If you follow us on LinkedIn or Facebook, you might remember our Tinter Tips series. Every week, we shared our insider tips for your paint store. Missed a few of them or even the whole series? No worries. We have them all lined up in this blog. We can divide our tips into three categories:
6. On the other hand, when they do bring a paint sample, always ask questions. How long have they had the sample? Has it been exposed to daylight a lot? Is the sample clean? This is important for the measurement with your spectrophotometer. Other questions you may ask are: where are you planning to paint? What are you using the paint for? What the customer is planning to do with the paint can impact the quality and type of paint needed.
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The PSP term "Local" is also misleading in that the slider adjusts the whole image and to be confined to particular areas, layers and masks are needed as would Photoshop. Lr has the true "Local" adjustment tools that can apply dehaze and clarity and all the other adjustment sliders with one stroke of the brush.
For more dramatic effects like in the 68% local tone mapping example you'll need to use LR or PS's HDR tools. There's a way to do this using a "single" image file with PS HDR Pro's 16bit Local Adaption tools. Here's an example using your before+ltm+sm.jpg file and a LR Export file with +2.0 Exposure and Metadata set to 'Copyright Only.' This allows using the single file with Edit In> Merge to HDR Pro in Photoshop and then selecting Mode> 16bit and Local Adaption. The below image was created this way and then -0.25 Exposure, +50 Clarity, -25 Vibrance, and +50 Dehaze applied to the HDR file inside LR. PSP does the same thing, but you never see the 2nd image created that it uses for local tone mapping.
A few months earlier my paint shop stopped showing my car. I am not a big customizer, I rather spend my time on practicing, so it wasn't bothering me too much lately, but I thought it might worth a question. What do you think, how can I fix it?
I recently picked up a used copy of Forza Horizon 1, since I've been on an Xbox 360 binge as of late. The first game's been a blast so far (it's just as fun as I remembered!), but I'm noticing an issue every time I go to paint my car:
Whenever I enter the Paint Shop and go into the Design Creator, the loading screen pops up, then freezes. After some time stuck in the loading screen, the game crashes and my Xbox restarts. This happens every time I try to paint a car.
The tag shop=paint is used to map a shop where you can buy paint. In a shop of this kind only paint is sold, as opposed to a shop=hardware shops where you can find paints, along with screws, hammers and bolts, etc. The paints might be used for any type of work, from home decoration to modelling.
We were back in the Algarve painting landscapes this October. Here are a few of the images. As before, we were based in the small town of Praia da Luz, outside of Lagos. And, as before, we had great weather and were constantly inspired by the beauty of the area.
The Paint Shop is responsible for interior and exterior painting on campus. Because the highest volume of painting happens in a small window of summer break before students return to school, the Paint Shop also coordinates with many outside contractors to meet ambitious project schedules.
Robert and Sonia Delaunay were spending the summer in San Sebastian at the outbreak of World War I, in August 1914. The fact that Robert had been declared unsuitable for military service on medical grounds in 1908 enabled them to remain in Spain, which was a neutral country; their choice was reinforced by their internationalist and pacifist convictions. In the autumn of that year, the Delaunays moved to Madrid, where they stayed until June 1915; then, after travelling to Lisbon, they decided to settle in Vila do Conde, near Oporto. They remained there until March 1916, and, after another sojourn in Spain-in Vigo-they returned to Portugal and lived in Valena do Minho until the beginning of 1918, when they moved back to Madrid.
During their long stay in Portugal, Robert and Sonia Delaunay contributed decisively to the activity of the Orfeu group, a Portuguese offshoot of Simultaneism, promoted in 1913 by Apollinaire and Delaunay in Paris with the ultimate aim of constructing the artistic equivalent of modern man's vital experience. The incomes they were receiving from their respective families (and which, in Sonia's case, ceased at the end of 1917 due to the Russian Revolution) allowed them to dedicate themselves fully to painting. Thus, their stay in Portugal was one of the happiest and more fruitful creative periods of the Delaunay couple.
Although in 1912 and 1913 Robert Delaunay had executed entirely abstract paintings-in the sense that they totally lacked figurative references-for him abstraction did not so much have an artistic value per se (as it had for Kandinsky and Kupka), as an instrumental value to be used within Simultaneism. The larger and more ambitious pictures painted by Delaunay in the years after his discovery of abstraction, beginning with the famous Homage to Blriot of 1914, are figurative, although they include areas conceived as abstract paintings.
"Robert and I had the opportunity to observe the laws scientifically discovered by Chevreul [...] in nature when we were in Spain and Portugal, where the radiation of light is purer, less misty than in France", wrote Sonia Delaunay. Similarly, Robert stressed the importance of the Portuguese experience. "After the cold and transparent light of Madrid comes a series of paintings, studies executed under the more humane and closer sun of Portugal. A country in which, as soon as we arrived, we felt enveloped in a dream-like atmosphere, of slowness [...]. Violent contrasts of splashes of colour in the women's dresses, of the multicoloured shawls with the cool and metallic greens of the watermelons. Shapes, colours, women that disappear among mountains of pumpkins, of vegetables, in the markets enchanted by the sun [...]".
The works painted by Robert and by Sonia Delaunay in Vila do Conde were a response to this evocation. All of them are based on the experience of the rural market and are interrelated as a systematic series of studies culminating in three large format pictures intimately linked to each other: La verseuse (Habasque, no. 189), belonging to the Muse national d'art moderne, Paris, Portuguese Still Life (Habasque, no. 186), belonging to the Muse d'Art Moderne de la Ville de Paris, and Portuguese Woman (Tall Portuguese Woman) (Habasque, no. 177), which we are analysing here. The first one, slightly smaller than the other two, is also the more figurative. Portuguese Still Life and Portuguese Woman (Tall Portuguese Woman) have a similar format and composition, and only differ in the figure depicted in the second, referred to in the title.
The peculiar effect of chromatic saturation emanating from the pictures painted by Delaunay in Portugal is due to the use of a special technique, a variation of the encaustic method, in which the pigments are mixed with oil and wax. This technique, which the Delaunays had learned in Paris from the Mexican painter Zrraga, also guarantees a greater persistence of the luminosity of the colours, although its practice is slow and difficult, and the Delaunays abandoned it after their stay in Portugal.
The painting analysed here appears with the title Portuguese Woman in Habasque's catalogue and in all the bibliography before 1985. However, since the retrospective exhibition held at the Muse d'Art Moderne de la Ville de Paris (1985), the title Tall Portuguese Woman has become widely accepted. We have adopted it, since it can be thus distinguished from other paintings of a much smaller format, with similar or identical titles-Portuguese Women (Habasque, no. 166), Portuguese Woman (Habasque, no. 172) and Portuguese Woman (Habasque, no. 176).
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PaintShop Pro (PSP) is a raster and vector graphics editor for Microsoft Windows. It was originally published by Jasc Software. In October 2004, Corel purchased Jasc Software and the distribution rights to PaintShop Pro. PSP functionality can be extended by Photoshop-compatible plugins.
From 2006 to 2011 (versions XI to X3), PaintShop Pro was marketed as "Corel Paint Shop Pro Photo". Having dropped the "Photo" part of the name in version X4, Paintshop Pro X5 was derived from Ulead Photo Explorer after Corel's acquisition of Ulead.[8]
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