naturally. Um, now we're going to go ahead and do the, um, layered mountains. I'm going to make a wash in here. Um, now, I want to make more than what a Frankel need, because if we run out, it's a lot more complicated to mix the color again. But, uh, it's it's just better toe have extra, you know, Um, so, essentially, how we do this is I will start with yellow and then gradually add in to go into it. So that way I get, um not only the lightest, uh, like in transparency in the back, but also the lightest and color. So it will be yellow, a muted yellow, kind of like a greeny blue blue and then into go. Um, Now, if you want more vibrant colors, I wouldn't necessarily pick in to go because it's ah ha has black in it. So it'll kind of mute whatever color you decide toe use. But I like that look, So I'm gonna go with it. But you do whatever it is you want to dio some just adding hope. Interview alot to this 10. So it's it's very watery, um, good for washes. And now I'm just gonna go ahead and paint my first mountain. Um, it really doesn't matter what shape these are, as long as they're kind of like zigzags. That's cool. But I I don't really like do anything special. I kind of just blindly go in and make little squid billies. Um, so I got that. Now that that is done, I'm just gonna fill this entire area with this color. This is why the tape makes it way easier because you don't have to be careful around the edges. Not that it matters necessarily because it's all just practice. But, um, you know, that's why tape is nice, though, while this is what it's very easy to change the shapes of say, I wanted to make this little bump slope a little bit more towards the top. It I can do that while it's wet. If it drives and you want to change it, you would do the lifting thing that I showed you earlier. But that's good to me. Uh, I can see a little bit of excess water kind of pulling here, So I'm going to just take my, uh, damp but not wet brush and pick up some of that excess paint so it doesn't create weird washes. Okay, I'm gonna go ahead and dry that, and then we're going to be ready for the next leg. Okay, so we're ready for the next layer. Um, what we're going to do is add just a little bit of, uh, into go into our wash, and then we're good to paint the next layer. It's super simple. Uh, the biggest thing is just to make sure that you let the layers dry in between And, um, really Other than that, there's no way, uh, that you can mess up. Now, I like to make sure that each mountain is a little bit different in shape. But if you want to, like, do a mirror mirror, the fact you would just, like, follow the same contour, whatever it is that you feel like doing is totally, totally fine. Okay, so after we got that, we're good to dry it. I can see that some water is, um is beating up around the edge. So I'm just gonna kind of stop that up and we're good to dry. I'll see you in the next layer. Okay? We're good for the next layer. So I'm just gonna add even more blue into this. That's not too much. Now, if I did put too much blue in there, I would just clean my brush off and gets more, uh, yellow. And we're good for the next one. Let's see, I think I want a peak to be here just because these have been, um, coming down like that. It's become above events. You can play around with how far apart. You want the mountains to be a swell? Um, I just kind of do it in a low key, like, you know, whatever kind of floats my boat way. Um, but you can be more calculated about it if if you want a certain look. All right, I can see more pulling up over here, so I'm just gonna remember toe, get some of that excess water. If you're better controlling your water than I am, then you won't really have that problem. But, um, I find that I use a lot of water, but Okay, so we're good to drive this one, and then we're ready for the next layer. Okay, so we're ready for the next one. It's pretty simple. We're just going to keep doing the same thing until we reach the bottom. So I'm just adding a little bit more blue. I think I'm going to make this layer a little further away. Maybe. Maybe I'll make this one high. It's really repetitive, Which is nice, because I can kind of get into this, um, meditation area where I'm, like, not thinking about much, but it's like something to keep my hands busy. So if you're having a stressful day. You can always, like, wind down with something like this. All right, So there's this one. Now we can go ahead and dry this one, and then we will be ready for the next layer. Okay, So that once try, um, just go ahead and even more blue in here, and then we can at the next layer. See, let's make when high here. So, yeah, it's pretty simple. I would, um the only thing is that you wanna really be sure to drive them in between. Um, I know that it's tempting, especially if you don't have a heat gun or a hair dryer or something. It's really tempting to kind of just be like God's dry enough, even if it's still damn. Put it. It will really make a huge difference. If you let it dry completely, your lines will be a lot crisper. You're layers will be more separated. And that's definitely the look we're going for here. All right, so we can drive this one, and then I think we're onto our last may Be second to the last layer. Okay, The next one, essentially, we're getting down to just like mostly into go, but see, tough one in the middle. Maybe people always think that watercolors air so hard. But, um, I honestly think that that comes from, you know, when we're young, we use Crayola pains or, like some of the first ones that we use. And, um, those watercolors air just awful. They're barely watercolors, so I think it kind of gets a bad rap because of that. Um, and I feel like watercolors air, very forgiving. If if you're willing to put in the time and and be patient, that's a big thing, which I definitely am not. So, um, so you know, just gotta practice. All right? We're going to drive this one, and then I think we'll do one more layer, and then we'll be good to go. Okay? Last layer. I'm gonna use the into go straight out of the pan just to be the most concentrated that we can get. Let's see now, because this color so dark you might not be able to see it too well, but okay, I see that I have, like, a lot of extra over here. I'm just gonna I'm a soak up, and then I'm going to drive this and we'll look at the finished product 11. Final + GIVEAWAY!: So that's it. You finish the class, you have a finished painting, and that's awesome. I hope that this class gave you a better understanding on how watercolors work and how some techniques are better than others. How to use these techniques so that you're prepared for your next painting. Um, I really would love to see what it is you painted for this class. What colors? You chosen all of that. So please take a photo of your final painting and upload it to the project section below. Anyone who up lives a photo. And in the project section, Thehuffingtonpost November will get entered toe win one of these pallets of handmade watercolors. Um, it's not sponsored by skill. Share anyone. It's just because our car creation on and I created this palette and I just want to share it with one of you guys. So, um, yeah, so make sure that you take this class and upload a a photo of your final image and you'll be entered to win. Um, also, I'll be contacting you through email, so make sure that you enter your email in your project, but yeah, so thank you so much for taking this class. I hope you learned something exciting and you feel more prepared to take on your next water by


text:
What Is Hezbollah
By Kali Robinson - The Council on Foreign Relation -
Military experience gained from fighting in Syria's civil war and decades of clashes with Israel have made the Iran-backed group stronger than ever, but the biggest threat it faces may be upheaval in its own backyard.
Hezbollah wields significant power in Lebanon, where it operates as both a Shiite political party and militant group.
It opposes Israel and Western powers operating in the Middle East, and it functions as a proxy of Iran, its largest benefactor.
The group has faced unprecedented scrutiny from the Lebanese public amid the country's political and economic crisis.
What Is Hezbollah_ _ Council on Foreign
Download • 1.52MB
By Amb. Ron Prosor - The Wall Streat Journal - Hezbollah's strength has multiplied, and conflict is inevitable unless the world acts. Donald Trump called out Hezbollah at both stops on his Middle East

redpajama_set_name: RedPajamaCommonCrawl


It is always a pleasure to work with our friends in Filmociencia. They are the directors of what it is going to be a series of videos about risk for the ICMAT and funded by AXA Research Fund.
And we at Scixel did the graphics for it.
Want to learn more about risk and its modelling? Be on the watch for more videos!
Posted in Animation effects and tagged Filmociencia, ICMAT.


Keeping a work territory spotless and free of tidy and microscopic organisms makes for a protected workplace, yet contemplates dispatched by the EPA found a few dangers natural in cleaning items used to keep it that way. Unstable natural mixes (VOCs) discharged by numerous standard cleaning items amid utilize and transfer can cause skin and eye bothering, tipsiness, migraines, and different manifestations to the general population utilizing them, and leftover chemicals can in like manner influence representatives and clients for quite a long time subsequent to cleaning. The individuals who utilize them in their concentrated state may take in bigger amounts of chemicals and be at more prominent wellbeing dangers.
What is Green Commercial Cleaning?
Including the "green" to commercial cleaning in Sunshine implies that the organization utilizes more secure items, while utilizing systems that are additionally benevolent to the earth.
Creating and preparing housekeeper representatives to utilize a Chemical Management System that oversees how cleaning items are dealt with, utilized, put away and discarded to limit or avoid presentation to chemicals Using methodology, for example, shading coding of garments and apparatuses utilized for certain cleaning errands to anticipate cross-defilement. A broadly acknowledged coding framework utilizes red for high hazard restroom ranges (toilets and urinals), yellow for okay restroom territories (showers, mirrors), green for sustenance arrangements zones, and blue for general cleaning.
While picking any business cleaning organization, you need to feel certain they will carry out the activity and abandon you premises perfect and shining and noticing extraordinary. To ensure that they are a green business cleaning organization, they ought to have approaches set up about the items they utilize and the ways they clean.


Do I Need an Attorney When Applying for Medicaid Nursing Home or Medicaid Home Care in New York?
On behalf of Enea, Scanlan & Sirignano, LLP posted in Medicaid Eligibility on Wednesday, July 30, 2014.
Applying for Medicaid nursing home or home care is an extremely complex process - one with potential complications not often evident at first glance. The rules and regulations relevant to Medicaid eligibility also change frequently and vary by state. Securing the services of a seasoned elder law attorney is imperative to ensure the most favorable outcome.
There are many instances when utilizing an experienced attorney can make a significant difference. For example, the Medicaid applicant's spouse may need to execute a spousal refusal in order for the applicant to successfully obtain Medicaid (a spousal refusal allows the well spouse to retain resources and income above the levels ordinarily permitted). Once a spousal refusal has been executed, however, the well spouse will be subjected to a potential lawsuit by the Department of Social Services. Knowing one's legal rights and options in the face of a potential suit is critical.
Additionally, there are legal arguments that can be made with regard to the transfer of assets by the Medicaid applicant that would avoid the implementation of a potentially onerous penalty period. When someone other than an elder law attorney handles the Medicaid nursing home application, however, these opportunities are almost always overlooked.
It's also important to consider that the application process for Medicaid nursing home or home care is one that typically takes several months as further documentation and explanations are often required. Medicaid officials may require up to five years of financial records and will closely examine every detail. Any unexplained or questionable expenses - even those that are part of routine planning - can disqualify the applicant if not properly handled. In most cases, elder law attorneys are able to complete this process much faster, saving the applicant a significant amount in care expenses.
There is also post Medicaid eligibility planning, which is often needed (and which a non-attorney cannot advise upon). The failure to properly make these arguments and to be in a position to get the proper legal representation provided by an experienced elder law attorney can result in tens of thousands of dollars being unnecessarily spent by the applicant and his or her family.
Related Posts: When is a Crisis a Medicaid Crisis?, Applying for Medicaid? Know the basics., Understanding the Impact of IRA's and 401k's on Medicaid Eligibility, What is a special needs trust?


Being a serious company that has been working in the import lumber industry for a very long time, Le Comptoir Du Bois uses their experience to the benefit of their customers, creating the necessary link between the market demands and production constraints.
The Polish mills we work with also have extensive experience in the industry and have acquired unrivaled mastery in the production and impregnation of wood. They exclusively provide Scots Pine (North Pine) from sustainably managed forests that are FSC certified. They apply the best practices in matters of production and processing, using efficient products that are environmentally friendly.


The Moche inhabited a series of river valleys along the arid coastal plain of northern Peru from about A.D. 100 to 800. Through farming and fishing, they supported a dense population and highly stratified society that constructed irrigation canals, pyramids, palaces, and temples. Although they had no writing system, the Moche left a vivid artistic record of their activities in beautiful ceramic vessels, elaborately woven textiles, colorful murals, and wondrous objects of gold, silver, and copper.
Sipán was the administrative and religious center of the Northern Moche region, and like most Moche centers, it boasts two large pyramidal structures called Huacas. The huacas were large platform mounds, built of thousands of adobe bricks, and on top of the tallest platforms were large patios, rooms and corridors, and a high bench for the seat of the ruler.
The site is famous for the tomb of El Señor de Sipán (Lord of Sipán), excavated by W. Alva beginning in 1987. The tomb of the Lord of Sipán has been dated to around 100 AD.
The site, where fourteen tombs have been discovered, is considered to be one of the most important archaeological discoveries in the last 30 years, because the main tomb was found intact and undisdurbed by thieves with hundreds of gold, ceramic and semiprecious mineral objects, as well as an entourage consisting of his wife, two girls, a boy, a military chief, a flag-bearer, two guards, two dogs and a llama.
Another important tomb held the "sacerdote", who was accompanied into his afterlife with an equally impressive quantity of treasures, as well as a few children, a guardian whose feet where cut off and a headless llama.


Hamilton Video and Photography, serving the Omaha, NE area, has been in business for over eight years. Our staff includes several talented photographers and videographers, but owner Chris Hamilton works closely with each client to ensure the most personalized, inclusive service possible. Hamilton specializes in providing photo and video services for Omaha area weddings, but is available for all types of event photography and videography.
Our style is casual yet artistic, but, more importantly, we allow the clients' vision to guide their work. Hamilton Video and Photography can summarize their approach to customer service in one word: accommodating. Hamilton doesn't overwhelm clients with dozens of packages, add-ons or hidden fees that make pricing difficult to understand; we offer one simple, all-inclusive package that exceeds clients' expectations without breaking their budget. We never set time limits at weddings and special events because we know that video and photos will appear more natural, relaxed and beautiful when clients do not feel rushed.
Hamilton Video and Photography has a consistent reputation for excellence and affordability that will make you feel comfortable working with us.


I know something about you! I may not even know you personally but I know that I know at least one thing about you.
Nobody else is you and you are nobody else. And that's good.
What I have to say really isn't all that deep or complex. It's just something that I know I need a reminder of now and then, and I would think most of us do too.
I am who I am. I don't need to try to be anybody else. I can sure glean a lot from others, and I can learn a lot from others, but my personality, my character, my talents and abilities, my gifts, my looks, my thoughts, my learning curve, my experiences, my ways, my tastes, my likes and dislikes, my prayer life, my Bible reading, my way of assembling with other saints, my... whatever... is uniquely mine and I don't have to be like anyone else! Sure, I want to get along with as many people as I can and I want to work well with others, and I can most certainly be flexible. But my uniqueness doesn't have to be breakable.
The following video may or may not be your taste of music, and the lyrics may not strike you in the way they have struck me, but it's really the main reason I started this blog entry. There's so much I could say about my thoughts of Adam Ant being a musical and lyrical genius. And while I'll use the same disclaimer as I used for the Extreme video I posted the other day (that is, I definitely wouldn't look to Adam and the Ants as a source of great spiritual enlightenment!), I can truly say that once in a while I find a "message" that I can relate to in the lyrics.
Well, the song "Zerox" (funny how it's spelled "Xerox" in the video) is right to the point throughout the whole song. Executives in the music business - you might as well "lock up your brain" because we'll just get together and collect up the ideas and simply duplicate whatever else may be hot right now. Make sure you "keep your ears to the ground" to make sure you've got the next hit record. We'll steal the chords from another hit song and make sure this song is equally as successful.
You get the idea. And you perhaps know where I'm going with this. Many in the church today seem to be more focused on having the best programs and having the sermons and worship services that attract the most people. Let's see what's "working" in other churches and start applying it in our church. It's often about "church growth. Unfortunately, it's about how the people can make the church grow, rather than how the people can help the other people grow, if you know what I mean. It's about making sure the people's brains are locked into "our" vision. The pastor and other leaders sure do have huge smiles and they sure do give "inspiring" and "convicting" sermons. But are they being real, or are they simply putting on a show to try to attract people, or even to manipulate them into conforming to their program or into being just like them?
But behind the smile there is a Zerox Machine..."
Can't anyone just be real anymore? Can't we just meet together with no false pretenses and with no hierarchies. Can't we just be who we are, and not try to be what that other church down the street is? Can't we simply base our identities upon who we are in Christ rather than being concerned about how we appear to each other and to the community? Can't we stop trying to reproduce people to be just like us, conforming into our image, and instead work to help them walk in their own uniqueness and for the purposes for which they were created?
A different version of the video with better audio quality is here. (It wouldn't allow embedding).


text:
The Tribal Realities of the Nanticoke Lenni-Lenape
Refusing to leave their ancestral homeland, Nanticoke Lenni-Lenape family clans remained in South Jersey when other Native American tribes were forced west. Fast forward to today, the history of the tribe continues to unfold. During the 1970s, self-governance shifted from tribal churches to a constitutional form of government. In this session, the last forty years will be considered, while paying attention to the cultural traditions that are being reclaimed in the present. Also, the tribe's relationship with Christianity and their political status with the state and federal governments will be explored.
Associate Professor of Communications at Stockton University
Jeremy Newman has directed numerous documentary and experimental videos. His work is frequently shown at film festivals and has also aired on several PBS stations. He is Associate Professor of Communications at Stockton University. Newman earned an MFA in Media Arts from The Ohio State University.


Description: The only awards which recognise and reward effective shopping and town centre marketing within retail property and placemaking.
Description: The only awards which recognise and reward effective retail destination marketing within retail property and placemaking.
Description: The leading awards recognising achievement within the retail property industry.
Description: An awards programme that showcases people and places that achieve excellent customer experience.
Weekly Top Tips #5 - Check, then double check your final copy!
Description: Revo supports the people and businesses involved in the diverse world of retail property and placemaking to thrive and prosper.
Our fantastic shortlist aced the first round of mystery shops and now they're looking to impress our expert judges.
The 2019 winners will be announced at Destination R, taking place on 3-4 April at the Hilton Birmingham Metropole. It'll be a night to remember as we recognise and celebrate the very best customer service delivery within our community.
Purple Apple Marketing Awards entries are open!
We hope you've finished scribbling down your Christmas list, because it's time to get started on something bigger and better.
Entries for the 2019 Purple Apple Marketing Awards are opening soon which means the Rolling Apples are back and heading to a location near you!
It's your opportunity to pick up those all-important hints and tips and share your ideas face to face with the experts before you hit submit. Here's all you have to do.
Your 2018 President says farewell.
It's nearly the end of 2018, eep! Which means it's now time for Mark Williams from the Hark Group to pass his presidency over.
Here's a roundup of everything that's been achieved this year, with festive cheer included!
Message fellow members on our app!
If you're a member of Revo, you can message other members via our new app!
Search 'Revo Community' in the App Store or Google Play. Read the latest news, access our research, browse events and connect with our community.
We brought together the most influential and inspirational players from across the sector including; commercial & residential investment and development, in & out of town leasing and investment agents, UK & international retailers, FB and leisure operators, construction & infrastructure companies, Local Authorities & other public sector bodies, innovation experts and trend spotters.
Annual Dinner & Gold Awards - tonight is the night!
We're connecting the entire retail property and placemaking industry.
Holly Tucker, co-founder of Notonthehighstreet.com is our Annual Dinner speaker!
Holly Tucker MBE has successfully made her name as one of the UK's most-respected entrepreneurs, best known as co-founder of notonthehighstreet.com.
Also founder of Holly & Co and UK Ambassador to Small Creative Businesses, she'll share her experiences and belief in the power of innovation and the need to champion and connect like-minded creative enterprises across the world.
Gold Awards - Re:tale and Rising Star shortlist announced.
Celebrating retailers, F&B and leisure operators with a story to tell; those demonstrating continuous innovation, and delivering an outstanding and differentiated customer proposition.
Recognising young professionals under 30 demonstrating passion, innovation and commitment, energising and driving progress in our industry and beyond.
We want to expand our community to benefit the retail property and placemaking industry.
The wonderful Yvette Bryan at Trowers & Hamlins reads the next chapter of our membership story.
A star is born at the Revo Gold Awards.
Bradley Cooper isn't the only person with an eye for talent, as we're on the lookout for the next star within the retail property and placemaking industry.
Our Gold Awards Rising Star category recognises young professionals under the age of 30 who demonstrate passion, innovation and commitment to energising and driving progress in the retail property and placemaking industry.
Entries are open for the Opal Awards!
We're celebrating the unique commercial and brand opportunities created within retail environments such as shopping centres, outlets, leisure destinations, transport hubs and mixed use formats, and we'd love to hear from you!
Think great activation, collaborative partnerships and innovative ideas. Sound familiar? Then tell us about the exciting activities you've implemented as you continue to be a catalyst for future turnover growth within our community.
Gold Awards - our shortlist announced!
The shortlist for pure excellence in retail property and placemaking is here and it's full of truly inspiring examples of new builds, repositioning of space, regeneration and more.
Annual Dinner priority tickets available until Friday 19 October.
We're bringing together 1000 of the most influential and inspirational players from across the sector including; commercial & residential investment and development, in & out of town leasing and investment agents, UK & international retailers, FB and leisure operators, construction & infrastructure companies, Local Authorities & other public sector bodies, innovation experts and trend spotters.
Revo ACE Awards - deadline extended.
You now have until 17:00 on Monday 8 October to submit your ACE Awards application.
That means you have one more week to perfect your entry to showcase the many ways your customer experience delivery really stands out from the crowd.
And, don't forget, your overall service offer will be measured and reported back on by our independent mystery shoppers, ensuring you continue to drive up customer experience standards.
Have a watch of Mark Bain at ShopperTrak.
We want to expand our community to benefit retail property and placemaking as a whole!
We grabbed Mark Bain at ShopperTrak to read a chapter of our story about Suzy the Revo member and all the benefits she recieves. View it below!
Treating customers with respect and fairness - HX Car Park Management.
We're delighted to have HX Car Park Management as the main sponsor of the ACE Awards 2019. Take a look at their unique approach to car park management.
We'd love you to download it.
Search 'Revo Community' in the App Store or Google Play. Read the latest news, access our research and browse events. More features to come soon!
Revo and ICSC agree on global partnership.
We're pleased to announce the signing of a formal agreement with The International Council of Shopping Centers (ICSC).
We're absolutely delighted to join 14 national organisations representing retail property and placemaking across Europe and the globe and in doing so allowing for a more collaborative, strategic and mutually beneficial relationship that will advance the interests of our global community.
Rebecca Ward at FrogBox Marketing continues our membership story.
Not really sure what Revo membership gets you? We managed to get hold of Rebecca Ward at FrogBox Marketing to continue our story of Suzy our (almost) fairytale member.
What did she get up to with Revo? Have a watch below!
Entries are open for the Revo ACE Awards!
Does your retail destination and team deliver exceptional customer service? If the answer is yes, we'd love to hear from you!
Entries are welcome from all types of retail places; whether a shopping centre, retail park, leisure destination, outlet mall, transport hub or market, it's time to tell us about the experience you offer.
They say time flies when you're having fun, we say it goes even quicker when a deadline is looming!
To save you from any last-minute Monday mayhem, we're extending our Gold Awards entry deadline to 17:00 on Tuesday 28 August!
Eliscia Moore at Petit Miracle has a story to tell.
The story of Suzy our (almost) fairytale member continues!
We're on a mission to expand our community and have been pushing a membership campaign over the past 7 months.
You can watch the newest video below.
Revo Gold Awards. Your time is now.
We're recognising and celebrating the very best examples of development, investment and asset management in the increasingly diverse retail property and placemaking sector.
Our Gold Awards reflect the creative and innovative responses of our community in meeting the opportunities and challenges posed by an ever evolving industry landscape.
If you have an initiative that's pure gold, we'd love to hear from you.
Write your own story as a Revo member.
We're on a mission to expand our community.
Over the past 6 months we've released videos, featuring some willing member volunteers, reading a story of an imaginary member called Suzy from Bushy Bratley and all the benefits she recieves.
View our most recent one here with Jaya Relwani from Ellandi!
Open your ears for Paul Clifford at Space to Trade.
He has something to say! Suzy, our (almost) fairytale member is still alive and kicking, spreading the Revo love far and wide to help us attract new members to our community.
The Purple Apple Marketing Awards winners!
After all the glitz and glam at the Awards Dinner last night, we want to say a huge congratulations to our winners! Find out who took home an award and see what our judges had to say.
Guidance Note 118: Integration of Market Facilities.
Markets have the potential to offer vitality and diversity to town centres. However, they have a particular set of practical requirements which make their integration potentially challenging. Their design has to be carefully considered for ease of use, durability and maintenance.
Use our guidance to help you to make decisions when establishing a new market or redesigning existing market facilities!
Alec Howard of PDP London has something to say.
So you better listen up! Only joking.
But we thought you'd like to see our latest membership story about Suzy from Bushy Bratley! She may be imaginary, but the benefits of Revo membership aren't.
Customer experience. The recipe for success.
The overall experience you provide for your customers is more crucial than ever in creating and maintaining a competitive advantage.
Bacon baps and Buck's Fizz aside, this morning's Breakfast Presentation truly highlighted the positive impact commercialisation has on retail and leisure environments.
Congratulations to our wonderful winners!
Take a look at the winners' magazine here and see what our judges had to say.
The next chapter of our Membership story.
Our story of Suzy the Revo Member is back... Claudia Tarazi of Retail Consulting Group reveals what she got up to next. It seems Suzy is fond of ice cream and sunshine!
Congratulations to our fantastic 2018 ACE Awards winners. Great service led by great people!
View the Winners' Magazine to find out exactly how they went above and beyond to create an exceptional experience for their customers.
Entries for the 2019 ACE Awards will open on Monday 3 September 2018. We'll be providing helpful advice along the way but do get in touch with Stacey if you'd like further information.
Purple Apple Marketing Awards: we've revealed the shortlist!
We've revealed the shortlist! Winners will be announced at our glamourous Awards Dinner in May and with a record breaking number of entries, creativity at an all-time high and some even battling the Beast from the East to submit their entry, it's set to be a fantastic evening full of celebrations.
The next installment of our story of Suzy has now been released!
We have Neil Hockin from Lunson Mitchenall revealing what Suzy got up to as a Revo member.
We've released our Opal Awards shortlist!
We're delighted to announce the Opal Awards 2018 shortlist!
The top entries from each of our categories reflect the significance of commercialisation activities as generators of income for retail places through great activation, innovative thinking and strong partnerships.
Once upon a time in the life of a Revo Member.
We've just released our first ever membership campaign video!
The wonderful Tom Stewart from Bay Media features in the January edition.
Discover how the mysterious Suzy from Bushy Bratley engages with us to benefit her business and career!
Purple Apple Marketing Awards - new category for 2018!
Twitter, Facebook, YouTube, Instagram, LinkedIn, Snapchat and the whole shebang!
Targeted Google campaigns and PPC.
Virtual Reality and/or Augmented Reality.
So if you've enhanced brand awareness levels or seen an increase in retailer sales and/or ATV using any of the above techniques, what are you waiting for?
Opal Awards deadline has been extended.
You now have until 17:00 on Friday 19 January to submit your application for the 2018 Opal Awards.
Are you delivering award worthy commercialisation activity? Then this is your opportunity to be recognised for great activation, innovative thinking and collaborative partnerships delivering great results for your customers and your bottom line.
Revo ACE Awards Shortlist 2018!
Recognising and celebrating the very best customer service delivery within the retail property and placemaking community, we're delighted to announce the 2018 ACE Awards shortlist!
Having aced the first round of mystery shops, they're now looking to impress our expert judges.
Revo Gold Award 2017 winners!
The Gold Awards celebrate the very best examples of development, investment and asset management. And this year has been revamped to reflect diversity and innovation in the retail property and placemaking sector.
Revo Opal Awards are now open for entries!
The Gold Awards celebrate the very best examples of development, investment and asset management.
And this year has been revamped to reflect diversity and innovation in the retail property and placemaking sector.
Want to know who's been shortlisted? Click here to find out!
We would like your honest, open thoughts.
You could win a £50 Love2shop voucher for letting us know!
Ever since we rebranded to Revo, we've been working hard to raise our game.
We're committed to enhancing and improving our output in order to support our community to succeed.
Revo Purple Apple Marketing Award winners!
Congratulations to all the winners of the Revo Purple Apple Marketing Awards 2017.
The only awards which recognise and reward effective shopping and town centre marketing within the UK retail property sector.
Opal Awards 2017 shortlist announced!
We've announced our shortlist for the Opal Awards 2017!
The only awards programme to truly encompass and reflect the entire breadth and scope of commercialisation activity and its positive impact on retail and leisure environments – as generators of income, a contributor to enhancing positive customer experience, the overall vitality of retail destinations and by creating points of difference, complementing the existing retail mix.
Congratulations to all the winners of the Revo ACE Awards 2017.
Excellent customer service must be proactive and is essential for meeting customer' increasing expectations and needs. Winning an ACE Award not only reinforces your added-value message to customers - it sets benchmarks in the industry and ensures widespread industry recognition attracting both investors and retailers.
ACE Award entries are now open!
It's time for you to put your retail place to the test and let us know about the exceptional customer experience you provide and along with your outstanding staff who live and breathe this day in, day out!
This year, the entry process is simpler than ever with a super quick application form (fewer questions) which means you'll spend less time entering the awards!
We'd love applications from all retail places, including shopping centres and outlet malls.
Retail Property Marketers from the length and breadth of England, Scotland and Wales came together on Tuesday 28 June for this year's Purple Apple Winners Showcase, kindly hosted by Bewonder*.
The workshop provided attendees with the opportunity to hear first-hand from some of the winning entrants of this year's Awards and provide their thoughts on how the Purple Apples could be improved for next year.
Congratulations to the Purple Apple Marketing Awards 2016 Winners!
We want to say a huge congratulations to all winners of the BCSC Purple Apple Marketing Awards 2016 and a big thank you to all nominees.
To find out who won, read the Winners Magazine here.
BCSC 2016 Early Bird rates end Friday!
Save up to £295 on your booking - Early bird rates end Friday 29 April 2016.
The UK's largest B2B deal making and networking event for the British retail property industry.
2,500+ leading retailers, property investors, developers, agents and a whole host of professional advisors, service providers and local authorities under one roof.
Congratulations to the Opal Awards 2016 Winners!
We want to say a huge congratulations to all winners of the BCSC Opal Awards 2016 and a huge thank you to all entrants.
To find out who won, read the Winners Booklet here.
Meet and network with 2500+ leading retailers, property investors, developers, agents, professional advisors, service providers and local authorities at BCSC 2016.
Join us at the UK's largest B2B deal making and networking event for the retail property industry.
As a BCSC member, you are elgible for a discounted member rate - saving up to £295. Lowest early bird rates end 29 April.
Join BCSC today to start saving.
Thank you to all of the 2016 ACE Award Entrants!
View the Winners Magazine here.
Are you interested in nominating your centre and staff for an Award?
Entries for the 2017 ACE Awards will open in September!
Contact Stacey Marney for further information.
Stay informed about the industry and what we are doing to benefit your career and organisation.
Mark Bourgeois, Executive Director of Capital & Regional Plc, has been installed President of the British Council of Shopping Centres (BCSC) at the BCSC Annual Dinner and Gold Awards.
He takes over from David Atkins, Chief Executive of Hammerson Plc, and will be supported by Giulia Bunting, Planning Director and Main Board Director at GL Hearn – part of Capita Real Estate – who has stepped up to BCSC Vice President.
The BCSC Gold Awards 2015 provide a great opportunity to celebrate brilliant work in the shopping centre industry, which will culminate in the presentation of the awards at our Annual Dinner on the 2 December.
The categories this year have been designed to make them even more relevant to the changing retail and leisure environment and inclusive to give smaller developers and asset managers the chance to showcase their top work.
On a sunny Wednesday afternoon on the 24 June, CBRE hosted the Purple Apple Winners Workshop. Marketers within the industry came together to hear from some of the winning entries from this years Purple Apple Awards and give their thoughts on how the Purple Apples can be improved for next year.
Intu Metrocentre was crowned overall winner at the British Council of Shopping Centres Purple Apple Marketing awards in London last night, as more than 500 professionals from across the retail property marketing industry gathered to honour the best in the business.
450+ retailers and operators already signed up for BCSC 2015!
Over 450 retailers and operators have already confirmed their participation at BCSC 2015.
Queensberry Real Estate has been selected by Newport City Council to deliver a new modern shopping centre in the heart of Newport City Centre and BCSC attended in full force to find out more.
On 5 March Queensberry hosted a study tour beginning on the 9th Floor of the iconic Chartist Tower on Upper Dock Street followed by a tour of the project.
The annual BCSC ACE awards for customer service excellence launch with the appointment of two new judges to the panel. Charlotte Crawley of DTZ and Mia Hunt from Shopping Centre magazine have joined the now nine-strong panel, bringing new experience and insight to the awards that are entering their eleventh year.
Manchester Arndale took top spot at the BCSC Purple Apple Marketing Awards. The industry was out in force at The Brewery to commend the most innovative and successful marketing from across retail property.
The great and good of the shopping centre commercialisation industry were out in force this morning (10 April) at the BCSC Opal Awards. At a presentation breakfast, St. David's, Cardiff took the top spot among a competitive field as BCSC celebrated the best in class in commercialisation across the award categories.
The retail property industry descended on Birmingham this evening to celebrate the best in customer service from around the country at the industry renowned BCSC ACE Awards. Overgate Shopping Centre in Dundee took the top spot and walked away with the coveted 'Top ACE' award at the Gala Dinner ceremony.
Description: In an ever-changing retail environment there is a growing demand for a depth and variety in our town centres. Customers are looking for a complementary retail offer that delivers an authentic, alternative experience, particularly with a focus on locally sourced produce.
Description: Congratulations, one and all. Our 2019 Winners.


If you let chance lead you and something good happens, you get the feeling of being presented a gift by the universe.
In that way, chance & the universe become God.
Has something of the sort happened to you recently?
Mmh well, such things – giving oneself to chance and having good things happen to one in return – happen to me somewhat regularly. In this particular instance, however, I was thinking of the enormity with which one gives oneself to chance when just travelling without set goals or pre-booked everythings, and how things tend to line up and gift one great moments – and the way this makes one feel like fate, or some kind of God of chance, have rewarded this trust!


text:
Giacomo Murato (* um 1563 am Luganersee, Schweiz) ein welscher, kaiserlicher Steinmetzmeister und Bildhauer der Renaissance. Seines Widerstandes wegen entstand ein Schriftverkehr zwischen Kaiser Rudolf II. und Abt Paul Schönebner vom Stift Heiligenkreuz. Er wurde 1617 erster Zechmeister der eigenständigen Viertellade der Steinmetzen und Maurer im kaiserlichen Steinbruch.

Leben und Wirken
Giacomo Murato vom Luganersee wurde 1577 durch den Kaisersteinbrucher Steinmetzmeister Alexius Payos als Lehrling aufgenommen. Die Arbeit für das Schloss Neugebäude beherrschte den gesamten Steinbruch, 1582 erfolgte seine Freisprechung zum Gesellen.

Erdbeben von 1590
Durch ein Erdbeben am 15./16. September 1590 (Epizentrum Neulengbach, NÖ.) wurden in Wien der Stephansdom, die Michaelerkirche (Einsturz der Turmkrone), Jesuiten- und Schottenkirche schwer beschädigt. Rechnungsbücher und Akten geben Zeugnis über die Schäden und den Aufwand für ihre Beseitigung.

Gut im Kaisersteinbruch
Muratos ehemaliger Lehrherr Alexius Payos starb im Januar 1591. Mit dessen Sohn Ulrich Payos, auch Steinmetzmeister, erwarb er 1603 einen Steinbruch samt Haus und Garten. Dieser Besitz wurde 1615 nochmals unterteilt, ein Teil kam an den Wiener Bildhauer Antonius Crivelli.

Schreiben von Abt Schönebner an NÖ.-Regierung

1. Kaiserliches Schreiben
An Giacomo Murato und Antonius Tencalla, beide Steinmetzen auf dem Leithaberg:

2. Kaiserliches Schreiben

Gesuch von Murato und Tencalla an NÖ.-Regierung

Der letzte Satz entsprach nicht den Tatsachen, war eher ein Wunschtraum. Diese Meister wollten nicht in einem Heiligenkreuzer Steinbruch arbeiten, sie kämpften von Beginn an für die Bezeichnung Ihro kaiserlichen Majestät Steinbruch am Leithaberg.

Kaiserliche Urkunde vom 26. März 1614
Am 25. September 1609 kam ein Vergleich zwischen Stift und den Meistern zustande, die Ortsherrlichkeit von Kaisersteinbruch gelangte zur NÖ.-Kammer, die Grundherrlichkeit aber zum Stift Heiligenkreuz. 1614 wurde dies von Kaiser Matthias in einer Urkunde feierlich bestätigt. Als Unsere Steinmetzen vom Leithaberg, Giacomo Murato, Antonius Tencallo und Stefano Bregno wurden sie darin bezeichnet.

Der neue Abt Christoph Schäffer stimmte diesem für das Stift hochschädlichen Vertrag nicht zu, er forderte am 1. August 1615 von der NÖ.-Regierung eine Neuaufnahme des Verfahrens. Zwei Doktoren der Rechte als Commission wurde auferlegt sich in den Ort zu verfügen und Inquisition (Untersuchung) abzuhalten. Den vorhandenen Dokumenten nach lehnten die Meister jegliche Teilnahme ab, erschienen nicht bei Gerichtsterminen.

Kaiser Matthias an Abt Christoph Schäffer

Kaiser Matthias bestätigt am 16. März 1617 eine Viertellade

Die wahre Bedeutung der Steinmetz- und Maurermeister im kaiserlichen Steinbruch am Leithaberg, die Qualität des Steines und ihrer Arbeiten, wurde durch dieses Privilegium offenbar. Die Bruderschaft der Kaisersteinbrucher Meister war damit gegründet. Die Hauptlade war das Handwerk zu Wiener Neustadt.

Einige Artikel der Kaisersteinbrucher Ordnung (kleiner Auszug)
 Wer ein Gebäude geführt hat, [muss] ein Jahr für dasselbe haften….
 Ein Meister soll nur einen Lehrling haben, der Maurer 3, der Steinmetz 5 Jahre Lehrzeit …
Die Steinbrucher Meister fordern sofort das Recht, zwei Lehrlinge aufnehmen zu dürfen,

Sie erhielten diese Sondergenehmigung, die später von anderen auch verlangt wird.

Zechmeister des Kaisersteinbrucher Steinmetzhandwerkes
Nach der Genehmigung einer eigenständigen Viertellade im kaiserlichen Steinbruch am Leithaberg wurde Giacomo Murato zum 1. Zechmeister (Viertelmeister) gewählt. Seine Mitmeister in diesen Jahren waren Pietro di Magistri, Leonhardt Holzäpfl, Nicola di Novo, Andre Ruffini, Ulrich Payos, Antonius Bregno, Antonius Crivelli und Antonius Tencalla.

Archivalien
 Stift Heiligenkreuz Archiv, Rubrik 51 Kaisersteinbruch, Briefe, Kaiserliche Urkunde von 1614
 Stadtarchiv Wiener Neustadt, Steinmetzakten, Meisterbuch ab 1617
 NÖ-Landesarchiv, Ständische Akten B. 9/24
 Burgenländisches Landesarchiv

Literatur
 Harald Prickler: Zur Geschichte von Kaisersteinbruch. 1961.
 Harald Prickler, Kaisersteinbruch – Aus der Geschichte einer italienischen Künstlerkolonie. 1998.
 Heinrich Berg, Das Erdbeben von 1590. In: Wiener Geschichts-Blätter, Heft 3, 1990.
 Alois Kieslinger: Der Bau von St. Michael in Wien und seine Geschichte, u. a. Erdbeben 1590. Sonderdruck aus dem Jahrbuch des Vereines für Geschichte der Stadt Wien. Bd. 10, 1952/53.
 Helmuth Furch, Vom Heiligenkreuzer Steinbruch zu Kaisersteinbruch. 1981, ISBN 978-3-9504555-0-2, S. 20–23.
 Dokumente aus dem 16. Jahrhundert im kaiserlichen Steinbruch am Leithaberg, Giacomo Murato. In: Helmuth Furch: Mitteilungen des Museums- und Kulturvereines Kaisersteinbruch. Nr. 27, Juni 1993, ISBN 978-3-9504555-3-3, S: 10-11.
Harald Prickler: Die Komasken – italienische Künstler im Burgenland. Nr. 36, S 5-9, Februar 1995
 Helmuth Furch: Historisches Lexikon Kaisersteinbruch, 2 Bde. 2002–2004, ISBN 978-3-9504555-8-8.

Bildhauer (Österreich)
Bildhauer der Renaissance
Kaisersteinbrucher Bruderschaft
Person (Habsburgermonarchie vor 1804)
Schweizer
Geboren im 16. Jahrhundert
Gestorben im 17. Jahrhundert
Mann

redpajama_set_name: RedPajamaWikipedia


So I met this girl. And we totally clicked. I mean we get along really well and everything. Better than any gf I've had before. But the problem is last week was my big family reunion. And I ran into her there. Because turns out she's my 2nd cousin, or something like that. Anyway, what do I do? We were already dating. But now I'm not sure if we should keep dating. Help!
I think I understand your predicament. You must be worried that if you pursue your cousin people may question your motives. And it is true that many times close family marriages do occur for reason that are less than honorable. And this is all the more complicated when there are estates and titles involved.
Of course, if you are the entailed and your cousin one of the daughters of the current estate holder it does make things easier because you would be fulfilling your duty to your family and no one would be questioning your honor. However, if that is not the case, and if there is no apparent benefit for either of your resulting from the match, rest assured that society will most definitely make a scandal. Especially if you are spending the season in town.
My advice is that you would not want to comprise your own honor or the honor of your cousin. So I would recommend that perhaps if she is in town, you should go into the country, or vice versa. Allowing some room may give you better perspective to evaluate whether or not this is a proper and honorable relationship for both of you. It will also test the feelings you now share, to see if in fact they are truly as strong as they seem at this time.


Car shows are a magic place for me and yes—it's the Disneyland kind of magic.
Disneyland was built for kiddie dreams so it's only fitting that I would like to see a few of my kiddie dreams at some car shows in 2019.
This list of five rides I'd love to see at a 2019 car show is not in any particular order but they do represent a bygone era when TV shows, pop culture and custom cars blended into a very cool automotive age.
The first classic is the legendary Little Red Wagon—the truck that made Bill "Maverick" Golden famous.
This A-100 Dodge truck was a cooperative effort in 1965 between Jim Schaeffer and John Collier—it was powered by a mid-mounted 426 cubic inch hemi and it was the fastest truck and first wheel-stander in the world.
The Little Red Wagon was an insane concept and that's why I'd go to a show in Antarctica to see this monster.
The second classic is a pop star car built for a pop star band—the Monkeemobile.
The Monkeemobile was based on a 60s legend ('66 Pontiac GTO) and it was built by Dean Jeffries for the Monkees TV show.
They called The Monkees the Pre-fab Four because they were built and marketed to compete in the world of 60s rock and roll so the Monkeemobile was a large piece of their PR machine.
It was an incredible creation and it truly reflected everything cool about the 1960s. I would punt Monkee lead singer Mickey Dolenz through a large, high-powered fan to see the Monkeemobile at a car show.
The third classic is the Munster Koach. The legendary George Barris built this piece of pop culture history for the Munsters TV show (based on a design by Tom Daniel) and it fit like a glove in this ghoulish—but funny sitcom.
Barris built this custom hearse out of three Model T bodies and powered it with a built 289 Ford engine.
There wasn't a kid in the world who wouldn't have thrown Eddie Munster under a bus back in the 60s to get a chance to hang with his dad Herman on a road trip in the Munster Koach. I'd still do it today to see the Koach at a 2019 show.
The fourth classic is based on a similarly morbid theme. The Boot Hill Express was the stuff of legends for 60s kids because it had a distinct Munsters/Western vibe and both were big in the Beatles era.
The Boot Hill Express was an incredible concept by Ray Farhner because it was based on the wagon-drawn hearse that carried James Gang member Bob Younger on his final ride to Boot Hill. This Boot Hill Express would have got him to his final resting place a lot faster (130 mph in a ¼ mile) because it's powered by a 426 Hemi—it's a must-see on my car show list.
The final classic is the '64 Dodge Charger Roadster concept car. This was an exercise in styling at Chrysler because they knew the Charger was just around the corner. They wanted to feature the then-new 426 Hemi engine (the Gen 2 Hemi was off the charts in '64) for this classic but they had to settle for a 383 under the hood.
It doesn't matter—this beauty (and the other four) were the stuff of dreams.


One of the first scientists to take samples from Ground Zero after the destruction of the Twin Towers, Lioy shares his personal and professional perspectives on the World Trade Center dust. What was in the material that rained down after the disintegration of these buildings? Why did officials wrongly choose to focus on the release of asbestos? How did the size of the dust particles influence the development of the World Trade Center Cough among rescue workers and other New Yorkers? When were respiratorsused on site and what changes should be made to respirator design now? Dust answers these, and many other, questions about the environmental effects, public policy initiatives, health outcomes and scientific findings that played a critical role in the aftermath of September 11th. Beyond providing insightful analysis of what happened then, this book details the significant steps we need to take in order to better prepare for future catastrophes.
Dust ePub (Adobe DRM) can be read on any device that can open ePub (Adobe DRM) files.


the Byzantine Museum of Veria is housed in a majestic 1911 landmark industrial building known as the Mill of Mark, which is located in the limits of the traditional district Kyriotissa next to the ancient town wall.
The exhibits are housed in three floors, 720 square meters of total area and each floor has a separate exhibition theme of the permanent exhibition of the museum. Impressive icons, murals from churches and buildings of the region, mosaics, architectural sculptures, marble inscriptions, pottery and miniature art and coins, manuscripts, and burial findings compose the rare collection of the permanent exhibition of the Byzantine Museum of Veria. The permanent collection of the museum represents in the best way, the glorious history of the city and shows that Veria was a regional Metropolis of the Byzantine Empire in the heart of Macedonia.


High-water-line law means state owns at least 12 houses.
Center Ossipee youth, 19, is alleged to be ringleader in theft of $50,000 in marine equipment from Ward's Boat Shop and Lakefront Landing Marina.
Rick Morgan says his run against Kathleen Maloney has nothing to do with Maloney's failed attempt last year to go outside the department to hire his replacement.
Classic military cuisine was on the menu last month when Lazy Susan's Dave Dube hosted a meal at his Berry Bay home.