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EQUIP YOURSELF AND START OIL IS NOT RUIN

Acquire the bare essentials with the intent to equip later when we have gained some experience. The most expensive equipment is often the best. We can, however, to begin a test or do not, buy only the essentials.

FEW-COLOR:
Titanium White, Cadmium Yellow (dark), vermilion, Sienna, madder or Carmine, Blue Ceruleum, Ultramarine Blue, Emerald Green, Ivory Black.

-PALLET:
-wood preference, or a board that can be oiled or varnished to prevent oil color from sinking into the wood.
-A container of glass or metal (type palette cup) for Medium ... A liquid-type
White spirit for rinsing brushes.
-rags to wipe the brushes.

-MID:
Consider a painting medium of commerce, or rectified turpentine oil or a medium of its manufacture, clarified linseed oil, preferably of Linseed to which we add the fuel oil or turpentine in the following proportions:
Essence 2 shares + 1 part oil. (Care should be taken not to exceed 2 parts oil in the mixture) a medium too fat prevents the colors harden properly.

-BRUSHES:
hard to choose when we started, many varieties are available commercially. Choosing a brush is nevertheless important because the manner of painting depends on the most expensive, remain the best. The quality of the brushes depends on a lot of hair.
(marten, badger, pig bristles, Beautiful white hair, artificial mixed).
A fine, gives a soft brush and a soft rendering of the button, then a brush to give a rough coat made of heavier touch and a touch stronger. Three sizes
enough to start a fine brush, a tool, a big one. Intermediate sizes are to be completed as and when their needs and renderings are desired.

-MEDIA:
They are many and varied:
Wood (see wood support), or papers prepared canvas boards, stretched some canvas, cotton or synthetic, linen course, but more expensive. For some tests
why not use sheets of drawing paper coated with an acrylic primer or vinyl.

-PALETTE:
It may be rectangular or oval. He provided an opening for the thumb, it is better to take large enough to be able to have enough room to make the mixtures. it can be easily replaced by a simple wooden plank that we will have taken care to oil or linseed varnish. It will be necessary to keep the colors pure and clean regularly using the palette knife, gasoline oil.

-BRIDGES:
From outside, comes with three legs that can be planted in the ground for better stability, folding it is easy to carry.
Easels shop essential, it can paint standing as sitting, and paint large canvases.

- BUCKETS OF PADDLE:
These buckets are fixed on the pallet, can be double or single, with or without lids. A bucket used for gasoline for a second painting medium. It is often helpful to clean by soaking in petroleum oil, a medium to paint with age thickening which can become annoying. (A glass container is useful for rinsing brushes).

BASIC TECHNIQUES TO DEVELOP PRIOR
:
-Decide if you will paint on the white support, or if we will start by tinting.
(See surface preparation). Decide whether to support its composition using a drawing or not. Of these reflections depend on the final rendering.
STEP 1:
-Reporter or not drawing on the support?
If we decide to rely on a drawing, it will run with paint diluted with turpentine or gasoline or oil to acrylic, ink, felt, indelible to prevent dirt that muteraient in paint, charcoal, chalks, pastels, provided the setting can also be used.
"Fat over lean."
-Start by applying color heavily diluted with turpentine or gasoline or oil with a color acrylic or vinyl. This is the start painting using a painting as lean as possible, then it is up layer upon layer, adding a little fat as and when the execution if necessary. Start too fat to prevent the colors and the hardened paint layers would be affected.
2ND STAGE:
Distribute light and dark values on the whole composition, using tones always fluids to color each part of its phased array.
The depth of tone achieved is revealed by the previous layer, coatings and opaque colors are placed last.
(A more medium, rich in oil, will be used as and without excess layers).
Continuing Execution:
Ensure deadlines drying, more exactly curing of the paint layer, (In some cases, shorter or longer) to allow rework.
Once the paint dries on the finger (not sticky), we can spray a varnish coating to be improved for the resumption of performance optimization grip the upper layers between them and good cohesiveness.
Avoid too pasting from the beginning and try to keep up with the performance his character fresh direct and spontaneous, while trying to find his
"writing."

NOTES:
"JUICE". This is a very large fuel paste which is applied to the underside only.
"SEMI-PASTE." This is the transition between the juice (very diluted paint to gasoline) and the impasto (thick paint more or less fat).
"Empat "The paint is diluted slightly or not at all, there is a risk, if the dough is too oily or too lean, crack.

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SUPPORT FOR OIL PAINTING ON WOOD

When we think of oil painting, one immediately thinks of canvas, it must be said that today is the rack as usual, although the carriers were once the oldest wood. They are lighter than most rigid materials. There are however many other media that can be used.

THE STARS CALLED "STARS"
From the sixteenth century, it gradually replaces the wooden support, and from the seventeenth century it became the medium par excellence of the oil painting.
Nowadays, the paintings are sold already stretched on frames and are dressed with keys, sold commercially in standard sizes. The unstretched canvas comes in a roll and it is possible to buy it already coated, or gross, per meter. It is cut to size and then the tender chassis. Or mounted on rigid board.
(The chassis must contain keys that will adjust the tension of the canvas depending on the degree of humidity in the air).
The canvas has the advantage for transport can be rolled.
The quality of the painting depends largely on its weave, a tight weave is preferable to a loose weave, (the fabric is easier to prepare and does not stretch during and after work). Depending on the number of nodes present in the weaving, the fabrics require more or less a primer.

Many references exist stars with different coatings:

-THE LINEN.
Flax is known since ancient Egypt and used in combination with sheets of papyrus as a support to the paintings of mummies.
The linen is of excellent quality, it is often the most used and is available in several grains. The grain of a fabric will be chosen according to how we want to make the subject. (Example: a fine grain preference for a portrait). Its only flaw is its cost. She is very strong, absorbent and insensitive to changes in humidity.

-cotton canvas.
More economical, often has a fine grain, it is less durable than linen and tends to relax, it will be preferable to reserve it for small sizes.

-burlap.
Since hemp cloth, are often used as supports for paintings finer canvases are rather rough and give a dull appearance to the paint, but their particular coloration to diversify the creative process of the artist.

-CANVAS HEMP:
The fibers are relatively coarse in all cases more than those of cotton, but are more resistant, it is well suited to strong impasto.

THEM MIXED FABRICS (cotton linen)
Their default is to react badly to moisture distension can occur.

SYNTHETIC-CANVAS: (often polyester). Economically
ideal, has the disadvantage when shocks to keep track and is impossible to erase unlike linen or cotton, it is sufficient to anchor on the back to catch the shock.

OTHER MEDIA ARE USED:

-PAPER: In

flip, block or roll, the paper designed specifically for oil paint comes in many ways:
More economical than cloth It multiplies the tests at a lower cost, there are now some papers near the texture of the canvas, acid free, they offer excellent retention over time. His weight is thick (260/300g/m2), it can work the diluted paint, as impasto.

-CARTON:
Perfect for practice and explore new textures. But it must be prepared with a coating.

IT canvasboard:
The next painting is of cotton canvas is an ideal medium for a study. Easily transportable it is preferred for use outdoors.

PANEL-WOOD (Mahogany, beech, walnut, poplar or oak).
Appreciated for its smooth surface. It is used completely dry and if possible non-resinous. Mahogany veneers are popular for their good absorption qualities. He is advised to take them quite thick. In the case of a medium drink less thick, it is best to glue the back also to prevent the wood works and keeps its shape. It is necessary to dry the medium before use to avoid any negative reactions can occur (swelling due to moisture).

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Preparing the panel:

Choose a cons-plated 5 to 8 mm thick-
take a sealer Trade (Catalogue for the building). To use follow directions mentioned on the package.
-Remove all wood particles and dirt before putting the sealer.
-applied coating very uniformly with a spatula in the vertical direction.
-Sand the surface with fine sandpaper (00), once dry
(about thirty minutes).
-write a second coating layer in the width direction.
-Sand again to get a perfectly smooth surface, then apply a layer of "gesso."
The surface of a complete smooth, drawing the subject.

The subject may be drawn in charcoal, or directly by brush soaked in turpentine. (He will fix the charcoal to avoid soiling of colors), the ink or permanent marker or see oil diluted in turpentine.
Drive following the execution as it would for a painting on canvas.

This technique offers the advantage of being closer to the ancient techniques of sizing, faster to implement, it can be glued wood panels most varied.
Sizing containing water, we must ensure that the support is dry before use, the paint layers that confine the water, would have serious consequences, blisters, and other well do not forget to glue the back to avoid any deformations.

One day drying acrylic paints or vinyl, 5 days for oil are preferable.

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THE PREPARATION OF MEDIUM FABRIC

The preparation is done in two stages: sizing and coating.

-L SIZING.
The oil painting is corrosive, it is essential to prepare the media. Whatever it is, to improve the adhesion of paint layers. The traditional sizing for oil is:
based skin glue, or isinglass. Sizing with casein s'utilse cold, and has the advantage of good moisture resistance, but remains fragile.

-THE CEMENT SKIN:
There are several varieties, the rabbit is the best for oil because of its flexibility.
But, easier to use, sizing based on synthetic resins, are quite suitable and they have good compatibility with various media
OTHER POSSIBLE PRIMER:

- vinyl resin (CAPAROL)
It comes in the appearance of a milky white liquid, which becomes transparent when dry. It allows funds and solid impervious, compatible for both the oil to acrylic, not colored, it can be tinted with dry pigments. It can glue a piece of paper or cardboard, a raw canvas, or strengthen already primed canvas.
In all cases it must be diluted with water.
(From this binder it is quite possible to produce colors using powdered pigments, then we obtain color vinyl).
As a precaution we will add to Caparol few drops of a preservative, this binder can sometimes present problems of storage - (a few drops of vinegar white) - or any other Conservative trade as an anti-fungicide.

-THE COATING.
coatings can be fat, skinny, mixed, traditional or synthetic. Fat they are more flexible and resilient, but less absorbent than thin coatings. In all cases, it is best when coating a support to proceed by successive layers, instead of proceeding in a single layer in thickness.
On this layer will be applied as paint, complete it somehow allows the sizing and colors hang properly and determines the appearance of the final painting. Can be obtained easily ready commercially based chalky white from Spain or the Meudon.
Several manufacturers offer synthetic coatings "universal" means "lean" which advantageously replace the previous ones and are marketed under the name
"gesso"
Suitable for both oil than acrylic, they are composed as often acrylic medium and whiting, or chalk and acrylic. which it is possible to add pigments for tinting. It is necessary to comply with a drying time between each application to obtain a surface white, matt and semi-absorbent.
It proceeds as follows for application:

-st step:
strongly dilute the gesso with 30% water.
-Step 2: Less
dilute, pass and shoot well for the preparation strongly impregnate the support.
To assess the degree of drying, stick to the advice of the manufacturer.
(Note that support wood will take longer to dry than the canvas

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brushes

Tools intermediaries between mind, hand, and the materialization of concepts, they are composed of three parts:
Anatomy of a brush:

-THE HANDLE OR THE HAMP: Most
often lacquered wood, still long, the artist is taking away from its support, unlike the techniques of water.
-THE RING:
(Small circle of hollow metal, flat or round it as often plated to prevent corrosion, it keeps the hair brushes and paint brushes to the handle) made from brass, aluminum, iron -White-...
HAIR: The tuft-
: absorbs the paint to release it gradually, composed of natural hair or synthetic fiber or mixed.
-Root: is the area where the bristles are inserted into the sleeve. The flower-
: tip sometimes thin, sometimes pointed, depending on the nature of the hair. The thickest section being referred to as "belly".
Brushes can be hardness, flexibility, nervousness, spring (Faculty of hair to come back right after being bent), absorption varied, to be used for various purposes. SOME OTHER FORMS

(EACH AS A KEY DIFFERENT).

-FLAT: for funds and opaque parts, juices in the first phase of implementation, again.
-FLAT LONG: Providing material for the establishment of the masses, colors, money, solids, large keys.
ROUND: For expression details, contours, blending, finishing, buttons finest.
-SHARP: usually with a large reserve, used for blending, finishing and details.
-SQUARE: Short flat, the width being equal to the output. Long flat: the output is twice the width. It is used for funds, the solids but also for specific purposes.
-Filbert: The tip comes in the form of an arc, rounded front view and side view, for a more modulated performance, the models, again, finishes, glazing.
-USE BOMB IN ALMOND: used in the advanced stage of execution, for models, retouches, or finishes.
-BRUSH FAN: a flattened shell is used for blending, shading, glazing. LANGUAGE
-CHAT: with little paint is used for smear, or fade effects.

NATURAL HAIR (animal):
-Fine animal hair: Marten, Martret (mixture of fine), Polecat, Kevrin
-Extra-fine: Marten. THE MARTEN-
:
quality and from diverse, sable brushes, should have a place in any good offer. They leave no trace, what is called "look strung." Despite its price, Marten remains an essential brush to form a first paddle 100% made in quality.
-LA Kolinsky Red Sable: The most popular is from a small carnivorous animal of the family Mustelidae. The hairs are taken from the tail of the animal. The quality of his hair is perfect for work of precision and detail. It is extra fine quality, appearance fawn, red and gold has both: vigor, resilience, spring, strength and flexibility. Only fault its high price. Two grades of sable
:
-LA Kolinsky sable TOBOLSKY "the Rolls Royce of brushes"
is from a small animal living in the Siberian regions which are collected the hairs on the tail of the male, his hair is particularly resistant, this animal living in very cold regions.
the Kolinsky sable-HARBIN:
is from a live animal in northern Manchuria, in a milder climate than the Tobolsky, the hairs are shorter, thinner fur and less dense, resulting in a brush Flower shorter and less detailed.
Other red varieties martens exist, but less suited to long periods of cold, such as Korea, lower quality than the two mentioned above, but retains some qualities of flexibility and strength.
-Polecats:
Hometown Russia also known as "Marten Litis, the hair is gray or yellow glossy black, taken from the tail of the animal, they are of good strength, good absorption, but has less elasticity. The brush is mounted with a flat ferrule, is less dense tuft reduces the stomach. Often used for technical water (watercolor), however they can be used for oil.
THE BADGER: From
Mustelidae family as well, they have the advantage of having a nice tip and a larger diameter than the skunk. The color is usually gray or dark brown almost black.
-Kevrin:
A hair natural fiber that provides the extra strength of silk combined with precision and elasticity of the marten. A fine, natural, very oily and may be a good compromise to the marten.
-EAR OF BEEF:
A long-haired, strong and flexible, rather long, it is taken from the lobe or the bottom of the ear of the animal. Its color is red, sometimes brown or black. It suitable for all painting techniques, sometimes used to make imitation sable bristles'
-The mongoose (Herpestes):
The mongoose is a protected animal, it is a farm animal, hair from tail. Its fur quality color with red stripes, though inferior in quality to the marten, it is still used for its good qualities of finesse and control.

The pig bristles:
The flower is thicker than the fine hairs of marten. They have the advantage of "hold" the paint, and better suited to working in impasto. They come straight or "Mounted on Cambre" The hairs are arranged in the direction of their natural curvature, this particular mount preventing them from falling, the tips of the tufts being thus confined to the center.
-SILK STRAIGHT OR CURVED PORK: They are characterized
: firmness, elasticity and resistance although it retains the pasty material and allows shaping of the dough in a uniform manner. It is ideal for preparing the canvas, laying and placing funds in color.
-HOG BRISTLE "BEAUTIFUL WHITE"
Comes from the province of Chunking in China there are different qualities depending on the farms and the following treatments applied to them.
This natural fiber bristle livestock, benefiting from a strict selection of the origins of silk and a perfect preparation, these brushes provide excellent durability. They allow both to paint and paste to blur.
SILK-PORK: "HALF-WHITE '
animals are bred in Europe, including Germany, the hair is taken from the back of the animal during the winter and is fairly rigid, it must be treated. Boiled to soften, it is usually reserved for school or for beginners, with a high resistance to wear.
-SYNTHETIC FIBERS (appeared around 1975).
This is derived from polyamide and available today with a wide variety of interesting features, responding to resistance to wear, strippers, good flexibility. Sometimes these fibers are mixed with natural bristles. They are less expensive, highly valued for acrylic paint they are working increasingly to oil painting, though they may sometimes lack of finesse and each manufacturer's own fiber. They can be comparable to animal hair, however, remains lower their reserve.
NUMBERING:
Their numbering is not standardized
numbers are engraved on the sleeves, the highest designating the larger brushes. For larger, the width in mm corresponds to their actual width. For example: 10 / 0, (the finest), 6 / 0, 5 / 0, and so on ... 0, 1, 2 to 40, (the largest tuft of hair). But each brand, its own numbers, indeed, from one brand to another we found differences significant in size to a single number. (A No. 2 of a mark does not necessarily correspond to the number No. 2 in another).
MAINTAIN ITS BRUSHES: Brushes
must be thoroughly cleaned after each session. Rinsed in petroleum oil type "White spirit" and the soap with warm water and rinse, be sure to remove all traces of paint at the base of the shell, where residues remain and the we do not reach a good cleaning, you can use specific products sold in shops Gallery for cleaning. Do
never let the brush touch the bottom of the bath in which they were soaked, the end is damaged and would take a bad shape (curved). Once cleaned they can be kept the head in the air in a pot or if they are flat in a moist, lint-free cloth.

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OIL FOR THE KNIFE.

-KNIVES PAINT:
Their blades are thin, shape very varied, their long handle, and are used to apply paint directly on the support. Their use gives a different result compared with brushes. They can work in thick or very thin with many details. You can get a paint surface smooth, but the application of thick paint can also leave traces diverse and varied depending on the direction of the set, the pressure applied and the knife used.

-THE KNIFE BLADE:
They are straight, wedge-shaped or trowels, their sleeves are shorter than the palette knife. A flexible blade steel are used to mix colors on the palette.

TECHNICAL
The knife painting requires working keys by vigorous and confident, you can work the impasto paint color by squeezing against the support for flat surfaces and regular, lined with rows and contours in relief.
The appearance of each print depends on:
-The amount of paint.
-force pressure.
The direction of the button.
-The shape of the knife.

To avoid cracking during drying, do not put too thickly.
.


STEP 1:
- Make your mix of colors in a palette knife.
- coarsely Mix colors with each other.
- Butt paste to obtain a homogeneous mixture.
- Scrape the mixture with the knife.
- Spread it on the palette.
As if you prepare the plaster, repeat operation until the desired consistency.
STEP 2: Take
-paint with the posterior side of your knife.
STEP 3: Press the
-knife on the canvas slightly by raising one of the edges of the knife as if you butter a slice.

Always have handy a roll of paper towels to clean the knife between each color application.

DRAWING THE KNIFE

You can draw with the tip and the knife edge.
WITH SHARP
Mark lines on the wet paint with the knife edge.
Draw lines by depositing the paint with the edge.
WITH POINT
Sculpt some details in the wet paint with a knife pointed tip.
Leave footprints rounded (to include tiles or scales) with a knife
round tip.
Applying the color to represent the cutting edge details.

To start, use only 3 knives to paint: A
first with a blade wide enough for solids, a second finer pointed toe and a third blunt.
The knife is actually a small trowel which was used initially to mix the color on the palette and spread large areas of material on the web. In recent years, artists use it as a unique tool of work.
the flat edge, tip and varying the pressure. Since, in this technique, we work a lot "alla prima" (before the first layers of paint are dry), the difficulty is not to mix colors by juxtaposing them, there is, in my opinion, a great difficulty in this technique: the first step must often be good not having to mess up the color and the desired effect.
The knife, a kind of flexible steel trowel whose shapes are different, lets paint who share its reliefs catches the light and brings life to the table. It is possible to find instruments work very close and most innovative credit card as a cut or make personal tools in a plastic cover packaging for example.

can ask the paint with the underside of the blade mass synthetic make juxtapositions, overlays, fades, glazes but also by using the tip of the handle wafer and even make infinite effects.
This knife painting more "rough" than the classic work tells of the brush and the brush allows the artist to develop a personal style and powerful which can sometimes be very elaborate.
This technique requires a simple or complicated learning curve before reaching a personal style and a mastery of his own "kitchen" pictorial.
worked on raw canvas, colored or sketched, sometimes the colors are mixed directly on the canvas, impasto, for single layers (technical "removed" very energetic and spontaneous) or successive more or less thick.
can also work when the material is dry or in the half-charge, for sanding, scratching, carving or scratching some part and can be used layers or underlying colors. In a number of technical sessions the knife is a means not an end it is always the artist who decides. Some
"finish" decided by the artist are sometimes made with a brush for glazing and detail.
Yet even if the density of touch and a certain richness in the work area may suggest the retail audience, it is an illusion, because it can be "Finish with a knife," irregular and imprecise that gives magic and expressiveness of this technique. We can decide to keep a visible imprint modulated instrument in the field so that the reliefs catch the light, or just have a very complex texture with no prominent relief.
paint textures, but gestural painting, knife painting allows a very abstract approach of the subject, merely a suggestion of things or even a very evocative name. This work
of the matter is primarily a means of bringing out the feelings and impressions of the artist.

The knife, a kind of flexible steel trowel whose shapes are different, which makes a painting, for his reliefs, catches the light and brings life to the table.
This knife painting, more "rough" than the force says classical brush and brush, allows the artist to develop a personal style and powerful can sometimes be very elaborate, it is a technical suggestion, emotions and feelings. Ask
painting with the underside of the knife, juxtapositions, fades, glaze.
Use the tip, slice and even the neck.
Conduct infinite effects.
is a painting of textures, but also a gestural painting.
painting knife allows both a highly abstract approach to the subject, figurative with a suggestion of things.

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SPECIES

past painters spoke "oil essential "because they came from the distillation.
Essences have the function of extending the oil color and allow to obtain the desired fluidity. The use of gasoline as paint thinner was in Van Eyck. These extenders that make thin dull color. (Some artists prefer this aspect of the painting are employed only). PLANT SPECIES

:

-L turpentine (Contains terpenes), volatile, it is most used, and is the type of paint thinner oil. To be of good quality, turpentine must be clear, or colorless like water. It comes from plant resins is an extract from the resin of the maritime pine, fir or other conifers, Rosin is the residue of its manufacture. It impoverishes relatively little dough for this reason, the apparent slight to medium. Dries quickly by evaporation, it is used sparingly, is a good bulking agent that increases siccativity of oil colors. It facilitates the layering of colors and gives the finesse required to bring the binder to adhere to the support colors. There are

:
Turpentine CORRECTED-CORRECTED OR BI having undergone one or more distillation to extract all the impurities and to increase its fluidity, is that it is used the most in oil painting, rather, in the first layers, only thinner, it gives a matt and dull paint.

-Venice turpentine (balsam of Venice):
one color slightly amber, it is extracted from the working mélèze.Elle supplemented with turpentine and gives the colors very vivid. It eliminates the "fullness" when nl'emploie as nail painting. But its drying power is low it must add a drier in the use of certain colors.
-THE ESSENCE OF NEWT:
is a natural essence extracted from the lavender, it contains camphor, and ether resin which gives it a distinctive odor. It is used rather mixed with turpentine. His slow volatility gives a very smooth paste. The painter Rubens employed a mixture of turpentine Ave Venice, it still used today by museum conservators to the works of Flemish.

MINERAL SPECIES:

They are derived from petroleum, they have almost the same properties that turpentine.
-The White spirit is a good solvent for oils. It evaporates faster than turpentine, without grease. It controls shine some paints, and tends to impoverish the dough. I prefer to keep it as cleaning brushes and brushes. There are essences of oil paint ground, which has no residue and remains clear as possible without yellowing. (Essential oil in Vibert example).

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OIL

It is better to know the basic techniques and colors to paint successfully. A good knowledge of these techniques can have a good time and to paint at their respective levels.

The oil painting is a mixture of pigment and drying oil to obtain a more or less consistent. This paint dries more slowly than the acrylic paint and allow to better blend the colors together.

DRYING:
Rather, it is called hardening of the paint because it is an oxidation of the oil that polymerizes. Consider a chain reaction that can bind to molecules gradually, it hardens without changing the appearance of the work. The pigments then being imprisoned, this chemical reaction allows preservation of the work.
The support that we chose to be nurtured by successive layers of increasingly fat. The layers are thin little time to dry. (Otherwise, these layers would conflict with earlier if they were fatter, they would drag to oxidize and turn produce a phenomenon ranging from orange peel and that of the reptile in the molt) .

COLORS:

SOME INFORMATION CONTAINED ON THE TUBES OF PAINT (by manufacturer):
symbols on the tubes of color indicate the fixity full light or not. (Examples of symbols encountered)
-The letter "M" means: color mixture which is stable.
-A square white color transparent, it can be used to run glaze.
-A square black opaque color. A semi-
square black and white: color mid-transparent, semi-opaque.
-series indicates the price.
-Three stars: colors of a very degraded even complete fixity.
Two-stars: very strong color.
-Star: pure solid colors used.

The permanence of pigment reflects its resistance to change as a result of exposure to light and especially ultraviolet light, it will be preferable to refer to the chart of each brand, to determine his choice of color according to this criterion, but also its taste and its subject.
Colors can be of varying quality, fine, extra fine.
Extra-fine, they contain a high degree of pigmentation and finer grinding.
Some are more or less pendulous, transparent ...
The coverage depends on the chemical nature of the pigment, its particle size.
As for tinting, also called "degraded" is the ability to change by mixing the shade of another color or simply a white coloring.
For a tone needs less color, the better the dye is high

TONE, STRENGTH AND TEMPERATURE OF THE COLOR.
The tonal value of a painting. It is the dominant color. Each color has a pure tube tone and tonal value: yellow has a clear tone near white, red and orange have average values located in the middle of the tonal range, blue, green and violet have dark values. In a table is the ambience of a paint color.

lighten or darken a color:
Most white tend to cool colors to which they are mixed by reducing their intensity. As for the black, it tends to neutralize them by making them also lose their intensity. Only practice teaches us the exact proportions of a particular mixture.

INTENSITY OF COLOR: A
intensity can be strong (or strong), medium or low (or dull). Some colors have a wider range than others: The
cadmium red has more than twenty shades ranging from pure hue to its reddish gray, while the emerald is limited to eight or ten shades. A bright color can be a red fruit, average a few nuts, low, boxes or cans of white or neutral color, a tablecloth, a tin opener.

THE TEMPERATURE OF A COLOR. It
Chevreul (eighteenth century) that must be a methodical classification of colors by using a circle divided into 12 equal sections called color wheel.
In the color palette, there are cool colors and warm colors. If we place
cadmium red light at the top of the palette, warm colors are right in the direction of clockwise. Permanent green light is low, the opposite of cadmium red light.
Warm colors (examples):
Cadmium Red Light (primary), Orange Cadmium (secondary), burnt sienna, cadmium yellow medium, natural sienna, cadmium yellow light (primary), yellow ocher, yellow Cadmium pale Green English Green bladder Permanent green light (secondary).
Cyanotype (examples):
Veronese Green, cerulean blue, phthalocyanine blue, cobalt blue (primary), Ultramarine Blue, Cobalt Violet Red (secondary), Garance, brown alizarin, alizarin crimson, burnt umber.

You can either according to his tastes, to complement its range, depending on subject to translate, add the following colors: Red

vermilion, Naples yellow, yellow Japanese lemon yellow Sahara Yellow March tan flesh, Japanese green light, emerald green, blue hydrangea, blue touareg, violet Egypt Van Dyck brown, ivory black, titanium white ...
ocher yellow, burnt sienna, natural umber burnt can be obtained by mixing, but because we confine often used, it is preferable to add.

CHANGING THE TEMPERATURE OF A COLOR.


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-To determine the temperature a color, it is to compare it to another. Indeed, a color is at its maximum intensity when placed next to its complement.
Avoid placing side by side two primary or two secondary schools in the same intensity, intensity nullified.
For an object or subject of any kind, informed, the color temperature must be consistent with the source.
Example: an apple, a pear or a white sheet illuminated by a yellow light, all plans informed of these objects will contain a little yellow.
In the shade, it will be necessary using a bit of additional temperature of light.
Example: apple, pear or the water will contain a hint of purple, yellow complementary color.
In the case of using a lighter color when it is illuminated by light of similar hue, it becomes dull lit by a complementary color.
Example: the illuminated part of the apple red and yellow is more intense under the warm light and shadow will be a lower intensity and vice versa. The intensity will be less strong and the parties informed the shadow will shine more.

GRAY ECLAT:
Mix complementary
Example: An tendency bluish red as carmine or crimson alizarin mixed with a rather cold green as emerald give a dark color around the black. Suffice it to degrade the color obtained with white to get the cutest gray varied. The mixture
burnt sienna and ultramarine can make the gray rocks and wood exposed to weather for example.

SHADOW AND LIGHT:
To create an atmosphere and set the distance between two objects or subjects. To unify a complex and revealing the strength of a shape. Their effects lend character to a table and allow us to place a time, season, location.
The light and shadow to give shape elusive subjects such as water, reveal the rough or smooth surface and especially allow the unification of the table.

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STEPS TO DEVELOP A PAINTING:

PAINTING "ALLA PRIMA".
This term originated in Italy means "first in the beginning." This method, due to rapid advancement of the work, keeps a lot of freshness and spontaneity in painting. This method can work in the paint " costs "that is to say, in the wet and is done in one sitting. By cons it requires a helping hand, every set of color to be visible at the final solution

MAKE SOME CHOICES: Keep
or not the white of my support? Strengthening
coating it if necessary (see preparation of media)?
Choose a general color coating which?
several possibilities for the painter:
I usually paint with cool colors, I can play contrasts with a coating of hot colors, rather like brown or orange I resolve not Conversely
too dark, I usually paint with warm colors, then I'll practice a coating with cooler colors see the gray. I can also decide to stay in the shades of the dominant color that I have chosen.
solutions are variable and multiple, but we know they will affect the final rendering of the painting. With some experience and some experimentation, we eventually find what best serves what we want to express through his painting.

A BACKGROUND COLOR THAT CHOOSE?
Whatever the chosen color it should be diluted with gasoline, but we can also to prefer the Caparol + pigment (the Caparol cuts to water in hundreds proportions), or an acrylic binder + pigment (shuts off the water too, it is necessary to carefully observe the manufacturer's instructions). Or
applying a layer of acrylic or vinyl, always diluted. From
gouache, provided to be a veil of retouch varnish if you want to avoid that this layer is trained in the application of paint and always in trouble for having a better grip of it or the temperature.


A DRAWING, WHEN AND HOW?
On a blank canvas or on a canvas coated with a "imprimatur." Charcoal, using chalk pastels, a blood or directly with a brush. (Avoid the
pencil which often tends to spread throughout the paint layer, under the action of the oil and smear the color.) Choose to imprison this trait using acrylic or vinyl paint diluted with water. Simply use a color choice diluted oil to gasoline. But first we will have taken care to remove excess powder left by the charcoal or chalk so that the powder does not mutate in color. (Suffice it to a cloth to press the cloth to remove excess powder). Use a permanent marker to water, knowing that the design will be reflected in the color, then we can decide not to do the drawing after the installation of "imprimatur".

THE COLOR LINE DESIGN?
In the final rendering, or choose not to show patches or in whole once the completed work.
can decide to choose a neutral color if it turns out that in the end it will be hidden, it is then presented that as a benchmark when running.
Practice and experience will ultimately affect those choices.

Execution:
The draft is done with paint thin, lightweight and can implement the various light and dark sides of the table. Rembrandt sketched the "greyness" that indicated the shadows, lights by gray scales.

1) The background work done by the masses and juice (the batter is very dilute gas) that is put in place with a short brush, the widest possible, preferably Silk. (The short flat brush used on the field or flat allows details and build the bottom of the table). A round brush will help to clarify the details and contours. A long flat brush and Filbert to bring color and give the painting its depth and relief. A fan-shaped brush will blend the colors together. It then leads top layers using semi-paste. We reserve the impasto if necessary later.

2) The finishing work will be carried out preferably with natural bristle brushes, softer, to complete the picture, ask glaze for example. A short sable brush will change colors in a smooth and give relief to the subject, or an object in the composition. Round sable brush may be chosen for contour brush longer or Filbert prove useful for garnish quietly about color.
(See sheet brushes for their diversity).
The knife or spatula can get relief and increase if necessary, the material of the work.

INVOICE:
This name means here "marks."
According to his sensitivity and his painting style, it leaves more or less "brands", traces of brush strokes. That in fact, his writing style in painting. This bill also allows better describe, with textures, elements of the composition. The use of different brushes is necessary. When the paint is thick enough, rendering will be better perceived.
ACHIEVE SMEAR:
The smear is done with a dry brush, finger or a cloth, leaving a thin layer of color to allow a glimpse of the underlayer. Put the color on another reacted differently under the law of optical mixture of colors, the placement of a light color on a dark shade works best. A coarse canvas texture will further increase the desired effects of this process.

impasto:
Use to give the texture and define the topic, impasto, is achieved through a layer of thick paint brush and put a knife / spatula, or even directly applied to the tube. Facilitate these special mediums impasto, thus requiring less paint and faster drying time, often long in these cases. Note that this addition of mediums special color will darken slightly during drying.

STRUCTURES AND TEXTURES:
The application of thick paint can already give texture to the table. For more current and realistic textures, we can also add to the paint material which can be sand, plaster, wood chips or clay with structures.
It should use these materials appropriately according to the subject represented.

sgraffito, or "sgraffito" Which means
scratch Italian. This technique consists of drawing designs by scratching the paint. The background color becomes visible. An accurate drawing, with fine detail, can be performed using various objects more or less sharp. This design is also Depending on the thickness of the paint laid. The best effect will be on a difference in background color from the one asked.

FOOTPRINTS:
This is apply different objects in the paint thick but still soft. Mainly used in 'modern' fingerprints allow all sorts of fantasies.
Some examples of items used:
cap, fork, saw blade, rectangular sponge, walnut shell, small fence ...

PERFORATION:
If the effects are convincing, it is necessary that the colors do not vary too much their tone. These colors are posed with the brush held, preferably, perpendicular to the substrate, preventing them mingle with the aim to obtain an optical mixture of color.

MASKING:
For a sharp boundary and perfect, often in a straight line boundaries, it covers a portion of the paint with masking tape before placing a new coat of paint. This tape may also be a cardboard cut out tentatively. To prevent paint from running under the masking, the use of thick paint is recommended. This masking is also used when projecting droplets paint a specific place in the table. Cerne trapping color.

AND SCRATCH "Repentance"
is a grinding operation, rather than paint removal is the practice with a cloth or with the blade of a knife to paint. This technique for rendering transparent and misty effects is also a painting technique. It may be a technique in itself and not only to repair a mistake.

THE Tonking: Technical
Henry TONKS due to its inventor, professor of painting. This method is used when the paint is raised too thick but still soft. Is covered with a sheet of absorbent paper overloaded area. This paper, rubbed gently to adhere to the paint is removed with care. A softer side is then obtained, details are often eliminated.

LAYING GLAZE:
It is one means of expression more typical of the oil painting. To make a glaze
should be used preferably transparent colors. Some examples of the most characteristic of transparent colors:
For reds:
Lakes, madder, alizarin crimson, bright red garnet ...
For shades of purple: Purple
permanent bluish-purple, violet
Egypt ... For the blue tones: dark and light
Ultramarine, Prussian blue, Indian, hydrangea, Hoggar, Tuareg, sapphire ...
For shades of green:
Armor, English, olive bladder
... For the orange:
Indian orange
March ... To the yellow tones:
Indian yellow ocher ...
The glaze should be placed in a thin layer, so diluted with the medium, on a dry paint. There is even a particular medium to rise. These colors change raised the appearance of colors background, but mainly gives depth
painting. The glaze also helps to unify the whole picture.

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SOME AGREEMENTS IN ACRYLIC PAINTING

AGREEMENTS BIT:
They are called, "Couples said perfect."
A base color (primary) and its complement: (Blue (P) and orange (c)
The color temperature of each pair of color must have the same temperature, ie the same intensity, the same value.

AGREEMENTS TRIANGULAR:
Example:
-orange, purple, green + addition of two neutral colors (black + white = gray, will serve as a link between shades).
Yellow-green, red, orange, blue violet.
Yellow-orange, red, purple, blue, green. and so on.

RECTANGULAR AGREEMENTS:
orange, purple, blue, yellow green.
yellow, purple, red, orange, blue green.
Yellow-orange, blue violet, red, green.

agreements set correctly (quantity and temperature) we obtain a good general light, beautiful color harmony, the colors are stable and we have no optical variatins uncontrolled.
Face about, we must not only have the reflex to hold his picture on a good composition (why not number of gold as the old?) also think around a dominant color
Example:
Painting pumpkins.
If one chooses a rather orange-yellow color cast from beyond so we will seek to establish a theme color and make the shadow with a purple (complementary color). But it is also possible to offset agreements, to go to a work a little more personal.

The color sense is an intuitive sense and comes with experience.
Mix fewer colors between them is preferable to avoid the invasion of Table by too many dull hues.

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To my sister (little awkward text)

I'd like to build bridges

rainbow

turn you into a beautiful grasshopper that you jump from one day to another, from one point to another without fear and without hesitation, as light as air on wings of evergreen.

I'd like to use cascades of colors, wonderful beings or squat very large, to take care of you, little pirate skull, so that you could swim there in the clouds with a smile wider than the surface tone face.

I would make beautiful your life will never be simple, I want to make your life beautiful, more beautiful than you can imagine, for it is large enough to accommodate what you are, to you containing all whole rock you and protect you.

I would give you ...

But it's late, you see, already too late for me. I was filled with stars but their branches, falling to me bleeding all four veins and killed the larks in the mirror it broke.

Our ideals have ratiboisées too high, too high our ideals we have ratiboisées.

And our ideas too good we have abandoned.

But maybe you could. Maybe you.

Maybe if you give me a bit of trouble for my smiles lifter with wire you, perhaps we could sew up some lights in the sky over here and there.

Maybe we could revive the larks with broken wings, so, with "as if".

Maybe, maybe if we try and if you came back, if you back down in your absence to show me how it's done, how it works down here, for me a bit of your innocence, your hopes , your beliefs.

Perhaps, little sister, perhaps. If you wanted



live well for me.

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Bernard Marie Koltes 4 ever in love

"The absolute cruelty is not a man injures another, or mutilates, or tortures, or snatches the limbs and head, or even make the crying, the true and terrible cruelty is that of man or animal that makes a man or animal unfinished, which interrupts as an ellipsis in the middle of a sentence, which turns away from him after looking at that Indeed, the animal or human error of the gaze, a miscalculation, a mistake, like a letter that has begun and we just suddenly crumples after writing the date. "

Bernard Marie Koltes

-In the solitude of cotton fields

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Nervous breakdown minor

* dialogue between me and myself *

Urgency
Find the urgency of writing out the The head of
flow into words, sentences, following terms that might eventually form the meaning

would end the slump. My writing
deconstructed over the penalties inflicted upon me
My writing

save me From the shame and destruction
to be there yet.

I searched I searched wounds
these spaces that push the sword
push my pen to scratch

scabs or scratch paper
I sought inspiration in the flesh parted
The yawning gaps of bodies.

I wanted to shelter my heart in any chest provided it does beat
electroshock
I sought inspiration in your smile lost
Reviving the colors by the tides of evil.

I saw you again.

You stand there, always right, always present.
You stand there and I hate you I hate you I love
forever. You
your breath cold air, your insurance flawless
You move in life and leave me dead

Years back in the depths of your memory that tambourine

corpse in the closet.
I hate you my love and hope you lose everything to find you naked
, febrile, depending
addicted to a drug that made me bitter
I hate your purity and your body still white
I hate your lips, your arms Your eyes,
I hate you as I can.

I saw you again and I look through the dirt.
I can not cry.
I can not yell.
I can only watch you smile

as a hymn to life that I did not care to wait

the end of path, the end of the tunnel.

Waiting by the river waiting in the sun waiting

across my skin, in my head waiting
something happens
something shatters. Waiting
uproar.

I've reviewed my presence to cry, to remember that I was there and I am no longer
I've seen to learn, grow
to build my rage
destroy my memories.
I stand alone, bloody, amid the carnage
I have no arms, no legs shredded

more fingers at my feet
more shoulders, more than I have no trunk
a mouth that is drowning in the wind
I am a puddle of flesh lying on the pavement
you trampled each day my love
murderer without knowing what you do.

I am not come to say goodbye, my love I came to
especially
not believe I'm coming for your beauty, my angel
For m'englober in your schema.


I came to tell you I'm fine all is well

that life without you feels nothing but

it is something worth to me for my happiness

that everything is
just fine without pain
without cracking, it is smooth

for
...

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[Second version] Lemon tree Lemon Tree

I feel so ... tron hurry. I was always squeezée as pressing a lemon hurry to give everything, give everything and everyone as a citrus fruit is strangled with bare hands.

squeezed lemon, that's right, lemon to grow without having time to discover, to learn lemon through the cracks of the press to stay in the common chains, rolling on the black carpet as a supermarket to a future already mapped out the future of one lemon press quickly before it rots to not lose a single drop of his golden youth.

squeezed lemon to ripen and be strong, lemon to know everything, know everything, lemon juice to be beautiful, like a Shiva three thousand arms, three hundred miles an hour in the presser to squeeze lemons have a good situation and be happy and in love ... and can also be sexy with the itchy skin but also attracts, lemon juice in my body compressed, squeezed lemon to love all those who have close, caressed, crushed, pulled all the juice from my heart to lemony citrus.

I was so squeezed lemon I love bitter at the bottom of glass. More juice, more pulp, but a lot of glitches, glitches galore and raw and deep in my lemon acid. I was so squeezed my lemon citric acid became nitrate should be much more to calcine the looks of pressing hurry who think they can bite my zesty crust.

And then you brought you to your face with sugar. Aspartame, but I tasted, I see that's over sham. You replaced my full grain acidity of poetry, scattered all over my lips and then my whole life. You bring yourself back, crystals in his eyes for me to turn into lemonade, you make me see the world with bubbles in the smallest details.

Yet nothing has changed, but the taste is not the same. It is the source that has moved, pH to another, bitter at the base.

I came to say thank you.

Because poetry came into my life and I see the world in pink Sugar Daddy. And all this prose, I collect the pieces and glue together to caramelize all the time I am now.

I came to say goodbye.

For I am now ready to tell the world to launch the crystals in the eye who are listening to sprinkle the top of my microphone that each lemon press too.

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I feel [if] ... tron hurry. I was always like a lemon squeezée hurry to give everything, give everything and all of a sudden like a citrus fruit is strangled with bare hands. Lemon, that's right, lemon grow and be strong, do everything, find out everything and know everything, lemon juice to be beautiful, intelligent, have a good situation to be lemon love ... and above all to be sexy, skin itchy, but also attracts, lemon forward in my body compressed, squeezed lemon to live and smile and say yes and then especially to all those who love me have tightened, caressed, crushed, pulled all the juice my heart citrus lemon.

I was so squeezed lemon I love bitter at the bottom of glass. More juice, more pulp, but a lot of glitches, glitches galore and raw and deep in my lemon acid. I was so squeezed my lemon citric acid became nitrate should be much more to calcine the looks of pressing hurry who think they can bite my zesty crust.

So now you see, it would just a little sugar, a little honey even indigestible, even in such large quantities that my arteries were blocked. I want to taste sugar, no aspartame, no sham, but the sweetness a little or a little too much but to keep the sweetness just a taste of lemon at the very back of my palate. Not to burn yourself when you'll get or buy you a lemonade, a trick of light lingered a little teenager that has never lemon.

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The more than alive

You die at forty-four years is young. Would you have lived a thousand years, I said the same thing: you had the youth in you, for you. What I call a young life is, absolute life, confused life of despair, love and joy. Despair, love, happiness. Which these three roses embedded in the heart to the young for him, in him, with him. I've always seen with three roses, concealed, oh so little below your true sweetness. Love was probably you since your birth, as her little sister, gaiety. The despair of the future with the burst of your sixteen, with the intuition that there is never a response to love, that love is like in this book of Emily Bronte: a madman who Short Mountain, a word torn by the wind, unheard. Men do not know this word answer that. Do not blame them too. Who knows how to respond to the wind that runs through the broom?

The more than alive - Christian Bobin

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Dr House

* Only Huuuuugh can-do make all this world right SEEM
O-only Huuuuugh Can Do make this darkness bright *

I do not know how you explain, Doctor ... I have always enjoyed good health, yet, but there ... everything goes wrong. It started suddenly ... legs cut off, that's it. I felt sick, who wilt at the ground below me and since then I have like two dead weights on the belly that I troll all day long. No, I'm not paralyzed, okay ... but almost! You think that's what? The spinal cord? I thought about it because I figure you have terrible pains in the back. As if my spine did nothing. I'm like ... bone. It is possible that? To lose bone on the way? Yes, I would have realized but still, it would explain muscle pain: if all my muscles have to fend for themselves to keep up, I imagine the table. Finally, you know your job, of course. Oh, I know that you have seen worse things but I'm not a sissy, Doctor! If I mention it is that something is wrong. You understand ... it's like nothing I walked in, you know? As if everything had stopped, as if everything was on strike. As if all refused to work.

I told you I could not eat either? Absolutely nothing! No more taste, my taste buds atrophy, I think. Or the sense of not having stomach, it tells you something? Looks like he is full of cement. Not true of course, I have not eaten, I assure you. But I feel there cement. Nothing moves there, nothing wriggles, it's breathing. It must really mean something, but I have not found on Google. But in fact

doctor ... this is fatigue, especially the fatigue ... It's exhausting to carry a body that no longer wants to live, you know? A body that hibernates, who died ... It feels awkward doctor exhausting. I dunno, maybe he should replace things? It's so artificial organs, today there are many ways to relieve me, help me a bit, not that I am to bring me one, right? How it works, a metal heart, for example? I could do it with less effort, you think?

Oh no, no, I do not need pills, tablets or injections of I do not know what tonic, no, nothing like that doctor. This is not why I came. But you know that you in there, everything is in psychoanalysis, psychology, psychiatry, everything related to that, you know? You know how to do that, doctor, maybe, you could ... maybe you, you arrive to speak to him, doctor. We need him to come back, Doctor, you must tell him to come back.

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"The implosion is the opposite of the explosion. It occurs when the external pressure to an object is greater than that inside and this difference is large enough to break the strength of the latter. It suddenly occurs at the fracture resistance and throws debris into the interior of the object. "

I no longer listening.
He continues to speak but his voice is muffled, as if through a tunnel.
He talks and I think of feathers.
Or rather, to snow. A thick carpet of snow that puts the world on mute and on which I am crushed gently to the first of his words.

So this is an implosion into space?

Hardly a sound, a hissing sound at impact, a whisper at idle. As a crash that would last for hours. Around me, everything revolves with exaggerated slowness. I do not recognize anything. I set my feet to control the staggers and focus on snow, the silence that came over me, heavier than lead, which seeps into my stomach, my chest and into my mouth. I sink slowly into the soft ice.

So that's ... implosion in a vacuum. Where nothing is spreading, or swallow anything and everything that disappear over time with a hiss. Where the breath sucked inward as away everything in its path, words, gestures, reasons, and takes all enclosed in a space rotten there, somewhere between my sternum and my diaphragm. I swallow this story and its meaning smithereens biting my building.

I would leave it, I want the noise around me, cries, tears, broken glass to lacerate my disgust for the lead in my throat flew to smash him. I want the sound and grand gestures, I want mouths wide open.

But I'm sinking more and sit on the steps slippery. I can not speak, I can not move. Ice imprisons me and I hold my breath for it never frees me.

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Theory The Big Scratch L irreparable.

Shit night * again *

I
capital capital capital
love, liebe, amore, AST, ser, Kärlek, kahnu, Dashuri, gharau, mahabr, prem, Ishta, myiya, Ai rakkaus, sarang, koerlihed, merout, armastus, agapi, ahava, serelem, pyaar, asmore, meile, okwagala, tia, kjoerlighet, mahabât, Ljubov, ljubezen, here, Cham-inch mbëgeel ...

I had a lump of love abroad I could not deploy to water my kisses multilingual. I created a language better than Esperanto.
I created with my tongue too much capital.

I took my capital and have thrown out the window, did flee in pools of plasma, the virtual body pillow hundred times beloved. I wasted in running it in windows closed, reflective windows that return what you do not want more windows that clutter spoils launched the unnecessary.

Sub plasma, my love has slipped under my eyes and was liquefied.

And I'm here without listening.
How to sleep when it's vague in my head, when it pulsates like a sob, when it came over me and I'm wet to the bone anchor in my stomach where my ventricles beat, tempered by the waves wriggle, by the raging sea inside of my head, the sea that wakes when the waters when it sprinkles.

And every evening, under the window, I hear voices, voices of children, the voice of my child crying.

So I roll from one end to l'autre de l'autoroute, attendant qu'un camion vienne barrer le bitume.

Je roule et je m'arrête.
J'attends le CRASH, le BOUM, le SPLASH.

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I'm dumb and dying and cannot conjure The Energy to Care


My stupidity is clumsy and careless
My excuses they're empty and thoughtless
I speak with indifference
If I apologize I don't see the point
If you have to try to be sincere
So accept my silence
Cause I've got nothing to say

I lack beliefs to dictate my actions
I am the motion of my daily attractions
They've taken my mind
And left a few frustrated attempts
To recycle or salvage whatever lef of myself
I'm running through water
When I should just swim

My room's like a vacuum tonight
Our lives only have the values we chose to apply
The silence like oil swirls
And comes to life

I know I'm not gone yet but time's running out
I'll accept my destiny, spend my time getting drunk
And I'll hurrah with the corpses
And pretend what I feel is real
We'll toast suicide with our abandoned eyes undertoning all our cheers
And we'll suffer without protest
Until we can't feel a thing

My room's like a vacuum tonight
Dark silhouettes heave under drunken sight
The silence like oil swirls
And comes to life

My stupidity is clumsy and careless
My excuses they're empty and I speak thoughtless

With indifference If I apologize I do not fucking see The Point
If You Have To Try To Be So accept my sincere

silence Cause I've got nothing to say

Sight like december

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* * Since I am fearful

I walked right on the way home, I walked right, sure of my steps, eyes planted on the horizon, breath quiet, straight hair, I walked calmly over the cobbles polished neither hot nor cold, just room temperature. I proceeded step by step, in penance, and the forest was far behind me, I think, far behind me.

And then, how do you say, and then you pushed me and in the scramble, you took my hand you were coming in the opposite direction on the path and in the scramble, how do you say, you've iced my hand. I was frozen there all surprised that cold in my hand was burning all my limbs and my head exploded. I was frozen there, like myself once cracked like mud undergoes differences in weather. I was frozen there and I took your hand on the way my legs and replaced the fuel transfused. And I follow you now, I'm, I'm hooked, I'll am aware, disheveled, speechless, eyes planted on the back of your head, behind your eyes planted on the horizon. And it's not that I do not like, it's not that I do not like to trust your voice, your warmth and your cold recraquelée me to put my feelings in all interstices I plugged gaps before the stampede. Not that I do not like, your hair in my horizon or your shoulders for any indication. But what I have left to me, when you let my hand on the way that I would not recognize from watching your neck? What is left for me to me when I have longer enough momentum to force me to trace your footsteps? You'll be there, you, to teach me to walk without you? What is left for me to me when you'll have more need of me?

What I have left to me when I must be a woman without a man, when I'll have to relearn how to move forward on the right path, sure of my steps, eyes planted on the horizon, the wind calm , flat hair? What will I use the feminine here, this burst balloon that had so much fun? Take me there again beat me and I swell with block patches? Should this time to take another path, another path that you, before the puncture, before reaching the horizon?

I have no answers to that, you know, no answer to that. Then I shake your hand for you not the cowards and I shake so hard I shake again until you stop you until you let go of you and resume my route on the cobblestones polished - and under anesthesia.

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you. Travel Travel

* And when it comes in my fingers I
n'mens not
I swear it's about you
Maybe a bit much sometimes
But we must not * why do worry

was the first Once he took his guitar. I'd never seen him play before. Sitting there on the couch watching the night through the window, I heard him start to reel off the notes next to me. Everything was calm, all was well. I shook my full cup of tea a little stronger in my hands and I put my head on the top of his shoulder. I was cold, I wanted to stick me against him, but he had his guitar against his body. So I contented myself with it, the touch of his collarbone against my temple.

"Play me a tune," I said, "play me a tune" and were the first words we spoke for a long time. Words that broke not silence but an extension.

Then he started singing and I closed my eyes. Her voice was a little hoarse, a little forced. And notes flowed over the strings and echoed over our heads.

But I kept my eyes closed.

When at last I looked, there was another woman in his hands between his words, between the forms of his guitar.
A ghost in his words.
A silhouette in her pupils.
Another body under our bed.

He sang for another, and that's how I understood.
I started to cry.
"It's beautiful," I told him, "" How beautiful " and hoped his words back to me.

But the notes were flying over our heads and night came slowly through the window. His voice was choked
.
And I was gone.
I was already a stranger.
And my tea was cold.

We have not had sex that night.
I left the next day, without a word.
Everything was finished on a song that was not written for me.

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* Return of lyricism ... haem *

I knew a sailor on the streets of Noyes. He had moored at the foot of my desk, the anchor stuck to the ground, staring into the skyline. His tongue was held in travel by the thousands, he untied my top and affixed a taste of freedom. Her skin was carrying salt from the seas, his hands contained only crevices, canyons, the wind blew her mouth very large ocean and spent my nights sleeping in the sand after its fed my hair dreams.

I knew this Marine of Noyes Street and took his boat coming over the bar. Her lips were still traces of spice, still stuck with honey and orange flower water and filled my belly with exotic species as a fuel.

I met this sailor in the street Noyes. We left the street to take his sailboat. And on top of the mast I have no seasick I discovered the world and outdoor life. I'm not afraid of anything and I contemplate the distant lands devastated, fields of loneliness that I abandoned for those long ropes and words that frivolent with the waves.

My story is not falling as I trip even
sea to sea from city to city

from port to port.

Diabetic Breakthrough Cure

Discover Playlist waters the flowers with Amelie Pencils the

Alexia Texas Bleck Gaj

Incidentally I have a problem ...

Beautiful things for me, I know not to say.
Scratch my crusts that, okay, I can do. But beautiful things
not want to leave.

I tried, for real.
But it's still there.
No need to exorcise all that good.
And beyond that, I find too immodest to spread happiness.
is too direct, too personal.
I have no problem in general to tell the raw, to take the words as fists. As
punches, but not like hugs.

So it's not that I write more or I say more nothing.
I just do not know how.
I have made attempts. Who
not give much.

"Something has changed and I have nothing calculated.

It started ... It started with one drowning.
Clinging to a bar before holding on to his hand to cling to his neck clinging to his arm to cling to the railing to hold on to the door hang on to the handle (because I knew what to do) to cling to his lips (because m ' showed what to do) and thus cling to cling to the bed sheets to hang his curtains hang on the phone cling to my desire to cling to his words to hang on to his skin again and again his hand to cling to our fears to cling to hopes of clinging to the sky hold on to a scent to cling to him in my life, I am now hooked to a t-shirt that is not mine and I do not know much except that it makes a whole bunch of hooks which I cling to it no answers. "

Laboratory, so ...