Home Builder Developer - Interior Renovation and Design

One of the biggest contributors towards etching is acids, which comes in forms such as cleaners or other liquids. Speaking to Architectural Digest, director of operations for NYC Marble Care Welberson DosSantos explains: "Acids react with the calcium carbonate and eat away at the stone. Wine, orange juice, and coffee can all etch the stone. Stay away from abrasive products or citrus-based cleaners, like Lysol All-Purpose cleaner, because the acids strip the sealer, and over time you will start to see spotting." If you're careful and manage to avoid spilling or using any of these products on your marble, then you may find it easier to avoid any dreaded etching, particularly if you incorporate items such as placemats for drinks and cups.

However, there may naturally be some instances where it's unavoidable, even if you take good care of your marble, especially if you have guests or young, messy children milling around the area with drinks. Unless you fancy patrolling your kitchen like a hawk every minute of the day, these potential etch-triggering scenarios may be challenging to manage around the clock as it'll be virtually impossible to stay glued in the same spot. If you opt for a countertop using this material, your best bet is to get into good habits and familiarize yourself with what products to use and what to avoid, making it easier to prevent wear and tear and help you care for marble to avoid damage.

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The Hidden Downside That May Make You Rethink Marble Countertops - House Digest

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Cleaning your gutters can be a hassle. Leaves and pine needles will drop into them, and they can easily get clogged and overflow, causing you homeownership headaches. Keeping them clear is important, not just during the rainy season, but as winter weather rolls in, as keeping gutters clear will help prevent ice dams from forming on your roof.

But getting up on a ladder to clean out gutters isnt always the safest or most convenient option. Here are some tools and tool extensions that will help you clear out your gutters without ever leaving the ground.

An extension for a standard leaf blower will allow you to clear gutters by stretching the nozzle to roof height and adding an attachment that points down toward the gutter. This universal leaf blower extension kit will work with most leaf blowers and can reach up to 11 feet up. You can also use this extension with a shop vac converted to a blower by switching the vacuum hose from the intake to the exhaust port.

Here are our top recommendations for tools and tool extensions to help you clean your gutters from the ground.

To avoid a climb, use water to blast leaves out of your gutters. You have a few options here. The first is a garden hose attachment that will squirt water from your hose up into the gutter, washing leaves up and over the sides. This telescoping garden hose attachment can reach up to seven feet, six inches into the gutter, making ladders unnecessary on first floor gutters.

If you have lower water pressure or a more challenging packed-in leaf situation, using a pressure washer extension is a good choice. This universal pressure washer extension will reach up to nine feet, and can accommodate up to 4000 PSI to blast caked-together leaves out of your gutters. (Just be careful not to use too much pressure, or you'll risk damaging your gutters.)

If you have a tool that works from the ground, starting with a good telescoping extension pole can set you up for success. A standard seven- to 24-foot extension pole will reach the gutters on most houses, and you can use one pole to swap out multiple tools. Keep in mind that the longer your pole is extended, the more difficult it will be to control.

If you have a clump of leaves or another object like a ball blocking your gutters, fish it out using a grabber on an extension pole. This gutter cleaning grabber is operated using a rope and a pole and can be mounted on most tool poles. Its jaws will open up to about a foot to accommodate even relatively large objectsbut be careful picking up anything too heavy, since the spring operated mechanism isnt geared for major extractions.

For a low-tech option, you can use attach a telescoping handle to a tiny rake that you can angle to reach into the gutter to remove leaves. Since it attaches with standard fittings like those on painters poles, you can use it at whatever extension you like. As its small, this rake might be a little too floppy for larger jobs, but it will get the job done for most standard cleanup operations.

You can also use an inspection mirror to check out whats in your gutter so you know what tool to use to clear it. Discovering that what you thought was a clump of leaves is really a ball can totally change your approach to the project. Add an inspection mirror to your telescoping pole to see whats going on from the ground, and check them out again when you're done to make sure you've cleared everything out.

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Clean Your Gutters Without a Ladder With These Tools and Extensions - Lifehacker

Material

Depending on the type of material of your gutter guard, you may need to maintain, repair or replace your gutterguard within a few years or sooner. Higher-end materials will help your gutter guards last longer, so youll have fewer gutter issues.

Copper

Copper gutter guards are known for their durability and aesthetic appeal. Used in constructing micro-mesh and screen gutter guards, they develop a natural patina over time, which gives them a distinct and elegant look. Copper guards are resistant to rust and corrosion, making them a long-lasting option.

Aluminum

If youre looking for a gutter guard thats lightweight, affordable and easy to install, aluminum gutter guards are highly recommended. Used in constructing micro-mesh and screen gutter guards, these guards are resistant to rust and can withstand harsh weather conditions. Theyre also customizable to fit different gutter sizes for a seamless look.

Stainless Steel

Stainless steel gutter guards are popular for homeowners looking for long-lasting protection against debris, rust and corrosion. Stainless steel guards are typically more expensive than other options, but thats because theyre highly durable and resistant to all kinds of harsh weather and damage. They are typically used in constructing reverse-curve, micro-mesh and screen gutter guards.

Plastic

If youre looking for an affordable and easy-to-install gutter guard, look no further than plastic options. Mostly found in the construction of reverse-curve and brush guards, plastic guards may not be as durable as metal options, but they still offer effective debris protection.

Foam

Foam gutter guards provide an excellent solution for maintaining clear and debris-free gutters. Created to fit snugly inside the gutter, these guards allow water to pass through freely, leaving the debris out of the gutter. Typically crafted from porous polyurethane or similar materials, foam gutter guards offer a practical and efficient way to safeguard your gutters from clogging.

Measuring your roof and knowing exactly how much material you need will ensure you buy the right size gutter guards. Gutter guards range from 3 to 8 feet long and 5 inches wide on average. Once you measure your gutters and roof, a pro can help you pick the best size.

Do you care if your gutter guards are visible from the ground, or do you prefer your roof to look as streamlined as possible? Answering this question will hopefully give you more insight into whether a gutter guard is for you and which type you should get. A key difference between gutter guards is how they attach to your gutters.

The visibility of gutter guards varies depending on their type and design. For instance, mesh guards installed on top of the gutters blend in with the gutters and have a low-profile appearance. Reverse curve guards, installed over the gutters, are relatively discreet but can be somewhat visible depending on their design and color.

On the other hand, certain gutter guard types are more visible than others. Bottle brush guards are noticeable, and the visibility level depends on the bristle length and thickness. Solid covers, which fully cover the gutter, offer great protection but can be more visible due to their design.

An extended warranty is a testament to the manufacturers confidence in their products quality and durability. It can be reassuring for homeowners to know that their gutter guards are protected in the event of an issue.

However, the warranty for your gutter guard system can differ depending on your chosen installation method. If you choose to do it yourself, the manufacturers warranty on the product may vary. This is because proper installation is critical to the performance and longevity of gutter guards, and manufacturers may have specific requirements for professional installation to ensure warranty coverage.

Its essential to understand the terms and conditions of any warranty thoroughly. Some warranties may only cover specific defects or damage, and others may have limitations or requirements for maintenance and installation that must be met to maintain warranty validity. Thus, a comprehensive grasp of the warranty details ensures you make an informed decision and protect your gutter guards effectively.

When choosing the right gutter guards, cost is an important factor, but it should not be the only thing that matters. When youre deciding which gutter guard to buy, consider the value of the protection it will provide against costly home repairs. Often, this value can outweigh the initial cost of purchasing gutter guards.

For instance, while you may be initially drawn to a low-cost gutter guard, its long-term benefits and potential savings are also worth considering. High-quality gutter guards can help you prevent water damage to your homes foundation, siding and landscaping, which are all costly repairs. Moreover, gutter guards can play an important role in streamlining your gutter cleaning and maintenance process, saving both time and money for years to come.

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Best Gutter Guards Of 2023 Forbes Home - Forbes

Different gutters require different types of gutter guard types, some which are more effective for specific types of debris, so select a guard based on the debris your home experiences.

Gutter guards are also susceptible to ridges of ice that form at the edge of your roof, known as ice dams. Ice dams prevent melting snow from draining off your roof, leading to icicles and water damage. We recommend choosing a gutter guard with a heating element if you live in a snowy or icy climate.

Brush gutter guards are easy to install on your own. These guards use large bristles to capture debris but leave enough of an opening for water to pass through. Brush gutter guards are best for large debris, such as leaves and pine cones. Smaller debris like pine needles can get stuck in bristles and clog.

Foam gutter guards are an easy-to-install piece of foam that fits into your gutters. The foam maintains water flow while blocking debris. However, leaves can still build up and clog foam guards, and seedlings can take root and grow inside. These guards are best suited for homeowners who dont have heavy tree coverage.

Micro-mesh gutter guards are a highly efficient option. They have a compact screen made of finely woven mesh that blocks even small debris, such as shingle grit, pine needles and pollen.

Many micro-mesh gutter guard companies claim youll never have to clean your gutters again, which is somewhat misleading. These gutter guards still require cleaning, but they dramatically decrease the frequency. You should clean gutters roughly twice a year without gutter guards. With gutter guards, you only have to clean them every one to two years.

Reverse-curve gutter guards, sometimes called surface tension gutter guards, are among the most efficient options. The guards designs vary by brand, but they all utilize surface tension to push debris onto the ground. Some debris may stick during heavy downpours, but you should be able to brush this off or wait until it dries and falls to the ground.

Reverse-curve gutter guard installation often requires replacing your entire gutter system and moving roof shingles. Be aware that the installation may conflict with your roof warranty.

Screen gutter guards have large holes that block debris as rainwater flows through. These guards are typically made of plastic or metal, but smaller debris may still get through, depending on the size of the holes in the screen. This type of gutter guard is ideal for homeowners in temperate climates who dont have nearby pine trees.

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Gutter Guard Installation Costs of 2023 - MarketWatch

Of the many strengths of Southern/Modern, a daring and revisionist show about the American South at the Georgia Museum of Art in Athens, the one that follows you out to your car is the alternate history of modern art it proposes.

Southern art or food or literature, for that matter has long suffered a reputation of isolation. You cant understand it. You would have to be born there, says the tortured Quentin in William Faulkners Absalom, Absalom! Ninety years later, Southern exceptionalism is over (mostly), and the areas artists and curators and chefs now go to great, overcorrective lengths to be global, to be modern. But the artists of Faulkners day they were still responding to an ancient, haunted South. Their audience was stationary, and their language local. They were regionalists. Or so the story goes.

Not here. These 100 or so paintings and prints suggest an invigorating direction that was there all along: a pungent pairing of social history with artistic experiment during the first half of the 20th century. By bringing together professional artists who worked below the Mason-Dixon Line (exempting Florida) between 1913 and 1956, and as far west as Arkansas and Missouri, Southern/Modern surveys the riches of a stylistic evolution you will find at, say, the Museum of Modern Art in New York the Impressionism that loosened up the 1900s, the Cubism of the 1910s, the Surrealism of the 20s, the modeled social realism of the 30s, the feral abstractions of the 40s and 50s as told by a region often buried in the art history books.

Among its big, engrossing canvases by astute social observers like George Biddle (the architect of the New Deals Federal Artist Project, which gave many of these artists work during the Depression) and Lamar Dodd (a founding father of art education in Georgia), we find a moving imitation of Monet by the Alabama painting teacher and leader of the Dixie Art Colony, John Kelly Fitzpatrick.

The lobes of cyan and mud-green in Fitzpatricks Negro Baptising (1930) jelly into a sunny riverbend. Two parishioners are about to be dunked. In the distance, further stripes of paint indicate hundreds of Black spectators on the bank none personalized but each a person. Around them all, a tall bridge traces the inner margins of the canvas, with the piers of the bridge at right and its guard rail running along the top. Its a framing device George Bellows and other urbans employed to remind us where we, the viewers, stand that is, outside the action. But in Fitzpatricks pastoral setting, the bridge illuminates our subject: A maligned community, in other words, will baptize wherever it must, even under the irksome wagon-clack of overhead traffic.

Curated by Martha R. Severens (formerly of the Greenville County Museum of Art in South Carolina) and Jonathan Stuhlman (of the Mint Museum in Charlotte, N.C.), Southern/Modern broadcasts the latest trends in the presentation of Southern art, such as youll find in the richly contextualized American sections of the Virginia Museum of Fine Arts or the Georgia Museums own permanent collection. In this telling, art is a global and porous affair. And far-flung provinces serve as entrepts to and from the vanguard not just detours to be represented like Nashville hot chicken in the flavor portfolio of Pringles.

Black artists and not just subjects share half the stage, for instance. Take Hale Woodruff, a Nashville resident who studied Picasso in 1920s Paris and learned muralism under Diego Rivera in Mexico. Only the Depression could have brought the painter back stateside, reluctantly, where he taught in Georgia and, on a Rosenwald grant for Black students, studied soil degradation.

In Southland (1936), one fruit of this labor, Woodruff arranges a rural hillside into a stressful, almost Cubist pyramid: at top are the ruins of an old manor house, at right a wasted shack, with dead stumps and tree trunks lying around. After centuries of enslavement, and now sharecropping, King Cotton had sucked the land dry. But Woodruff renders the actual painted earth in tones of salmon and sherbet singing, iridescent hues that negate all the death. Its a Rorschach test: do you see a wasteland, or a vibrant painterly possibility?

By the 1930s, federal initiatives like the Tennessee Valley Authority promised development in the South. For locals, the question became how much new pavement and electricity could be borne by their culture, by their maams and sirs, their gentility, their neighborly warmth. At Vanderbilt University a group of romantic-minded poets, calling themselves the Agrarians, protested the gospel of Progress in a 1930 manifesto called Ill Take My Stand. Robert Penn Warren, aged 25, wrote an essay for the book, suggesting Black people form their own agrarian state a defense of segregation he would spend the rest of his life atoning for.

Less famously, visual artists amplified this fear of advancement. See the sterilized surrealism of the Virginian painter Jewett Campbell, where skyscrapers spring from the natural environment. Or the watercolor satire of Homer Ellertson: in his suavely executed Dean House, Spartanburg, S.C. (circa 1932), a Goodyear service station has set up shop in the front yard of a plantation home. The sepia tone of this work feels retrofuturist, as if were glimpsing some coming destiny from an even later date.

More than Agrarian conservatism, though, the painters in this show echo what the historian C. Vann Woodward later called the irony of Southern history: the fact that, as America dominated the global stage from the Monroe Doctrine to World War II, the southeastern quadrant of the country persisted in a long line of self-destructive, embarrassing regressions, from a feudal regime to a secession attempt to an apartheid state.

Hatred of that history seems to have driven the Virginia-born painter Robert Gwathmey to adopt a style somewhere between primitivism and the illustrated wartime poster. In the ropy, segmented outlines and loud, flat colors of his Sunny South (1944), an angry piece of agitprop on loan from a private collection, workers hunch wearily with their sacks of cotton in an empty field. At left and right, an old plantation and a modern factory straddle the scene. It is an allegory of pre- and post-Emancipation, with little in visible difference for the working class. At center, the sons and daughters of the Confederacy gather around a statue of their departed hero, Robert E. Lee.

Every exhibition argues something by virtue of its parameters, and the dates at play here remind us that the triumph of American art the seminal Armory show of 1913 to the death of Jackson Pollock in 1956 took place alongside the rise of civil rights in modern political discourse.

In When the Klan Passes By (circa 1939), the Howard University painter James A. Porter uses dark but thin brushloads to convey, through the averted eyes of the Black family in the foreground, the private consequences of race terrorism. (If the dumpy Klan cartoons in Philip Gustons current retrospective deserve a trigger warning, Porters ice-bath of domestic fear needs a trigger embargo.) Unlike Porter, Gwathmeys allegory of race, with his setting like Monopoly houses, is an imagined, didactic one: His laborers come in all skin tones, arguing that the old plantocracy divided the classes for many years to come, dooming poor whites as well as Blacks.

This is a model exhibition: a targeted provincial study of the innovations we too often associate with Paris and New York. It will be relevant to the many Northern institutions that house these artists (several appear in the Mets current collection show on the Depression, Art for the Millions). A few blue-chip artists (Zelda Fitzgerald, Thomas Hart Benton, Jacob Lawrence) fit comfortably among fascinating lesser-knowns. Last fall in Los Angeles, I saw (and loved) a similar survey of Korean art. Now I want one on the Rust Belt, Canada, North Africa, India. What did modern mean to the rest of the world?

In January, Southern/Modern will travel to Nashville (a city whose controversial gentrification will let these pictures really talk), then to Charlotte and Memphis. But no farther north. Which is a shame, because New Yorks influence on the South was not only direct and palpable, as the exhibition persuasively argues, but also reciprocal, which the show does less to explore: At Cooper Union in the late 40s, Gwathmey taught the future Pop star Alex Katz. From his new post at New York University in the 1950s, escaping the South once again, Woodruff became a rare Abstract Expressionist of African descent. To the Big Apple, graduates of Black Mountain College, in North Carolina, returned like winged pollinators to a hive. (Representing the Black Mountain contingent here is an early jigsaw-paned composition by one graduate, Elaine de Kooning, and a geometric abstraction by her instructor Josef Albers, a German refugee from fascism.)

The loosey-goosey 1950s close the show, and though Ms. de Kooning is name-brand avant-garde, it was a new abstractionist (new to this reviewer, at least) who really grabbed me. After the war, the printmaker Caroline Durieux, neighbor to Faulkner in New Orleans, sourced isotopes from the Oak Ridge National Laboratory in Tennessee, where the uranium was enriched to level Hiroshima. With scientists, Durieux developed radioactive inks that would stay active for 25,000 years.

One of Durieuxs electron prints, Carnival, Circus, or Green Abstraction (1956), a beguiling centrifugal arrangement of ripples and flakes in hot primary colors, toured Berlin, India and Pakistan in a group show called The Peaceful Uses of Atomic Energy. If that exhibition was some big act of Cold War propaganda, I dont care. It came as welcome relief, after our summer of Oppenheimer, to find such invention and such buoyancy in yet another Southern darkness.

Southern/Modern

Through Dec. 10, Georgia Museum of Art, 90 Carlton Street, Athens, Ga., (706) 542-4662; georgiamuseum.org. The show will travel to the Frist Art Museum (Jan. 26, 2024, through April 28), 919 Broadway, Nashville, Tenn., (615) 244-3340; fristartmuseum.org.

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'Southern/Modern': Rediscovering the Radical Art Below the Mason-Dixon Line - The New York Times

Ferrisburgh, a kestrel at the Vermont Institute of Natural Science, has begun painting for mental enrichment after losing his ability to fly. Anna Morris

An American Kestrel named Ferrisburgh has found a new calling as an artist after an unexpected wing injury took away his ability to fly. The falcon led his first art class this fall at the Vermont Institute of Natural Science (VINS), a nature center and wildlife rehabilitation facility in Quechee, Vermont, where he is now an educational ambassador.

In exchange for a tasty mealworm snack, the bird ran across canvases with his feet covered in nontoxic paint, creating colorful tracks behind him as visitors watched. Meanwhile, wildlife educators told Ferrisburghs story to participants and shared what members of the public can do to help falcons in the wild, reports USA Todays Camille Fine.

The painting kestrel found his way into human care about four years ago, after he landed on the head of a man walking outside near his home in Ferrisburgh, Vermont. The bird was loudly chattering, perhaps in search of food.

After this incident, the man brought the raptor to a local rehabilitator, who concluded the kestrel had likely imprinted on humans. This means that as a young bird, he bonded to people rather than to his own species. The condition prevents him from ever being released into the wild, so the rehabilitator wanted to place him with an educational organization. Ferrisburgh, named for the location where he was found, was transferred to VINS in the fall of 2019.

We dont really know a lot about his early life, but we can assume from his friendly behavior toward humans that he was raised by humans from a young age, Anna Morris, director of on-site and outreach programs at VINS, tells Smithsonian magazine. This is, of course, illegal in the United States. You cant just take a wild bird as a pet.

Roughly the size and shape of a mourning dove, American kestrels (Falco sparverius) are the smallest and most colorfulfalcon species in North America. The little birds have reddish-brown backs and tails, blue-gray heads (in the case of the males) and pale bellies with black spots. Two dark patches on the back of a kestrels head, known as ocelli (or little eyes in Latin), may help ward off predators or protect them from songbirds, which might defend their nests by dive-bombing, ormobbing,raptors.

At VINS, rescued kestrels and other raptors serve as bird ambassadors that help teach members of the public about their ecology and the plights they face in the wild. Ferrisburgh became one of these ambassadors years ago, but this summer, his career in education took a turn. In June, keepers found him on the ground in his enclosure with a fractured wing, reports the Washington Posts Cathy Free. They still dont know what caused the injury.

Ferrisburghs accident took away his ability to fly during educational demonstrations. Still, the institute staff wanted to keep him engaged after he healed, so they began thinking creatively about new activities for the bird.

While working at a different facility as a teen, VINS environmental educator Malerie Muratori trained a crow to paint by holding a paintbrush in its beak. (They aptly named the bird Vincent van Crow.) And another VINS educator, AmeriCorps member Lexie Smith, had also previously worked with birds that created art with paint and a canvas.

With these other avian artists in mind, the team wondered whether Ferrisburgh would be interested in painting. So, in an airy part of the VINS building, they spread out newspaper and some nontoxic paint, per the Post. Using hand signals the kestrel already knew, the team taught him to run through the paint in exchange for a snack. Ferrisburgh seemed to enjoy the experiencethough Muratori and Morris admit he probably doesnt recognize that hes creating artwork. Mostly, they say, hes focused on the food.

He does have one of his little paintings up behind him in his living space so he can see the art hes created. I just dont think he understands the implications of it, Muratori says, laughing, to Smithsonian magazine. Hes certainly unaware that hes an international superstar.

Because captive animals dont face the same challenges as their wild counterpartssuch as escaping from predators, working for their food or having many sensory inputs from a changing environmenttrainers need to create physical and mental experiences that keep them engaged, Allison Martin, the director of Kennesaw State Universitys applied animal behavior lab, tells Smithsonian magazine. Art, she says, can be a good enrichment activity, even though its not necessarily a natural behavior.

Zoos across the United States have painting enrichment available for a variety of animals, including sea lions, elephants, giraffes and macaws.

Its a nice cognitive challenge for them to learn a new behavior, Martin says. Theyre not going to encounter paint in their natural environment, but it is something that is stimulating, or could be, at least.

But she says those working with animals should be mindful of the creatures needs and make sure theyre doing the activity correctly. Like Ferrisburgh, animals creating art should have a choice in whether they participate, she adds. Trainers should use positive reinforcement, such as rewards with a special treat, rather than aversive methods. They also should use nontoxic paint to keep the animals safe and monitor them closely for signs of stress.

Morris says the institute offers daily enrichment activities for all the ambassador birds. But the VINS team thought members of the public would enjoy seeing Ferrisburghs enrichment, too, so they held a family program called Coloring with Kestrels in September. Participants could watch Ferrisburgh paint while creating artwork alongside him and learning about the natural history of the species.

Communicating science to people isnt always an easy task, but art kind of speaks to everybody in its own way, Muratori says. People are there. Theyre getting creative. Theyre opening up those neurological pathways in their brains, and theyre also seeing a very adorable little kestrel also making art. And theyre becoming endeared to him, while also learning about his species and how this species right now is in decline.

While kestrels are the most common of all falcons in North America, they are disappearing. The continent has lost an estimated two million kestrels since 1970or about half the total population, asChris McClure, executive vice president of science and conservation at The Peregrine Fund, tells Audubon magazines Jillian Mock. In the northeast, the birds have fared worse: There, kestrel numbers have dropped about 80 percent in the past 50 years, Muratori says.

Researchers arent sure exactly whats behind the population decline, though some suspect its a combination of factors, including habitat loss and a drop in their insect food sources due to climate change and pesticides. Muratori says programs like Coloring with Kestrels give the institution an opportunity to talk to people about conservation actions they can take, such as building nesting boxes for the birds and not using pesticides on their properties.

In the future, VINS plans to hold a painting event twice a year, says Morris. And Muratori is already eyeing a resident raven that could prove to be a willing artist after he completes his educational ambassador training.

The role of the birds here, as educators, is building connections and empathy motivating people to make little changes in how they live their lives that have huge beneficial impacts on the natural world, Morris says. Thats what were all about.

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Meet Ferrisburgh, a Rescued Kestrel Who Started Painting After a ... - Smithsonian Magazine

by Len Lear

If you were walking down Germantown Avenue in Chestnut Hill recently, you just might have seen Trevor Wade Thomas and his easel-holding tripod, painting a distinctive picturesque local scene. It would be just one of the 100 local scenes he is in the process of painting, most of which are completed.

I just always liked coming to Chestnut Hill, and I am a glutton for old houses, explained the Erdenheim resident. When I am painting, people stop and ask questions. Some of them think I'm a survey worker. There is a genuine cultural interest in Philadelphia people.

In Colorado, where Thomas previously lived, he said the identity is rooted in the mountains. Here, there is a real interest in the community.

People will say, 'Did you check out this building? Did you check out that location?' The community really has a lot of fervor. Some people will ask if they can buy the painting. Of course, the answer is 'yes.' All of them are 6 inch by 8 inch oils. My favorites are churches, Valley Green Inn, Bredenbeck's, the Water Tower and views looking down the street and seeing what the outcroppings are. These things make Chestnut Hill such a cool neighborhood.

Thomas was born in Colorado Springs, Colorado, in 1987. He knew at age 5 or 6, in the first grade, that he enjoyed drawing. My teacher at the time said I had a real talent for it, he recalled. By the 10th grade I was hooked on it. My mom's maternal grandmother was a colorist. Dad was a home remodeler. His dad did mechanical drawing for Goodyear. Dad always had an artist's eye, so I got 'drawn' in and continued to study art.

Thomas earned a bachelors degree, magna cum laude, with an emphasis in studio art from Colorado College in 2010. During his undergraduate studies, he had the opportunity to study in Europe and work with various visual art media. After graduation, Thomas apprenticed for Eric James Bransby, a celebrated muralist.

He worked as Bransby's principal assistant on a mural for the Colorado Springs Fine Arts Center and learned the traditions of egg tempera, buon fresco and traditional mural painting from Bransby, who had studied under Thomas Hart Benton, who initiated the American mural movement of the 1930s. Since then, Thomas has created two murals of his own, including an altarpiece for the Church of St. Uriel in Sea Girt, N.J.

Thomas then came to Philadelphia to study at the Pennsylvania Academy of the Fine Arts (PAFA). I wanted to come east and had never been to Philadelphia, Thomas said. The city and school felt right, and I did make the right decision. The history of PAFA is trying to experience the world through painting.

In 2015, Thomas earned an MFA from PAFA. During his studies, Thomas developed a strong devotion to figuration and anatomy, which remains a central topic in his visual explorations and teachings.

The artist, whose wife, Kim (Malora) Thomas, is a child therapist and Erdenheim native, has taught art at Cabrini College in Radnor and in Colorado. In my heart of hearts, I am an academic, he said, but now I am painting the Chestnut Hill scenes three days a week ... I see the world through shape and light. I grew up a home remodeler's son, so I have a puzzle-like process.

Like many European immigrants, Thomas great-grandfather Augustino DiTomasso, changed his name at Ellis Island. He became Gus Thomas. He was a ceramic tile painter who immigrated here by himself on a boat in 1913 at age 11. I did foreign studies in the town of Bugnara in Abruzzo, where my family came from, Thomas said. I was taken to the oldest man in town, 89. His last name was also DiTomasso. A man took me down a hill and said, 'This is your great-grandfather's brother's house.' That was 2008. A lady who was my grandfather's first cousin said she could see the family resemblance in my face.

Currently, Thomas teaches foundations about materials and techniques both privately and at local institutions. He consistently publishes artistic and educational content on his YouTube channel, the Oil and Earth Studio. His work has been showcased and collected in the U.S. and Europe, and he regularly exhibits his work.

For more information, visit oilandearthstudio.com. Len Lear can be reached at lenlear@chestnuthilllocal.com

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New to the NW, he's painting 100 Chestnut Hill scenes - Chestnut Hill Local

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Pros

Water-based, Easy to apply, Long-lasting

Custom Body Art 1oz 8 Color Secondary Airbrush Water Based Face and Body Paint Set is the perfect choice for anyone looking to create stunning body art. These water-based paints are easy to use and provide a smooth, even finish for a flawless look. The set includes eight vibrant colors that can be mixed to create endless possibilities. Whether you're a professional artist or just starting out, this set is ideal for creating eye-catching designs on both the face and body. Plus, the 1oz bottles are the perfect size for on-the-go use. Don't settle for less when it comes to your body art choose Custom Body Art for a professional-quality finish every time.

Rated 9.6 based on 10

JPOST

Pros

8 vibrant colors, water-based and easy to wash, suitable for face and body

Cons

may require multiple coats

The Paint Brushes Set is a must-have for any artist, whether you're a professional or just starting out. With 20 brushes included, you'll have a brush for every need when it comes to acrylic, oil, and watercolor painting. These brushes are perfect for any project, from painting on canvas to creating body art. The ergonomic handles provide a comfortable grip, making it easy to create detailed and precise strokes. The bristles are made of high-quality material, ensuring that they will last for a long time. This set is an excellent value for the price and is perfect for kids and adults alike who enjoy drawing and painting.

Rated 9.3 based on 10

JPOST

Pros

20 different brush sizes, Suitable for various painting styles, Can be used for body and face painting

Cons

Some brushes may shed

Blue Squid Face Paint Crayons are perfect for kids who love to express themselves through art. With 36 XL makeup crayons in both metallic and classic colors, these crayons are perfect for any occasion, whether it's a birthday party or Halloween. They are safe for sensitive skin and easy to use, making them ideal for parents and children alike. These face paint crayons are a great way to encourage creativity and imagination in kids, and they are sure to provide hours of fun.

Rated 8.9 based on 10

JPOST

Pros

36 colors, safe for sensitive skin, easy to apply

The ESRICH Acrylic Paint Brushes Set includes 80 brushes with nylon brush heads that are suitable for various types of painting, including acrylic, oil, and watercolor. These brushes are versatile and can be used for painting on different surfaces such as rocks, bodies, faces, nails, and more. They are perfect for artists of all levels, including kids and adults. The set comes in a convenient package, making it easy to organize and transport. Get ready to create stunning works of art with this set, which is the perfect gift for any art lover.

Rated 8.7 based on 10

JPOST

Pros

80 brushes, Suitable for various media, Great for art projects

Cons

Some brushes may shed

UCANBE Face Body Paint Set-Athena Painting Palette is a versatile and high-quality set that is perfect for Halloween, cosplay, parties, SFX, and stage makeup. The set includes 10 professional artist brushes and a large deep pan, providing ample space for mixing and creating. The paint is easy to apply and dries quickly, with vivid and long-lasting colors that won't fade or smudge. The set is made with safe and non-toxic materials, making it suitable for all skin types. Whether you're a professional artist or a beginner, this set is an excellent choice for all your face and body painting needs.

Rated 8.2 based on 10

JPOST

Pros

10 professional artist brushes, large deep pan for ample paint, ideal for Halloween and cosplay

Cons

may require multiple layers

The Face Painting Kit for Kids Party is a must-have for any parent looking to entertain their children. With 20 water-based, non-toxic, and sensitive skin paints, 3 glitters, 2 hair chalks, combs, 3 paint brushes, 40 stencils, and 2 tattoo sheets, this kit provides endless creativity and fun. The paints are easy to apply and remove, making it perfect for kids' parties or playtime. Parents can rest assured that their children will be safe while having a blast with this kit.

Rated 8.1 based on 10

JPOST

Pros

Non-toxic and safe, Includes 40 stencils, 20 vibrant colors

Cons

Glitters may be messy

The 42PCS Face and Body Paint Crayons set is the perfect addition to any party or festival. These safe and non-toxic crayons come in a variety of colors, including 14 metallic shades, making them ideal for birthday parties and other special occasions. Kids and adults alike will love using these easy-to-apply crayons to create unique and colorful designs on their faces and bodies. Plus, the compact size and convenient carrying case make them easy to bring along to any event. Overall, this face painting kit is a must-have for anyone looking to add some fun and creativity to their next gathering.

Rated 7.6 based on 10

JPOST

Pros

Safe and non-toxic, 42 different colors, Suitable for face and body

Cons

May not work on all skin types

The Soucolor Acrylic Paint Brushes Set includes 20 round pointed tip artist paintbrushes, perfect for acrylic painting, oil painting, watercolor painting, and more. These brushes are great for canvas boards, rocks, body painting, face painting, nail art, and ceramic crafts supplies. Made with high-quality materials, these brushes are durable and easy to clean. With a variety of sizes, this set is perfect for both beginners and professionals alike.

Rated 7.5 based on 10

JPOST

Pros

20 different brushes for variety, Suitable for various painting mediums, Multipurpose for different art forms

Cons

Some brushes may shed bristles

The Yellow Oval 24 Pcs Face Paint Sponge Petal is a high-density face painting sponge that is perfect for both kids and adults. Made from high-quality materials, these sponges will provide you with a smooth and even application every time. Whether you are using them for art work, Halloween makeup, or body paint, these sponges are the perfect tool for the job. The yellow color is bright and cheerful, making them a fun addition to any painting session. With 24 sponges included in each pack, you'll have plenty to last you through multiple projects.

Rated 7.1 based on 10

JPOST

Pros

High density sponge, Suitable for kids & adults, Good for face painting

Q: What are some essential face painting supplies?

A: The most important face painting supplies include face paint, brushes, sponges, and water. You'll also need a mirror, wipes, and a towel. Be sure to choose high-quality paint that is non-toxic and specifically made for use on the face.

Q: How do I choose the right type of face paint?

A: When selecting face paint, look for a brand that is specifically designed for use on the face and is non-toxic. You should also consider the color range, as well as the consistency of the paint. Some people prefer creamy paints, while others prefer more liquid formulas. It's also important to choose colors that are bright and vibrant.

Q: How do I clean my face painting supplies?

A: To clean your face painting supplies, start by rinsing your brushes and sponges with warm water. Then, use a mild soap or shampoo to cleanse them thoroughly. Be sure to rinse them well and squeeze out any excess water. Allow your brushes and sponges to air dry completely before using them again. You should also wipe down any other tools or surfaces with a disinfectant wipe to prevent the spread of germs.

After conducting extensive research on a variety of face painting supplies, it's safe to say that there are a multitude of options available for individuals looking to create stunning designs on their skin. From airbrush paints to face painting sponges, the variety of products available cater to both beginner and professional artists alike. It's important to consider the type of event or occasion you'll be using the supplies for, as well as your level of skill and experience when selecting the best products. Ultimately, the right face painting supplies can help bring your artistic vision to life and leave a lasting impression on those around you. So whether you're looking to create intricate designs for a Halloween party or simply experiment with body art, there's a product out there that can help you achieve your desired look.

Link:

10 Best Face Painting Supplies for 2023 - The Jerusalem Post

Under the latest and popular online series of Indira Gandhi Rashtriya Manav Sangrahalaya entitled Exhibit of the week Magar Aur Kachhwa- A gond painting collected from Gond communities of Mandla Madhya Pradesh in 1999 displayed in the audience as the First Exhibit of the month of December 2023 through official website, Facebook, Instagram and twitter page of the IGRMS.

In this regard Amithabh Pandey, Director, IGRMS said that the Magar and Kachhwa is a painting made by the famous Gond artist late Jangarh Singh Shyam.

The painting depicts the image of a Crocodile and a Turtle. Among the Gonds the Crocodile represents strength, wisdom and protection while the he Turtle stands for stability, wisdom and ability to adopt which symbolizes the resilience and harmony found in nature.

The Gond painting tradition is deeply rooted in mythology and folklore.

These paintings are popular for filling the surface with unique motifs, the form, shape and size of the motifs are influenced by nature, beliefs, folklore, culture and traditions. The traditional motifs usually carry a special significance.

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Gond painting by Jangan Singh Shyam on display - Daily Pioneer

Welcome to this stunning executive home in Country Club!! This property has everything you'd ever want in a home. The fantastic kitchen features St. Charles Cabinets with updated cabinet fronts with burled walnut. Just off of the kitchen, you'll find a lovely entertaining space with gas fireplace, perfect for a cozy dining spot to overlook the pool, sitting area, or even a library area. Past the kitchen, you'll find a spacious laundry room with extra pantry space,St. Charles cabinets with burled walnut fronts,two desks, pull out drawers, and enough storage space to keep all of your extra holiday decor, crafting supplies, and more. This home is handicapped~accessible with a ramp from the garage, a concrete ramp around the terraced gardens in the backyard, and a handicapped suite in the home's addition with a lifted tub for easy maneuverability for a Hoyer lift. Next to this room, there is a guest bedroom with half bath with gorgeous tile work. In the upper levelof the addition, seller has added an executive office, with access to both original attic and garage attic for storage. This room has a walk~in closet and could be used as a bedroom. Seller has updated the basement with crisp, clean luxury vinyl plank floor in the family room (26x18), bedroom with egress (11x18), full bathroom (9x6), and the walk~in closet has carpet. This would be a great space for a live~in caretaker!! Grab your drink and your lawn chair to relax by the freshly~painted pool, under the ginkgo tree. Seller has improved the stone and concrete work to create a beautiful, relaxing, oasis. Enjoy the sounds of the fountain while you have your morning coffee. The lovely cabana with has an updated, fully functional kitchen, built~in entertainment center, a guest bedroom with closet and private 3/4 bathroom, and another 3/4 bathroom for the pool guests. The cabana hosts the pool equipment. Seller is offering buyer a $15,000 appliance allowance...

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Luxury homes on the market in Siouxland - Sioux City Journal