The original creator and designer of the Strawberry Shortcake character was Barbi Sargent while she was a contracted freelance artist for American Greetings. The character first appeared on a Laurel Greeting card in 1973, holding a daisy. The character was simply called “Girl with a Daisy” at the time. In July 1977, Barbi Sargent received an assignment which was completed in early July 1977 and that she tendered to American Greetings on July 7 that year, four (4) “leader cards” depicting the “Strawberry Shortcake” character in full color. (Leader cards are used by AG for consumer test purposes. ) It was Rex Conner who requested Barbi to create 4 cards with a “berryish” outfit for the Mega Test Market. The first time the public saw Strawberry Shortcake in her new outfit with her pink cat, Custard, was in that national test. There was a very positive response by the public once the leader cards were released. In May 1983, copyrights to Strawberry Shortcake were granted to Barbi Sargent from American Greetings Corporation. Later on Barbi returned the copyrights to American Greetings so that they could continue with the success of the Strawberry Shortcake franchise.
Miniature paintings are one of the many things that make an Indian proud of his country's rich cultural heritage. Miniature paintings originated long back in the history of India. Indian Paintings can be broadly classified as the murals and miniatures. Murals are huge works executed on the walls of solid structures, as in the Ajanta Caves and the Kailashnath temple. Now let's proceed to analyzing the center of the composition. There is an optical center in the middle - you will notice that the center of the composition, the major element will never be placed there, otherwise the scene will look artificial. The center of the composition will always be the most striking element, and the rest will just serve to make it more expressive. The artist may use various means to achieve this effect - the color contrasts, light and shade effects, size of objects and distance between them. Secondary elements are depicted with less detail and vigor - they have to bring forward the center, not block it. Notice the way your eyes travel the painting - intuitively you will start at the center and will proceed to the rest of the elements to refine the story. Like this, it will actually take quite a while to reach a number that is close enough to the yellow color you've chosen that you can't tell any difference (and mathematically, you will never actually reach an average of 4!)
The second part of preparation is surface prep, it addresses covering the surfaces you do not want to get any paint on. A little plastic sheeting will go along way to keeping paint off of floors, window coverings, handrails, cabinets, counter tops, etc... And, if you are not confident with your ability to paint a straight line next to door casing, baseboards, cabinets or hardware protect these surfaces using masking tape. There are two basic types of masking tape white/yellow and blue. The white tape sticks to surfaces better but, can pull off finishes on cabinets or stained woodwork. Blue tape usually will not pull off finishes but, does not stick as well, this will probably be the tape to use for most applications. Always wipe down or dust the surface you will be masking to assure the best tape adhesion possible. If you use blue tape you may need to re-rub down the tape before painting next to it, only mask off areas with blue tape that you will be painting for a given day. With either tapes, do not assume the are a force field that paint will not penetrate, use them as a reference and dry brush the paint next to the edge of the tape and avoid soaking the edge of the tape with a lot of paint, this will cause the paint to "bleed" through giving you an undesired look. If you will need to apply multiple coats of paint, on the first coat, paint as close to the tape as you can, not really getting paint on the tape. With the second coat or a one coat application, you can use the tape more of like a paint barrier and get a little more paint on the tape if you immediately remove each section of tape after painting the section, this will keep the paint from sitting on the tape and "bleeding" behind it. Also, if you get a lot of paint on the tape it is not good to let the paint dry on the tape because some paints (especially the glossier paints) will peel if allowed to dried, with the tape when it is pulled off. White tape should not be left on for longer than a couple of days and I suggest not leaving it on more than a day in areas that receive long periods of direct sunlight. Blue tape can be left on for days, if it will stay on, there again it does not stick as well and may need rubbed down again immediately before painting up next to it. Knock down texture is basically a orange peel that is sprayed on and allowed to "set-up" for a minute or two then gently "knocked down" by running a 6" drywall knife over it, "knocking down" the surface of the texture. Although knock down is a flattened version of orange peel, I suggest you do not use a spray can of orange peel, the knock down comes in its own spray can and the results are much better, again experiment before spraying it on the wall. However, If ever you apply any of the textures to the wall and are not satisfied with the results, wash the texture off immediately before it dries, then allow the wall to dry and try it again. Once you have the texture applied to your liking and you have allowed it to dry, you may want to paint the patches a couple of time before painting the entire wall, especially for walls where the paint to be applied will have some sheen. Multiple coats on these areas will make them blend in, unnoticeable, with the rest of the wall. You will know if the patches need more coats of paint, because the patch/texture will have absorbed the paint causing the spot to look duller than the rest of the existing wall. The perspective. Do you feel the distance between you and the painting? Are you an observer or a participant? The way you feel is dictated by the artistic choice - it's never a coincidence. An artist thoroughly selected the angle: you may look upwards, or downwards, or be at the same level with the objects depicted. If the horizon is at your eye level, the impression you will get is calm, stable. The high horizon will reveal more space, in landscapes it provides a majestic view. Paintings with the low horizon, so common with Dali, are monumental, highlighting the size of the objects and figures. The unusual views of Paris by Pissarro appeared as he painted from the hotel rooms. Colors that are equally removed from a reference color are triadic colors. Since these color schemes can become too intense, unless they are very toned down, they are very problematic to manage. This color combination works well in a child's room, and it can be used effectively in a kitchen.