Daily Exercise Program

This “Old School” exercise program was developed years ago in High School to help with flexibility and strength training. When I developed this, I didn’t have access to the internet or any other type of search engine other than the library. I still use these techniques today as I am older and need more flexibility than I did 30 years ago. I feel better and I have more energy throughout the day.  I hope this program helps the reader as much as it does for me.

Ÿ  Standing straight, roll your head front and back side to side 20 times each

Ÿ  Lift and roll your shoulders frontward and backward 30 times

Ÿ  Standing, lift each leg to your chest 20 times

Ÿ  One arm on wall; place your other hand on your waist, lean with your waist to wall both sides 30 times

Ÿ  One arm on wall; lift your other arm over your head both sides 30 times

Ÿ  Reach down and touch your toes holding it for one minute, relaxing your legs and back

Ÿ  20 horse stance twists; both arms extended or lead with your elbows

Ÿ  On the floor, do 30 leg lifts both sides; leaning your weight slightly forward with your legs straight, lift as high as you can for burn.

Ÿ  On the floor, do 30 leg lifts both sides; leaning your weight slightly backwards

(With Bottom leg bent and your head resting on your hand)

Ÿ  Lay on your stomach and do 50 leg lifts both sides, lift as high as you can

Ÿ  Roll over on your back (hands under your bottom) and do a scissor kick 20 times each side

Ÿ  On your back, place both hands under your bottom; lift both legs together 40 times. Exhale slowly as you lower your legs

Ÿ  Cross your hands on your chest and do 50 sit-ups or crunches. I will wrap my arms around my knees and roll back and forth to naturally align my spine; plus it feels good

Ÿ  Put your hands on your ears and do cross sit-ups (DON’T PULL ON YOUR NECK). Each time you do a crunch, cross your elbow over to the opposite knee

Ÿ  Roll over to your stomach and get into push up position. With your arms, stretch your stomach by lifting your weight up through your shoulders and arms while looking up for 30 seconds

Ÿ  Do 50 push-ups shoulder width (work on this until you can get up to 100)

Ÿ  Do 50 push-ups wide width (work on this until you can get up to 100)

Ÿ  Stand up and flex your chest. Breathe in and out filling up your lungs several times to oxygenate your blood.

Ÿ  Take a walk or run at least 3 times a week.

Ÿ  Eat five small portions and drink lots of fluids throughout the day

I am not a trainer or workout expert in any way, and if you choose to do these, you might want to consult your physician before you begin. I like this program because it works for me.

Enjoy a healthy and happy life

Example of a GREAT Golf Swing (Hayden Tremblay)

Amazing Chocolate Almond Biscotti

The most delicious part of drinking a nice cup of coffee is something to nibble on. What better to nibble on than a delectable treat like Biscotti.

A Chocolate Almond Biscotti sets off any cup of coffee whether it is an espresso, a Cappuccino, or a plain cup of rich flavored coffee like an Americano. The crunchy cookie with a nutty surprise teaming with soft chocolate just makes it a “feel-good” snack in the afternoon or anytime. Following this sweet indulgence can only seem better by eating another. The goodness of the sweet chocolate can set off this twice baked cookie by turning a mild delicacy into a mouthwatering treat. This Traditional Italian Cookie is available on the web, in various cookbooks, and in all the major grocery stores.

For those that want to try their hand on making a delightful treat, this simple recipe is easy to follow with clear directions, fresh ingredients, and a memorable product. With any cookie recipe, it takes time to construct until the cook has mastered the process. Then it will become easier with time to assemble this delicious cookie. With this traditional dessert the cook will want to make this cookie as a snack for family and friends. The cook can serve this cookie with a variety of accompanying hot drinks, but the very best drinks to enjoy with biscotti are freshly brewed coffee or an icy cold glass of milk.

Chocolate Almond Biscotti Recipe

Ingredients for Preparation

1 ¼ cup sugar
1 cup shortening, butter flavored
2 large eggs, slightly beaten
¼ cup light corn syrup*
1 tablespoon almond extract
3 cups All-purpose flour
¾ teaspoons baking powder
¾ baking soda
½ teaspoon sea salt
1 cup sliced almonds
8 oz. White baking chips*

Easy to Follow Directions

Combine the sugar and shortening into a large bowl, and then beat at a medium speed of an electric mixer until blended. The cook can add the eggs, light corn syrup, and almond extract. Beat until blended thoroughly to a fluffy consistency.

Combine flour, baking powder, baking soda, and salt. The cook will then add this dry mix gradually to the shortening mixture at a low speed until well blended. Then stir in the almonds until incorporated into the dough.

Divide the dough in half, and on a lightly floured surface, shape each half of the dough into a log approximately 2 1/2 inches wide, 1-inch high and 8-inches long.

Place on ungreased baking sheets, and chill for 30 minutes.
In the interim heat the oven to 350º

Bake the logs for 22 minutes, and then remove baking sheets from the oven. Cool for 10 minutes on the baking sheets. With a serrated bread knife, cut diagonally into 1-inch wide slices. Carefully place the cookies on their sides 2 inches apart on baking sheets. Bake the cookies an additional 10 minutes, and then cool 2 minutes on the baking sheet. Remove the cookies to racks to allow a complete cooling of the biscotti.

Place white baking chips in a microwave-safe bowl. Microwave on Medium (50% power) for 45-60 seconds. Stir and repeat at 30 second intervals until melted. Place biscotti on sheets of parchment paper
Scoop the melted white baking chips into a piping bag and tighten the bag properly. Drizzle in sweeping motions over the biscotti. The cook can also dip a fork into the melted baking chips, and with the same sweeping motion, drizzle across the biscotti. Let stand on the parchment paper until drizzle has completely set

*Tips for the Cook

The cook can substitute a maple syrup or natural agave nectar syrup in place of the light corn syrup if the cook is looking for a healthier version.

White baking chips are usually almond bark. The cook can substitute the almond bark for chocolate bark. For a healthier choice the cook can use vegan chocolate chips for the biscotti topping. The cook may have better luck with a double-boiler if they are more familiar with this process of melting chocolate.

This cookie recipe takes approximately 20 minutes of time to prepare. The cooking time will fluctuate because of various oven types, but the average cook time is 32-34 minutes. This recipe will yield 25 cookies but can stretch to 30. This is an easy and delicious treat to have for snack but also it can fit in as a delightful dessert for after dinner. This cookie is a nice tradition for cookie lovers and everyone should experience the fun it takes to make such an authentic and scrumptious cookie.

Patrick Tremblay

Visiting the City of Luquillo

Luquillo is the forgotten city that still offers many attractions to cherish, from beaches to a historical site of one of the world's largest rain forests.

Luquillo is one of the most historical locations in Puerto Rico. "La Capital del Sol" (sun capital) is the name Luquillo has known since 1797 when Luquillo was founded by Cristóbal Guzmán. With a small population, approximately 19,573, the people in this vibrant center of history and culture are very friendly and offer a real presence. Luquillo has amazing beaches right off of the coastal highway 93. The beautiful Luquillo Beach is brimming with magnificent coconut palms for shade and more than a mile in fine sand of shimmering white. The visitors can enjoy Luquillo Beach with it's warm and clear blue water lapping on the shores rhythmically. Luquillo, Puerto Rico is the ideal location for getting away by surfing, hiking, and fishing off of the coast for some authentic meals and culture.

History in Luquillo

At certain times of the year in the evenings Leather Backed Turtles can be found migrating off of the shores where they make an appearance in various times of the season. If lucky, the “luquillenses” or local residents, along with the tourist population, can enjoy this majestic creature known as the Leather backed turtles. The local wildlife societies will post or advertise when there will be a seasonal migration for viewing.

One well known luquillenses is sculptor Tomas Batista who is famous for his many sculptures of local farmers and historical Puerto Rican monuments. Tomas Batista unveiled the monument of the Cacique Loquilla, one of the famous Taíno chiefs of the island, which is located in his hometown of Luquillo. There are many cities in Puerto Rico that tourists can visit where they will find these beautiful Tomas Bastista renditions from agricultural and historical times.

Historical Attractions and Locations

There is a quaint square in the center of Luquillo a walking distance from the beach and the main highway. The square has every amenity to offer such as a small market, bakery, post office, fishmonger, city hall, police station, and a beautiful church. The church has an English and Spanish service, but what is amazing is the entire church is filled with hand-carved woodwork, furniture, and sculpted statues. The carved artwork and furniture tell a story of the culture and history of the city of Luquillo. The many pieces of work are ornately covered with seascapes and creatures indigenous to the waters, pelicans and tropical scenes of the forest with many coconut and palm trees as well as the surrounding beaches.

Luquillo is too far away to take a bus from the airport so the tourist will need to rent a vehicle for ease of travel. City bus-lines are available in some areas, but it is better to have a vehicle as it is beneficial to travel freely from the different locations available to tour. If the tourist drives East on the Coastal Highway from the San Juan Airport, they will soon reach El Yunque National Forest. This Caribbean National Forest has a total area of 28,000 acres with multiple types of trees such as Coconut Palms, Bamboo, Giant Ferns, Trumpet Trees, and Wild Orchids. The forest offers hiking trails and delectable treats from many food vendors located conveniently along the road. El Portal Tropical Forest Visitor’s center has historical exhibits and films to display interactive and cultural events.

Luquillo, Puerto Rico is one of the hidden treasures of the island. The city is a perfect location for visitors who are interested in visiting the beach and historical areas without the high cost of the popular cities. It is very easy to research Vacation Rentals that can accommodate the visitors needs in Luquillo. Luquillo is one hour away from El Morro Fortress in San Juan, two hours away from Porta Coeli in San German, and three hours away from the famous Plazas and Parque de Bombas or Painted Firehouse in Ponce. Whatever the attraction is for the visitor, they cannot go wrong by visiting Luquillo, Puerto Rico’s secluded vacation spot.

The tourist can visit the Hacienda Carabalí, a 600 acre ranch located at the foothills of El Yungue, by mounting a Paso Fino Horse and ride into the rainforest in this two-hour scenic tour. The elegant Fino horses are well trained and know the road, but a guide will always join the tour. The tourist can ask for an English or Spanish tour, and the tour will end in a refreshing swim in the Mameyes River. The hacienda offers different kinds of tours to enjoy, including an All Terrain Vehicle (ATV) or a Mountain bike tour for those that enjoy the Caribbean sunshine and the peaceful scenery of the lush rain forest.

One such attraction is the history of the Amazona Vittata, the Puerto Rican Green Parrot. The Puerto Rican Green Parrot is a species in danger of extinction as they number less than 100 in population because of Hurricanes Hugo in 1989 and Luis in 1995. The species, which is common to Puerto Rico, was at one time widely distributed geographically throughout Puerto Rico. The Puerto Rican Green Parrot is limited to El Yungue National Forest and there are honoring sculptures of these beautiful parrots throughout the city of Luquillo.

Patrick Tremblay

The History of Hungarian and Polish Ethnic Fashions

Fashions have meaning for children of Hungarian and Polish descent. Studying history, the art of textiles and understanding political views provide answers

Looking into the history of ethnic fashions particularly of Hungarian and Polish tradition, one must look into the purpose of their ancestor’s fashion statements. When determining Hungarian fashions, historians have interest in knowing why the women folk expressed their political sentiments in clothing and home textiles. The suppression of the Hungarians began in the sixteenth century by the Austrian Habsburgs. The Habsburg was a member of a Royal German family, famous between the thirteenth and twentieth centuries in Europe. This included rulers of Austrian-Hungary, the Roman Empire, and Spain. Austria’s dominance in an armed rebellion was not well accepted and the Hungarian upper-classes had little in ways to display its discontent without repercussion.

Because the ruling faction had malcontent for Hungary, the king’s anti-Hungarian stance inspired a cultural revival. This revival became a form of Hungarian opposition to appear at patrician social gatherings wearing “Hungarian” dress. This campaign against the Austrian fashion did not sit well with the ruler of Austria, Joseph II. Instead of the traditional uniform of the Austrian regime, the Hungarian fashion was a more common style. This style consisted of a close-fitting, often laced to the top bodice worn over a delicately made cotton shirt, a laced apron, and a skirt embellished with decorative embroidery. To top the fashion statement the women-folk had a headdress of humble Hungarian design.

Passion for Reform in King Joseph II

Joseph II had fanaticism to change everything by force. His reform for a new lifestyle on his subjects was met with a bitter resistance in Hungary and the Austrian Netherlands. These countries were strong in tradition and the Austrian Government was preventing the country of Hungary from developing its own industry. This act was meant to keep the Hungarians in a base economy of agriculture alone.

Around the year 1840, there were attempts in producing an industry in Hungarian textiles. This allowed women of the Hungarian aristocracy and middle-class to wear dresses of domestic textiles. These fabrics were typically blue and adorned with white dots. Many European noblewomen wore dresses to charity balls made from this fabric. To embellish this style the countesses added a lapel pin decorated with a rosette made from the nations colors.

Eight years later, the Hungarians revolted against the Habsburg, forcing the emperor to accept some of Hungary’s demands. To honor their triumph, the Hungarian soldiers and women wore the Hungarian tri-color emblem on their hats and bonnets of red, white, and green. Another celebrated style was the unmarried young ladies would wear an embroidery-beaded headdress. Sadly, the victory had a short life as the revolt ended because of a Russian Czar's aid to Austria. After the collapse of the Hungarian Government, the women began to wear kerchiefs with the domestic blue and white or black textile, a specific design, to show they mourned their lost leader, Louis Kossuth.

Some inert or passive resistance was in forms of sewn mementoes of the 1848 revolution into clothes. This memento would have been a piece of the flag or a badge that could be worn by the women. The women wore minted coins from the year of the revolution made into necklaces and bracelets. Many times the fashions and colors would embody the tri-colors of Hungary.

The revival of colorful and regional costumes, were observed in the mid-nineteenth century. The costume’s popularity was established by the social and economic factors. With this Polish women wore intricately embroidered shirts. These shirts were fastened at the neck with ribbons of many colors. The women wore flower-patterned skirts in layers. Sometimes skirts were worn in two or three layers to give them a plump figure. They wore linen or tulle aprons with cloth, or velvet corsets. These corsets were decorated with embroidery or sequins. On the shoulders of a woman she wore kerchiefs checkered or patterned in an Oriental theme.

At the turn the nineteenth century, Poland's ally was Napoleon's France. The Polish legions were set up in Italy to support Napoleon in his war on Austria. Napoleon defeated Austria, Prussia, and Russia in the battle. With the Napoleonic Code in place, a Polish government was formed and the peasants were given personal freedoms. With these freedoms came the rights to wear what they pleased, even with prevailingly paltry means.

The Polish men would wear jerkins or kaftans, a wide trouser of white cloth with red or blue stripes. They would wear auburn coats handsomely adorned with trimmings and fringes or chwasty (a form of weed). They would wear broad leather belts to look imposing, usually studded with nails and decorative pouches adorned with beading. Another part of the dress was a rogatywka, which is a cloth cap adorned with a peacock's feather. If not, the Polish man would wear a magierka, which is a woolen cap. This was by far the most popular head gear used by Polish men.

With an understanding of the nineteenth century’s Hungarian and Polish ethnic attire, the reasoning behind the styles and designs are easier to define. Now that the political views clearly answer the questions of a country’s culture, descendants can now see these trends of fashion as a birth of Hungarian and Polish history of textile design and fashion.

Patrick Tremblay

Reading With Phonics

Teaching phonics can be easy if the reader follows these basic methods of teaching names and sounds of letters and how words are created systematically.

Without the practice of phonics, readers would never learn how to spell words or read books. Phonics is a system of teaching children how to learn to spell and “sound out” words by patterns of letters. Looking back at how the reader learned their phonics, one may remember being in pre-school or kindergarten and learning phonics from a parent or a teacher. Readers should remember that some of the first exercises in learning phonics is spelling out their name and small first-time-reader words.

These exercises include consonant letter sounds, short vowel sounds, and blending methods. As the exercises increase in difficulty, the youth starts to learn families of letter digraph sounds, which help the child, learn to spell larger words and read more advanced books. Next are double vowel sounds, the "silent e," and "R" controlled vowel sounds. These methods are in order as they should be taught in a preschool or kindergarten setting.

Phonetic Guidelines to Follow

Students are taught how to "sound out" new words by learning the following items:

This series of phonics are what children should memorize and apply in reading. The rules of the "silent e" for instance, are taught to children, and then they can apply these rules in reading word sentences with the "silent e." The child can practice this rule by doing skill worksheets highlighting the "silent e" rule. At this point, children are learning letter sounds at a routine level. When children see these letters, they should be able to see and say the "silent e" sound instantly.

consonant letters sounds: b, c, d, f, g, h, j, k, l, m, n, p, q, r, s, t, v, w, x, y, z

short vowel sounds: a, e, i, o, u

teach short vowel sounds first: a – alligator, e – envelope, i – iguana, o – octopus, u – umbrella

blending sounds: br, cr, dr, fr, gr, pr, tr, wr, bl, cl, fl, gl, pl, sl, scr, str, sm, sn, sp, sc, sk

digraph sounds: sh, ch, th, and wh. Two combined letters making a completely different sound.

double vowel sounds: ai, ea, ee, oa. The first vowel says its name.

extra double vowel sounds: oi, oo, ou, ow

"silent e" is dominant; it doesn't say anything but makes the vowel before the "e" say its own name. An example of that rule is cake.

r-controlled vowel sounds: ar, er, ir, and ur. Notice that er, ir,and ur make the same sound.

Reading materials keep evolving since the days of Dick and Jane books because children keep evolving through the inundation of cultural advancements from games, television, and brand advertising. The phonics rule does not have to be an artificial environment to help the student learn his or her phonics. New learning resources have made a difference in helping the population in fooling the phonetic rule.

Educators Learn New Methods

Educators are learning to apply two new methods in teaching the phonetic rule. The two rules are teaching the basic rules only and introduce phonics in a more updated branding.

Phonics should be taught in a way that allows the student to relate more easily with the material. Children should practice phonetic information in genuine stories of current culture and social settings. In a way, children should learn the same way that was introduced many years ago from the science research associates (SRA) reading system but in a more current way. Every time a child is taught a phonetic rule, he or she should review a short reading selection that stresses the new phonetic rule. Completing a worksheet or finding a learning game, that shows illustrations of the rules, is best in helping the child to practice applying the phonetic skill.

When students struggle in reading, the most important phonetic rules should be taught in the simplest way. An example of this new rule is teaching the vowel sounds; it is better to teach the short vowels first, before introducing the long vowels. It would be easier for the instructor to explain to the students that the long vowel says its own name when it comes up in writing later. If students run into the long vowel on their own, they will better remember the difference between the long and the short vowel when the rules have been taught separately.

Children cannot learn to read without the knowledge of phonics. The phonetic base is a foundation for successful reading. As an educator, and as a parent, finding the proper learning tools, that seem fun, will assist the child in becoming a successful reader. The phonics the child knows will help him or her grow in confidence and educational knowledge. By making phonetic learning fun, children will advance freely as he or she shows more interest in the materials provided through new formats.

Patrick Tremblay

10 Steps to Staging Your Home Successfully

Staging successfully is a process of using a detailed checklist on ways that the homeowner can prepare their home before placing it on the market to sell.

When home staging is being done by the homeowner or a professional stager, there are 10 steps that can yield a timely and profitable sale. Dividing the steps into four stages: making a good first impression, presenting each room well, removing clutter and cleaning, and attending to details during the home is being shown. These steps are the key issues that real estate agents have observed from various buyers as they look for their new home.

How to Make a Good First Impression with Home Staging

• Create a good first impression by cleaning the entry and making sure the front of the home is appealing to the eye. The homeowner should change or brighten the address numbers, manage any unwanted webs or debris, pay close attention to the front door's appearance, and make sure to mow and trim the front yard to enhance the curb appeal.
• The homeowner should make the entry and living room welcoming by removing any shoes and toys strewn on the floor. The homeowner should add a nice bouquet of flowers and make sure the lights are on to welcome the guests. Vacuum the floors and sweep. Fluff up any pillows and make sure the area is clean and clutter-free.

Presenting Rooms When Selling a Home

• Kitchen: Create a spotless kitchen by clearing off any appliances and making sure the counters are clean; washing the dishes and making sure they are put away. The homeowner can wipe off fingerprints and water spots from stainless steel and have a nice bowl of citrus to accent the room.
• The master bedroom and bathroom: Turn the master suite into a sanctuary or a place of peace and tranquility. The homeowner should make sure it is clutter-free, painted if need be, and with a nice set of bedding and pillows to show off the bed, which is usually the focal point of the room. By making the bedroom shine, the seller makes the buyer feel more comfortable about the potential space. Because the master bath is an attachment to the master bedroom, by adding a nice set of towels in the master bath along with some specialty salts, with this the homeowner can impress the buyer. The homeowner may want to clean up the closet and reduce the contents to show the storage space better.
• Present an exceptionally clean and fresh bathroom, by washing everything with a nice disinfectant cleaner, check and repair the shower stall for spots or mold. Clean the areas well and again change the towels, repair or replace the towel rods, replace the bar of soap or fill the soap bottle and have all of the toiletries put away and out of sight.

Maintain The Home During Home Staging.

• Tidy all closets by clearing out the closet and pack away excess belongings. The homeowner can enlarge the closet by leaving 10% of the contents in the space. The homeowner should allow the closet floor to be empty as well as clean, and they should consider freshly painted walls and scuff marks repaired. This way the buyer or client remembers a large and clean closet space.
• Brighten the walls if need be, add a nice neutral color to the walls and make sure that any wild colors are minimal. The homeowner must make sure any unsightly areas are clean and freshly painted to show off the home in a pristine manner. The homeowner ought to use the appropriate sheens for every space, and try to eliminate any outdated and worn-out wallpaper.
• Reduce clutter to a minimum, the most important aspect of staging the home is by reducing any clutter that may be unsightly. The homeowner should make sure to pack everything up not being used and store it cleanly in the garage. Buyers want to envision their own items in the home. This is the key to a faster sell.

Attend to Details During the Market

• Thoroughly prepare the garage, backyard and pet kennel by making sure that if the garage is full, pack up the belongings in boxes and make sure the space is organized. The homeowner is moving, after all, and they want to look as if they are ready to vacate the space. The homeowner should clean up the backyard, and hose it down to make the area fresh and clean. Mow the lawn and add some flowers to various areas to show character. The homeowner must make sure the kennel is clean and the animals are secure. The homeowner can leave a note for the real-estate agent and buyer if there are special instructions for felines or little dogs that like to wander off.
• Create an attractive environment. Many home buyers have very personal tastes; when a homeowner shows their home; they should remove any personal aspects of the family, and any religious or collecting habits. If the buyer has a clean slate to look at, they can perceive themselves in the home and not feel that they are taking something away from the homeowner.

Home stagers apply this 10-step staging strategy, and understand by experience that their clients can effectively prepare their homes and promote a quick and successful sale. In today's tough market, the homeowner can use this process to partner with home stagers and real-estate agents to prepare the home and guarantee the sale of the home for the best price.

Patrick Tremblay

History of Faux Finishes

The art of faux finishing is creating a manipulation of different painting techniques over a colored base of color to create a desired finish in design.

These painting techniques have been centuries-old in all kinds of decorating effects, and many of these techniques have been a large variety of finishes adopted by different social and economic classes. European aristocrats to merchants aspired to share these splendors of decorating. Throughout history, members of society that could not afford the genuine article or because of the scarcity of an item of particular substance, like wood or marble, resulted in people trying to re-create a product inexpensively.

As a result of this dilemma, the illusion, or transformation was the underlying principle in creating a painted faux finish. The term faux finish (meaning false) refers to a surface of any kind that has a paint coating on it to look like a natural resource like marble, stone, or wood graining. The process of faux finishing can include other finishes like metal, iron, copper, patina, granite, malachite, and Trompe l’Oeil which is a form of faux scenery. The two basic techniques for faux finishing are the positive manipulation of applying paint and the negative manipulation approach of removing paint.

Positive Faux Finish Technique

The method of a positive technique is applying a paint coat to the surface of an undercoat. This application leaves a hint of color as an impression of the tool the painter used as an applicator. For example, if the painter applied the finish with a lint-free rag that was in the form of a cabbage, the impression would resemble a spiral cabbage or rose. In applying other positive technique a painter can perform sponging, ragging, tri-color rolling, and stamping.

Other uses for a positive technique are:

• Applying more than one color 
• applying a washable faux finish 
• hiding flaws in a wall like cracks, poor repair spots, and coverage for lack of wall texture 
• applying finish over most existing surfaces 
• applying multiple paints instead of finishing glaze 

When applying a positive technique on the walls or flat surface, the painter can use the following tools to apply paint:

• rags 
• sea sponge
• feather dusters
• chamois
• cheesecloth
• butcher paper
• terry cloth 

Rags will often give a softer edge than plastic. Different types of fabric will also give the painter a different effect as they paint a positive technique for a faux finish.

Negative Faux Finish Technique

A negative technique requires a faux finishing glaze that can dry more translucent than regular paint. This technique is used to remove layers of glaze to create a more semi-transparent finish over a base coat. The task of this technique is that painters can still see the base coat with hints of layered colors characterizing the effect. Unlike the positive techniques, by using various tools and manipulating the top coat glaze, the painter can create different depths of the base coat more dramatically.

The process of a negative technique is simple when the painter uses a satin base coat for easy manipulation. This technique is more fragile than a positive finish so it is important to seal the final top coat for maximum durability. Because this process of layering can take time, it is beneficial to add a dry time extender to allow a longer working period. A supply of various dry time extenders are available on the market, and it is important to use the appropriate solvent base for each paint finish. Water base paint and glaze calls for a water base extender. An oil base extender is only used with an oil base paint or glaze.

The tools used for this technique are similar to the positive techniques but are for removing color instead of adding color. The negative finishes include sponging and ragging off, combing, stippling, marbling, and wood graining. These negative techniques are very time-consuming and the difficulty may change to some degree. A painter should always practice various methods before tackling any large projects. This will ensure the painter has more successes than failures in faux finishing.

Faux Finishing Glaze Formulas

Preparing these formulas was for creating the best design finish that the painter will need to complete any of the faux finishes mentioned in this history. Standard Paint Glaze is made by using one quart of paint, and a ¼ quart of water. Mix well and use as a positive top coat faux finish. The painter should mix this standard paint formula each time a top coat is in need to paint a positive technique.

Latex Glazing Liquid is made by adding one quart glazing liquid, a ¼ quart of a desired paint color, and a ¼ quart of latex polyurethane clear coat. Mix well and use sparingly as a positive technique, and as a negative technique. This glazing liquid will become darker as it dries to the surface of the project. This glazing liquid dries quickly, so the painter may want to add ½ cup of latex extender. This glazing liquid cannot be shaken; it will work best if stirred before applying to surface.

 
Oil Base Glazing Liquid is made of a quart of oil-based glazing liquid; a ¼ cup of oil-based paint color, and a ½ cup of oil-based polyurethane finishing coat. Oil Base Glaze is a more difficult product to use in a faux finish. This glaze will flatten to the surface so the painter will apply this thinly onto the wall surface. If the oil base glaze is applied too heavy, the finish can sag and create multiple runs downthe wall. An oil base extender is only used when a glazing liquid is the consistency of a gel.

Painters should use these techniques as a basic guideline in applying faux finishes as a decorative design. Many faux finishing techniques and products are offered through hardware stores and paint supply stores. Paint supply stores have periodical weekend classes to introduce faux finishing techniques and glazes for the novice as well as the professional, and these classes will cover faux finishing techniques that will use specialty tools and applications. The techniques may change through time but the history of faux finishing will last forever.

Patrick Tremblay

How to Present a Lecture

The process of a good lecture is an art of communication that should be something studied and mastered. This guide will assist in the learning process.

Many educators have a procedure for presenting their lectures. These educators have been lecturing for years and have certain steps they follow to give a successful presentation. Either the educator was taught in college how to lecture or else he or she read about the process in a publication like many others have done. Whatever the method is for the presenter to become a good lecturer worked for them, as they are comfortable giving a presentation. A good lecture is a successful presentation for the listener to enjoy and take something from the conclusion.

At times, a listening recipient will attend a lecture and it is extremely difficult for the listener to finish the entire presentation before they leave. This is a sign of an unprepared lecturer and maybe they should not present in a lecturers capacity. Usually the presentation is a flop because the lecturer didn’t know how to lecture in the first place. An education is too important to sit through bad lectures, and as an educator, one should know how to lecture appropriately. Good lectures have guidelines and this article will go through the lecturing process from the beginning to the end. This method should help any beginner on the road to becoming an effective presenter.

Prepare Before the Lecture

Before presenting the lecture, the presenter should choose several points of interest out of the source of the information. This source could be a book or experience that the lecturer may have. These several points are questions and answers that the presenter should cover to communicate the focus of the material, and the lecture should fit within the allotted time of the class or presentation time.

The presenter should mark these key points with a numbered post-it-note or any chosen method that will reference easily by the lecturer. According to Daria Przybyla, a freelance academic writer, this process is working with a lecture plan. This planning process should make it easier for the lecturer to move through the lecture without too much effort in finding the material in the book needed to present the point of study. By numbering the post-it-notes the presenter can sequence the way he or she would want to present the information.

Present a Summary of the Lecture Material

At the beginning of the lecture the presenter should introduce themselves and give a brief summary of the lecture they are about to present. An example of this would be welcoming the listeners and offering a name and brief history or experience of the presenter. The presenter should then say they will offer basic information about the material specified. The presenter should describe the subject as an increasingly popular method or product. Then the presenter should give a brief statistic of the material to support the topic. One way is to describe the source such as the book.

The presenter should hold up the book and give a visual of the cover by describing the title and the author for the material. Then the presenter should offer the content of the book as a guide on the subject the presenter will lecture about. If the presenter has copies for the audience, the presenter should mention that shortly the audience will receive their own copy of the book for reference during the lecture. The presenter should mention that the book is the audiences but to refer to the material as the lecture progresses and to follow along.

The presenter should then tell the audience to turn to the page that coincides with the first section of the lecture. As the lecture commences and the audience reads along, it creates a powerful message to the listeners. The presenter should then follow the same procedure until all of the sections that have post-it-notes are complete.The presenter should continue to ask the audience to follow along as the presentation concludes. This method will make certain that the lecture has the attention of the audience.

Ask for Questions at the Conclusion

The presenter should remember to account for time so the audience can ask questions. At the end of the lecture, the presenter should ask for questions and understanding of the covered material. When the questions have concluded, the presenter should suggest the audience read the entire book at their earliest convenience whereas the material is new in memory. This can cement the material to memory and help the audience member retain the information better.

This method of presenting a lecture is easy to follow as long as the presenter prepares before the lecture takes place. According to Barbara Gross Davis', "Tools for Teaching" a good way of preparation is lecturing on materials the presenter has become comfortable with. After following these key points and practicing the speech, the presenter can successfully present a great lecture with confidence.

Patrick Tremblay

How to Eliminate Stage Fright

The dilemma for many new presenters is a touch of stage fright. In this article I will explain how the speaker can take a humorous side to public speaking.

Most students have problems with their nerves when presenting a speech in class. This comes from not developing experience in presenting to a crowd. The student walks up to the front of the class and his or her palms begin to sweat, dry mouth makes breathing difficult, and the chills set in.

Then unwelcome speech habits pop up during the presentation such as um, basically, like, or honestly. When uttering these words in a speech too frequently, the audience becomes distracted from the content of the speech and begins to count the “ums” or “likes” that embellish a failing presentation. These distractions can destroy a well written presentation and the audience will miss the point of the speech. The student should make it a goal to eliminate these nervous traits.

Eliminating nervous traits can easily be done by taking deep breaths and slowing down with the delivery of the speech. The speaker should practice the key points of the speech and speak only on bullet points he or she ultimately knows about. Reading a speech is unacceptable in a college setting and by presenting on key points only; the presentation will be more successful.

The speaker should not rock, but rather move around in the presentation. The speaker should never stand behind the lectern, as this isolates the student and makes him or her psychologically trapped. The speaker should believe he or she is in charge whether the speaker wants to be or not. The audience has to sit there and listen to what is said, so the speaker has the power to make the speech exciting or dull.

The speaker can keep the audience happy or sleeping happily for the duration of the speech. The decision is completely up to the speaker to settle on what turn out he or she wants from this speech. The speaker should never become too serious and he or she should make the speech humorous whenever possible. The majority of speeches presented in a humorous form are almost remembered in its entirety whereas a serious speech is hardly thought of before the end of the class.

One rule to remember is that if the speech has a rocky beginning, the speaker should never apologize to the audience. The audience will never know if the speaker made a mistake unless he or she brings attention to the error. The speaker can play off the mistake by making a fun joke out of the error. This provides a chance for the speaker to recover and move forward.

Creating a Speech with Humor

Humorous speeches are easier to write than serious speeches and it is imperative to offer clean tasteful humor to keep the audience engaged. “Though information is important, people will never remember what was said; but they will remember how it was said.” This quote was taken from a 1992 speech by the Director of Energy Services, Greg Lambert from Sierra Pacific Power in Reno, Nevada. As a writer and avid lecturer, I have remembered this quote and use this example regularly.

When writing a humorous speech, it is beneficial to smile and laugh at the joke when presenting the speech. This is important for the speaker to remember so it doesn’t look like he or she didn’t understand their own punch line. This will not bode well with the audience as the students may think the speaker is dishonest or false.

If the speaker cannot keep to humor, he or she should remember the cliché “Honesty is the best policy.” If the speaker is nervous and has the chills, the speaker should comment on this by saying, “Gee, it was warmer back at my seat!” This phrase is understood by any audience member who has given a speech before. This honest attempt at humor can break the ice and the speaker can relax and continue speaking.

The reaction of the audience will inspire the speaker to press on as he or she believes the audience is less intimidating. The speaker should never state a negative comment as this will plant the seed of doubt in the audience. If the speaker makes a comment of how he or she is boring, the audience will agree and never laugh at any of the humorous punch lines the speaker has prepared becausethe audience already believes the speaker is boring.

Rules Speakers Should Remember

The speaker should try to know his or her audience. The speaker can see what the audience is like by asking questions at the beginning of the speech. He or she should consider the occasion for the speech or current events that may interest the audience. An audience can change so he or she should adapt to the reactions of the audience. Some items for a speaker to remember are not to speak negatively, be careful of foul language, and watch out for political traps.

The speaker should remember in a speech to relax by breathing deeply, avoid tension, and act cheerful. Simplicity is the key by avoiding complex detail and sticking to two or three points. Showing humor is important whenever possible and avoiding overly serious comments help. Creating an image is important to show the speaker’s unique personality or experience.

Last, memorable content in speaking often stays with the audience long after they leave the auditorium. To become a successful presenter the speaker should overcome fears with practice. This is the only sure way a speaker can understand his or her technique in presenting a speech. By keeping it light and humorous, the speaker can relax and make sure the information presented is in the most beneficial way to the audience.

After the speaker has become more comfortable with experience, he or she will know how to present a speech regularly without very much humor and the front of the room will be just as warm as the seat where he or she was sitting.

Patrick Tremblay

Estimating for Exterior Paint Quantity

When estimating for basic paint quantity, the homeowner will need to use this simple formula to calculate how much paint they will need to complete the job.

When the homeowner plans on painting a home as a weekend project, these hints are effective whether they choose to paint the home themselves or hire a professional to expedite the task for them. When determining how much paint the homeowner will need, whether previously purchased or newly constructed, the initial goal is making sure they have enough material to complete the work. Painting is the initial design statement and the ideal way to revitalize the exterior of the home. Painting the exterior of a home adds warmth in style, creates a well maintained appearance, and ensures a cost-effective method for increasing the value of the Home.

Estimate the Right Amount of Paint

The homeowner decides when he or she needs a new exterior paint job, but the only problem is that the majority of homeowners do not know how to estimate how much paint they will need to complete the task. Here are the answers they should know to ensure that they estimate the correct amount of paint. This process is important before putting on a painter’s hat.

When measuring the home, measure the total width of the walls. This includes the entire front, the back, and both or all of the remaining sides of the home. When this is complete, measure the height of the walls and estimate for any angled walls or peaks. Many painters will take an average height, but it is always better to have exact measurements.

Multiply the total width amount by the total height amount. This calculation is the total wall coverage the painter will use to calculate how much paint he or she will need.

One point to remember is that if the home has an awkward area such as a peak or gable, the painter will want to determine the space. A gable is the triangular top section of a side wall. A building with a pitched roof fills the space beneath the roof in which the slopes meet. This is an easy calculation by multiplying the gable's base width by half of the gable’s height. The painter will take this total calculation and make sure to add it to the wall space total.

The painter should never adjust for door and window areas. When an opening space is one-hundred square feet or larger, then the painter makes an adjustment in paint quantity. Other than that, the painter should never make an adjustment. In painting, there are always unforeseen elements, and it is better to have too much paint than not enough.

At this point, the painter will determine what type of paint covering he or she will want to use for the job. A good tip is to read the label of the paint to determine the coverage in square feet per gallon. Because the exterior of a home is unpredictable in dryness and substrate condition, it is best to use paint with a coverage of 250 square feet.

The painter will then divide the total square footage of wall space to cover; by the square feet coverage of the gallon of paint. Painters will always round up to the highest number. Once the painter estimates the highest number, then he or she will know the amount of gallons the painter will need to complete the project.

Other Special Areas for Calculating Paint Quantity

The following areas have special calculations to determine paint quantities. These calculations are guidelines for estimating the amount of paint the homeowner will need to account for when dealing with more difficult areas.

• The first area is the stairs, and the painter will need to include the risers and multiply them by two. Then the painter will multiply this amount by the number of stairs in the staircase to determine paint quantity.
• In regard to downspouts and gutters, the painter will find the front area and multiply it by two. The painter will then multiply that number by the linear footage to obtain the total space.
• When painting a balustrade, which is a decorative railing with its supporting upright posts, the painter will find the front area and multiply that number by four.
• The painter will want to paint the eaves of the home, to do this the painter will measure to find the area of the eaves and multiply the number by two. If the painter decides to paint the eaves and the rafters, he or she will measure to find the area and then multiply that number by three.

This process of measuring for special areas will still need the painter to divide the total areas by the square footage of the paint coverage. The amount of primer used for these areas will vary as the entire home will not require the same coverage as the finishing coat. With these guidelines, a homeowner can sufficiently estimate the correct amount of materials they will need to estimate successfully for exterior paint quantities.

Patrick Tremblay

The Nine Moods of Color

Colors can enhance the reader's mood by stimulating the yin and yang of his or her passions of life and behavior.

Some believe that the nine colors serve as powerful influences in a person’s psychological or mental processes. It's theorized that these nine colors affect the thought process without developing a physical basis of persuasion. In other words, the process of creating a mood is brought about by the feeling that a color creates on a subconscious level; this will influence the mental energy as a reader absorbs the various colors. It's said that these energies are the yin and yang or the chi in a person’s awareness of his or her surroundings.

The yin, or "gentle mood" of colors, will create a more passive flow of energy producing a more calm and relaxing atmosphere for an informal setting. According to Simon Brown, author of "Practical Feng Shui," this ambient setting is suitable for an easy-going event like family-time, evening meals, or a relaxing walk.

The yang, or "exciting hard mood" of colors, will create a more stimulating or formal setting. The correct touches of a yang setting are stark and influenced with crisp lines, and hard tones of strong colors. This setting of electrifying energy is suitable for a spontaneous action; dating, an atmosphere of passion, or that first driving test.

The Yin Moods of Color

One can create a feeling of relaxation by using a buttery yellow in the home; this can be beneficial when used in a more permanent decorating scheme. This light shade of yellow is great for decorating because there is a vast selection of hues to choose from.

Yellow can have a yin or a yang balance and people are apt to either love it or hate it. This lighter tone of yellow should not be in the same category as lemon or sun yellow, as they can produce eye strain and aggravation.

Color stimulation by using a pure color like white can produce an atmosphere or innocence or peace. This monochromatic neutral color can create a feeling of cleanliness or purity in virtually any design. Though white is simple and unadventurous, it can produce a faith or surrender to a more ethereal refinement of beauty. White encourages an activity or process that begins, develops, or increases a crisp interest in décor.

Formality tends to be associated with gray, which is commonly used as an executive color. This temper or frame of mind tends to create a sense of formal behavior. Gray is an unobtrusive neutral shade that can enhance any number of color combinations. Since this color is low profile and melancholy, gray will not detract from one's creativity in an office setting.

Warmth created by a golden orange color can be a comforting hue that's great for decorating the home. Orange is warm and welcoming, as the color adds warmth with tones of tangerine, mango, and a bright sunset glow. Golden orange is cheerful and should be used in a kitchen to create a warm and comfortable setting.

Blue is associated with communication, an exchange of ideas and the act of conveying a clear message. Blues are associated with good company and productivity. Different shades of blue can relax, soothe, and inspire productivity, particularly in youth. The color blue aides in helping children communicate, while creating an atmosphere that's conducive with good study skills and confidence. Blue in a child’s room is said to be an intuitive choice for clear communication.

The Yang Moods of Color

Create an atmosphere of security by using black or darker shades of strong colors, as these are representative of protection and thought. Dark tones will give the illusion of a reduced space within the room, which gives a sense of self-assurance and security, like an embrace. Black is regarded as a timeless color that can create an atmosphere of class and sophistication in the space. This sophistication is best brought on as an accent to the room’s neutral color. An example of this is a soft off-white or tan room, with black trim, accessories or furniture.

Romance is linked to increased blood pressure and the color red has been found to induce the same effect. It's believed that red increases the appetite, while inspiring intense emotions, particularly those that are related to the power of love.

Red is a powerful color, so in most cases, this dramatic hue best serves as an accent color. Certain shades of red with a mellowed shade of orange or brown can also add a comfortable yet cozy effect to the home.
Vitality is linked to a natural blend of growth and vibrancy; the color green is often associated with these concepts, as the color has a natural vibrancy. Bright leafy plants are associated with fertility and nature. The envy of green will spring hope and luck in life to create strength. Chartreuse delivers a large dose of vibrancy, so this color is best used as a splash of color in a harmonious design.

Passion, like romance, uses red tones to increase the flow of chi in a fervor of emotions. A mauve or purple color can increase the passion in various styles of design and fashion. In history, purple was the color of royalty and importance. Today, purple suggests an additional emotion that is part of a particular behavior like spirituality and mystery.

Together yin and yang energy has balance as both are believed to have an influence on mood and behavior. Colors nourish the psyche through sight and emotion. These guidelines can aid readers, as they plan to use color to create a particular feeling or atmosphere.

How to Faux Finish a Positive Effect

A positive faux finish is an application of adding paint and color to walls or the substrate of an item. This effect is popular in decorating and art.

The reader should keep in mind that 98% of all painting failures occur because of poor surface preparation. Whether the painter decides to do a positive or negative technique the surface needs cleaning and preparation before beginning to paint. Cleaning the substrate thoroughly with soap or Tri Sodium Phosphate (TSP) and water will create a grease and dust free surface.

When the surface is clean the painter should make sure all holes, scrapes, and blemishes have a patch and sealed with primer. By priming the walls, the basecoat on the wall is ready for a faux finish technique. A painter’s tip is to tint the primer to eliminate adding too many coats of paint to the wall surface.
Anything the painter does not want painted; he or she should mask off and cover with drop cloths. The painter may want to use tape or strips of masking paper to frame out the ceiling line. This process will eliminate paint on the ceiling as the painter begins the faux finish. Walls with existing texture will work for most faux finishes except for strie, a French form of streaking, dragging or wood-graining. Painters can smooth out the walls if he or she decides to use one of these three finishes and would like to eliminate the bumps in the finish.

A Positive Sponge Painting

After the primer coat or basecoat color is dry, the painter can begin the positive finish process. This effect is applied by using an organic sea sponge. This tool adds the most natural effect on the wall and it can be applied lightly by using a translucent glaze. Glaze is made by using one part color to five parts glazing liquid. For durability, use a polypropylene to the finishing glaze to protect the finish from marks. Faux finishes are very difficult to repair so it is important to use a protective finish coat for the faux finish.
The steps to faux finishing are easy to follow. The painter should pour the glaze into a flat painter’s tray or a pie tin. Rinse out the sea sponge before painting to remove any remaining salt water in the sea sponge. Moisten the sea sponge with enough glazing liquid to begin faux finishing. If the sea sponge has too much glaze in it, the painter should squeeze out the excess liquid until he or she has the desired amount to work with on the wall.

One way to test the effect of the sea sponge is by blotting the sponge on a piece of old newspaper or plastic drop cloth. The sea sponge should leave little blobs or spots of paint everywhere, and the painter can use it on the wall to give a positive effect for a faux finish.

When the painter has his or her wall prepared, the glaze ready in a flat tray, and the sea sponge full of glazing liquid; the painter can begin to apply the faux finish. With the sea sponge, the painter should blot, twist, and turn the sponge in different directions to create an irregular pattern. The painter should attempt to keep the amount of glaze consistent as the appearance of the faux finish should look uniform. If the finish becomes too thin, the painter should add more glaze to the sea sponge to make sure the finish is even in shade.
After a short time, the painter should step back and review the pattern. This frequent inspection will make sure that the pattern is even. If there are any missed spots, the painter can lightly blot in that area without changing the consistency of the finish.

Once the painter has finished the first coat of color, he or she should rinse out the sea sponge and repeat the process for the next color. Most of the time the painter does not have to wait for the paint to dry between coats, but if the painter wants to have the colors not blend, he or she should wait for the glaze to dry before starting the next coat.

Corner and Ceiling Tips for Faux Finishing

• When the painter comes to a corner in the wall or the ceiling line, he or she should take a brush and blot lightly in those areas to keep the regularity in glaze finish.
• Another process is using the back side of the sea sponge cut with a clean edge, like a wedge, to fit as close to the opposite wall as possible.
• The painter can place a large piece of thick matting board against the ceiling line as he or she blots the wall with the brush or sea sponge. Any of these techniques will aid in making sure the evenness of the faux finish is accomplished.

Patterns vary from painter to painter and day-to-day so the person painting should try to stop at the end of the wall and not in the middle. If possible, the painter should try to finish the wall in one process per glaze coat. This will guarantee a consistent finish every time until the entire faux finish is complete. The painter can use this same process if using other applicators like rags or plastic. The painter should remember to have fun and relax; this will always create a positive effect.

Choosing a Color Palette

Choosing a color palette is easy if the homeowner looks at the colors they already use in their home, focuses on what they love, and organizes a plan.

When choosing a decor palette for the house, the homeowner should look through their home for items that he or she love and will keep once they have planned a color scheme. The homeowner may have a beautiful art piece with bright or earthy hues or maybe an heirloom such as a rug or furniture piece that could have a desirable scheme. Some may even choose to copy a color scheme from a china collection that has a pastel theme or style.

This can be a perfect starting point for a palette that will accentuate the homeowner’s personal treasures and style. Once he or she has picked the theme, the homeowner should study the theme piece for colors that are acceptable for the home. Looking through a paint fan deck or using colors that coordinate at the paint store, the homeowner should have a collection of paint samples that they should bring back to the natural lighting of the home for final decisions on paint.

Choosing Proper Color Tones

Once the homeowner has chosen colors to compare to his or her themes, the homeowner should try a variation of the color in different tones to highlight their selection. It doesn’t always work to match everything perfectly; the homeowner could run into an unpleasing situation if they do not explore other variations of color. Hues can be more pleasing by adding brighter or darker complementary accents.
The homeowner may discover a hidden color as they are using art work or a favorite painting or photograph. As he or she selects a color to accompany the art work, the homeowner should make sure that the color enhances the art so it will pop out of the frame. This does not mean the brightest color in the art piece but not a white, either. The homeowner should try a happy medium that will take on a soft hue from a complexion of a character to the intensity of a sunset on a prairie. If the homeowner is using a monochromatic theme of black and white, he or she should try a Smokey gray-beige to a straw gold. It will take guest’s breath away every time they enter the room.

Using Color as an Accent

The homeowner will always want to have guests focus on the accents of the home. By having several shades of the color, the homeowner may direct the attention to a particular area of the room. Yes, the “accent wall” will always come back to design, and if the homeowner remembers to make one wall an accent, it will not become tiring for the homeowner to live in as well.

The whole purpose is to have a homeowner look at the most dramatic aspect of the room, usually it is the first wall they see as he or she enters. For an example, if a guest walks into a bedroom and the bed is against the back wall, that wall should be a darker shade in accent for a deeper or bolder statement than the remaining walls. If the bed has been accentuated with bedding to accompany the rooms shade, the homeowner will have a beautiful accent people will speak of for years.

When accenting a work area or office, the homeowner should make the wall an inspiring shade they love. The homeowner should not put it on the wall directly in front of them, but behind or to the side for a brief pick-me-up. He or she will enjoy this more as it will be subtle and not a huge deterrent as they try to focus on their work and not the walls. Homeowners should save the bold and more playful colors for a non-public area such as the hallways or private zones.

The entrance is also a perfect place for a bold statement. Homeowners will have fun with a splash of brilliance in a hall or closet, sometimes it can increase the interest in cupboards as it is a non-public area. This can add some added surprise as the homeowner walks through the hall or opens a door to a closet.

Creating a Color Theme

Homeowners should pick a palette for the entire home that they can feel comfortable with and not become tired of quickly. Homeowners should avoid using the newest trends, and focus on his or her most precious interests. The homeowner could take this new palette and make a scrapbook or color-board so he or she can see the direction they are trying to place throughout the home. Homeowners should want the palette aesthetically to fit as well as project peacefulness to the eye.

This is not hard to do even if the homeowners are remodeling or starting over fresh. Observe how all the swatches of fabric, all of the color chips, and various surface samples tie into each other, and the homeowner should try to keep it all in the same palette. This will assist him or her in any future endeavors to move onto another project in the home if they can’t do it all at once.

Finally, the homeowner should always carry a color-board or scrapbook with them wherever they go, and if the homeowner finds something that may work with the current scheme, he or she can compare samples on the spot. The homeowner should not forget to enjoy themselves, and always return to look at their choices in the natural light, before they make the final decision.

Complementary Colors

With so many color schemes, it is the opposite of colors that make a bold design. This relationship of opposites appeal to the interior design professional.

Like in romance, opposites attract in design. In designing a complementary color scheme, there is one example to follow that assists the reader in remembering a complementary color scheme of opposites. The reader could reflect on seasonal holidays as a tool in complementary colors.
In remembering winter, one should think red and green; spring, purple and yellow, and for summer the only remaining primary and secondary colors of blue and orange. Colors do not have to be a primary and secondary color only to become a complementary color. A designer could use a pink and a sea foam green to give the same effect. Another method is by using any other two colors on the opposite ends of the color wheel.

Using Complementary Colors in Design

This method of using two opposite colors is not for the timid or weak. Pairing traditional or opposite colors can create an austere contrast and set a mood of energetic or rich excitement. If the homeowner is more faint-hearted, he or she may want to stay with a less dramatic approach in using colors. For this approach, another way to use bold colors is to accessorize with matching boxes or complementary furnishings. One way to keep this delicate is to use a neutral color with the complementary colors. White shelving, brown hat boxes, or black framing can accent the complement of opposite colors.
As described in many design resources, one should design in 60% light tones, 30% medium tones, and 10% dark tones. This will ensure a proper use of colors for the schemes used in design. Neutrals can assist in this process to follow percentages in the use of tones to accentuate a color scheme if the complementary colors are too intense.

Methods to Adding Complements in Color

A good design process is to use an accent wall color. By using this method, one should break up the dominant accent color with fabric that hangs from the ceiling to the floor. This will cut back on the harshness of the accent color to create a layering of tones. This is a good way to reduce the strong dominance of a color used in bedding to coordinate. Dress a bed with many shades to enhance the depth of design. If the color used on the bedding is also accented on the wall this can coordinate a good design. This method of complementing can be useful in applying color to the floor by adding a rug or flooring to make the room more complete.

A complementary color scheme can be very effective when creating a good relationship between colors and design. This scheme of saturated tone brings out the best in each color and can add depth and a strong sense of style. This deeply bold sense of design can influence the look and by adding accessories, accompanying bedding and a decorative piece of art or flooring can add an attractive complement of romance and a desirable illusion of colors.