The standard fire engine is an apparatus designed primarily for firefighting operations. The primary purpose of the engine is transporting firefighters to the scene, providing a limited supply of water with which to fight the fire, and carrying tools, equipment, and hoses needed by the firefighters. The tools carried on the fire engine will vary greatly based on many factors including the size of the department and what sort of terrain the department must handle. For example, departments located near large bodies of water or rivers are likely to have some sort of water rescue equipment. Standard tools found on nearly all fire engines include ladders, hydraulic rescue tools (often referred to as the jaws of life), floodlights, fire hose, fire extinguishers, self-contained breathing apparatus, and thermal imaging cameras.
THE BRUSHWORK. Depending on the art movement and personal peculiarities of the artist, the brushwork can range from delicate and almost invisible to rough and plastic. THE NARRATIVE. First look for the narrative, simply describe what you see. Who or what is depicted, what's going on? If you see people and things, the painting is figurative; if you see lines and splashes - go for non-figurative. The name of the painting might come in handy, especially when it comes to Dali. What seems to be more important for the artist - representation or expression? Compare the paintings in the styles of hyperrealism and expressionism - you can always tell if the images look idealized or expressly distorted. Notice the feelings you get looking at the painting, the general impression produced by the entire painting and its elements - later you will dig deeper to understand what inspired those emotions. There is a reason why you like one painting more than the other. Your taste in art is as unique as your taste in food or clothes, inspired by your background, upbringing and even professional expertise. Complementary colors are opposites, and if you look at a color wheel, they are directly across from each other. While complementary ones may seem kind of mysterious to a novice, you just have to bring to mind Christmas to find a great example that is familiar to everyone, red and green.By simply making these colors a little paler, you can make this color palette work really well. Color tones are important, because rust and moss, while still being red and green, do not scream 'Christmas'. If your choice of tones is bold, you will create an eye popping design. However, it is common to get off course.
Try before you buy Colour cards are fine for making an initial selection but you will want to see a true paint sample in situ before committing. Tester pots vary in price from £1 to £4. Paint onto a sheet of paper that you can move around the room to enable you to see the colour in different light conditions. The effect varies greatly. The window wall can seem dark while the wall opposite will be flooded with light. And of course there is a dramatic difference between natural and artificial light. Finally paint a patch directly onto the wall to gauge the colour, coverage and the final finish. Have plenty of newspaper around. After you clean your brushes wrap them in a plastic bag. Painting in oil has long been a mysterious process the public has believed was relegated to the few and the eccentric. Artists and their lives have always been an unusual breed, but painting a large body of original oil paintings has also been a sure-fire way to drive oneself into immortality. The paintings will always be there, traveling through history, with your name on it! So by this definition it's definitely a noble profession. Think Dali, van Gogh, Picasso, Rembrandt and da Vinci. Each enjoys a lofty reputation for what others might consider crafts. And their reputations only grow bigger over time. What other profession offers that possibility? So who got the last laugh? Well, van Gogh did, of course. He's forever immortalized as one of the greatest humans to have ever lived. Not bad for someone who never made a dime in his own lifetime. But in the age of the Internet and the worldwide marketplace, artists don't have to starve anymore. I'm not starving, and I'm making money doing what I love. I can also work anywhere, whether I'm on vacation or traveling to exotic locales. I love that the most about it. I can do whatever I want and wherever I want, and post a painting for sale from Ibiza, Paris, London.... or Omaha. I wouldn't trade with anyone. And you won't either if you work at it and treat as a way to offer beauty to the world and get paid for it! In conclusion, this article has really just been a "Painting 101" exercise. I'll be adding more articles on the subject once you get more advanced. It's so rewarding to those who stick with it. My work now sells around the world online. So I'm glad I'm glad I stuck with it. It's been infinitely good to me, I've met the most interesting people....including Madonna! And I am so glad I get to do what I want And ultimately it's so gratifying to leave expressions of myself behind forever. And if the owners then turn around and sell my paintings for a fortune later, then that's the cherry on top for me. I feel lucky to have found my calling. And I hope you find it too. And I hope that every single time you view one of my paintings it brings you a little bit of the amazing joy it brought me when I was creating it.