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How to Buy Your New Car- A Methodological Approach

Choosing a car is an important decision that merits careful planning. One should take number of things into consideration before buying a car. Following these steps can make the task easier and make you choose the right car for you: Decide what you intend to use the car for daily commuting; recreation; weekends and evenings out; carrying things; towing a trailer; carrying more than one passenger; driving in the city, suburbs or country. Consider factors that are important to you, such as looks, fuel efficiency, performance, reliability and safety features. Come up with a realistic budget, based on what you can afford (consider the monthly payment and cost of upkeep).

Locate a town or an area near your home with several car dealerships; check Sunday newspaper advertisements and the yellow pages. But the best option would be to locate an easy and good site for buying and selling cars online which will involve less effort and energy.

Find a car that interests you and hop in it. Adjust the seat and mirrors, and check leg room in each part of the car. Ask to take a test drive. Start out on city streets and then head out to the highway. Pay attention to steering ease, turning radius, braking response and acceleration. Adjust the mirrors and radio while you're driving to test convenience. Return to the dealership and thank the dealer. If you like the car, ask for a business card and say you will return later. Head to the next dealership and investigate other car models as described above. Ask dealers which car most closely resembles the one you previously test-drove, providing the make and model and explaining which features you liked. Test a number of models until you decide on a car, and compare these prices with those at other dealerships.

Some important tips:

o Inquire about availability and delivery time, especially if you're interested in a popular model or want special features

o Factor the dealership and its sales staff into your choice. A dealership you can trust, especially one with a competent service center on site, is worth more than money in your long future with the vehicle. You can, of course, have your car serviced at any dealer authorized by your new car's warranty.

o Start negotiations on polite and friendly terms. Comment on what you like about the car and ask questions. The intent is to make the seller comfortable.

o Make your first offer. It should be lower than what you're willing to pay, but not an absorbing figure. Use the list price as a reference, remembering that dealer profit (often around 10 percent) is built into this figure.

o Allow the seller to make a counteroffer. If the price is too high, say you're not able to afford that and ask him to talk to his manager.

o If the salesperson balks at your first offer, make a slightly higher one. Continue negotiating until you can agree on a price within your budget. If you can not agree on a price, seek out another dealer. You may be able to go back and get the first dealer to underbid the second dealer

o Avoid setting your heart on one particular model or make. There are hundreds of excellent vehicles on the market, and becoming attached to one of them may make you less hard-headed in your bargaining.



Source by Anil Tandon

Studio Painting

Physically, painting in the studio differs from outdoor painting in only one respect — there is no time constraint on your efforts. The actual process of studio painting is generally the same as outdoor painting, though often more refined.

Limiting oneself to either studio or outdoor painting often causes your art, in general, to suffer. Outdoor painting carries freshness, a spontaneity, a truthfulness that can rarely be duplicated in the studio. Conversely, away from the sun, wind, insects, harsh elements and ever changing light, studio painting allows you to take your time and think deliberately through each stage of the process. Given no time constraints, studio painting enables you to complete large canvases. Organizational skills acquired in studio painting translates to painting outdoors, giving the artist more authority and confidence in the field.

Studio painting requires good working habits, free from distractions. I never start a painting in the studio without I know I can accomplish enough work to lock in the concept. I find the concept is the most critical stage of the painting. Getting to this point carries me through the rest of the process. The majority of my studio and outdoor paintings are finished in one sitting. The time-spent painting in studio may be double or triple the time it takes to paint a piece outdoors.

The following is a list of some concepts and techniques to consider when painting in the studio. These ideas provide a thoughtful and deliberate approach to the painting process. Painting in studio does not require more detail or finishing every inch of the canvas equally. Do not think of these ideas as a departure from the technique used painting outdoors. All of these concepts are interrelated and the overall emphasis you place on their individual use determines what we call style.

PRELIMINARY SKETCHES

These sketches can be outdoor paintings or can be completed in the studio from a combination of outdoor sketches and / or photographs. A black and white value sketch can be separate from a color study if it helps you to better understand the elements of your design. Sketches or studies are helpful for working out the uncertainties of a design.

ACCURATE DRAWING

Although we try to be precise with our drawing when outdoors, concessions are often made in the spirit of expediency. A more accurate approach to drawing is possible in the studio when time is not so critical. This does not mean tighter or more detailed drawing. Accurate drawing is attention to correct proportion and perspective. Good overall rhythm and balance are other considerations.

IDEALIZATION

Exaggeration and a stylized method of reproducing the essentials in a scene can be a useful tool in painting. These elements can provide a more powerful statement. To focus the center of interest, we sometimes use elongated or truncated forms or despite the size of an element in relation to the other parts of a painting. Nature rarely provides a scene that translates perfectly into a good painting — no matter how beautiful. When using exaggeration, one must be careful not to over embellish and end up with affectation and style over substance. Exaggeration is not a way of hiding accessibility or weaknesses in drawing.

PAINT APPLICATION

A deliberate and varied application of paint in thick and thin passages is aesthetically pleasing. Usually the darks are thinner, having been rubbed or laid in first. Thicker use of paint is generally limited to the lighter areas of the painting and the focal point of the design.

BRUSH CALLIGRAPHY

Brush Calligraphy is a more conspicuous method of brush use incorporating small and large brush shapes and the direction of paint application. This method is most noticeable in the Bravura Painters such as Frans Hals, John Singer Sargent, Anders Zorn, Joaquin Sorolla and Dean Cornwell.

KEYING

Keying your painting is a more thoughtful approach to color and value relations in regards to the subject. Keying value can be thought of as confining the light and dark areas of the composition to a limited value range for a more unifying effect. Keying color is changing the color hues and color temperature of the scene for a more harmonious look than provided by nature. It can create a powerful mood that may not be representative of reality, but still reads as believable.

ABSTRACTION

Abstractions are the elements of the painting viewed as nonrepresentational shapes in relation to the pictorial plane. It is the organization, design and editing of these elements in the composition. It can include simplification of the scene or elements in the scene to emphasize the subject and the addition of elements not in the scene to lead the eye through the picture plane.

TEXTURE

Texture is a consideration of the textural properties of the subject being painted. Many artists ignore textural qualities to their detriment. These qualities accentuate the uniqueness of the objects and should not be overlooked when considering the overall design. The roughness of bark or stone and the smooth properties of still water are elements to be used in the overall orchestration of the painting. Textural effects are another method to add interest to a subject in a painting without changing the compositional shapes.



Source by Armand Cabrera

Discover the Secrets of Method Acting – Part 5

Additional Method Acting exercises

The Mirror
The mirror exercise is the next sense memory exercise. In this exercise you attempt to create the sensory object of your own image in a mirror. Later, you can add the activity of shaving or putting on makeup.

You are trying to determine if you can explore the sensory object of your reflection in a mirror. Are you simply following a habitual sequence and going through the motors of an activity or are you able to create you sensory reflection?

The exercise is beneficial in determining your personality. If you are unable to recreate the sensory object of your image, then you most likely have difficulty expressing emotions. It follows that you will have difficulty expression emotion on stage. At this point, you must recognize that you need to work on expressing emotions. Alternately, if you are able to create the sensory object, then most likely do not having difficulty expressing emotion.

Shoes And Socks
The next sensory exercise is shoes and socks. In this exercise you try to create the sensory objects of shoes and socks. The exercise is placing on these sensory objects.

Getting Undressed
The next exercise is getting undressed. You create the sensory objects of underwear and undress.

Are you self-conscious or inhibited when performing this exercise?

The remaining sense memory exercises are listed below. These are more advanced exercises and can not all be covered here. In particular "Sunshine" moves beyond physical sensory objects to a feeling. In that exercise you are re-living the stimuli for sunlight on your skin.

The breakfast drink
The mirror
Shoes and socks
Getting undressed
Three pieces of fabric
Sunshine
Sharp pain
Sharp taste / sharp smell
Sound or sight
Place
Overall Sensations – Bath, Shower, Wind, Rain, Sauna, Extreme Heat, Extreme Cold
Personal Object
Combinations of two, then three, four
Private Moment



Source by Neils Bohr