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Pls send me the ebook chidosky4ril yahoo. Your email address will not be published. The most in-depth guide to poultry farming anywhere , right now. How to calculate the costs involved in running a poultry farm? Where to begin with starting up a poultry farm? How to sell eggs and chicken successfully to restaurants? How to decide if you could afford to leave your job for a poultry farm business?
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How much land is needed to run an adequate poultry farm? The best part about it is the content is suitable for any market, any country, using any bird! When discussing things with other designers, and possibly, with clients who know a bit about design, how can you make yourself come across as a credible designer who can deliver what is asked from him?
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There is often a belief that you get what you pay for. Below are awesome PDF files and e-books that you can use to widen your design knowledge, or at least, brush up on the basics. Typography still proves to be one of the most crucial elements in design, especially if you want to make your message crystal clear. This e-book teaches you a lot of the basics, and a few of the advanced stuff as well. You get Volumes 1 and 2 of Interaction Design Best Practices, which discusses establishing emotional connections through your work, proper use of empty space, figuring out habitual human behavior when creating your design, and a lot more.
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We pushing them out. If you now look at figure can immediately see that the form in these 6, you can see that the area of the neck has a circumstances tends to be denied. This, sense of form and volume. This is due to the however, does not make one drawing better use of convex lines that work in tandem with than the other.
Both are expressions of what each other. Drawing after Egon Schiele with emphasis on concave lines. The superficial muscle. It is made by using the charcoal on changing planes of the form within the its side to make this precise line. This method figures. Pose the model again charcoal will be used to show an expression and make a further drawing over the first of movement.
Pose the model; make the are feeling. This is a sensation that we want to drawing of the model using outline as create, as it is only when you are lost that the 1a. This is a very useful and start to place it over areas of the drawing. What we have created appear for you to make larger drawings from. One way of doing this is to take a small window mount 1b. From these movement, take a window mount and place discoveries you can make larger exciting it over the drawing to create new dynamic drawings.
While you are doing the drawing, the model should repeat these movements at the same pace. Start your first drawing at a very slow pace. As you get used to the method of drawing, you can then speed up. Remember you are not drawing the model but the action. What you are trying to draw, using line, is a continuous flow that gives a sense of the action of the model as they move through space and time. This in effect means that you do not take the charcoal off the paper as you are making the drawing.
However, you should allow for different weights of mark that express movement both across and into the picture plane.
The viewer the same subject on the same picture plane. Artists such as Picasso and Braque around to take up different positions. The 1a. Position one of the objects in the group in a central position; this is for reference reasons in the following drawings.
Start your second drawing over mount and place it over the drawing in the top of the same drawing using the central different places until you find an interesting object now as your reference point to composition that you would like to compose your drawing.
This point will be transpose. Once you have made your larger your main point of departure for your next copy of this section you can now begin to drawing, as it will help you as the drawing shade the drawing in as we have shown you develops and becomes more complex. When you have finished you will have three linear drawings from the same still life done over the top of each other. The shaded drawing. However, one should very large line drawings or covering very try to make the area as clean and as light as large areas of tone quickly.
In this project, we possible to give a good sense of contrast. In addition, give attention to textural You now need a good strong plastic and other detail where necessary. When you eraser to take out the charcoal to reveal the have finished the drawing, as with all light. It is probably a very good idea to charcoal drawings, you must remember to illuminate the still life as we have done here fix them.
Inks, traditional brushes, Oriental and flat head. Ink will offer you the tight, you will find this section of the book controlled effect that you may sometimes challenging. Ink in its most fluid form and feel is lacking in your drawing.
If you are in used in conjunction with non-traditional this category my advice is to start your applicators will expose you to the experience drawing with the freedom you feel is of letting the processes and the nature of the necessary to your style - one cannot deny the medium be your guide.
This approach may instinctive flow, it comes naturally. I would bring you unwittingly to satisfactory visual do a wash drawing - a landscape would be a conclusions that you would never have good choice of subject - with ink and a flat- entertained in your work previously. You will headed brush. This combination will allow find, however, that your innate sense of your instinctive creative energy to be control will always act as a safety net and stop released into the drawing. It is now time to the processes getting completely out of bring that element of control or detail into control.
This is exactly the type of balance we the drawing that gives it that much needed should be striving for as artists. To do this take a rotring pen or a If, on the other hand, you are a more dip pen and put in the fine detail over the emotional kind of artist who sometimes freer wash drawing to give it the contrasting becomes frustrated because you have a sense of tension.
We call this approach propensity to allow the process to run away working from the general to the specific. Although pencil specific books, but basically it is the soot of and charcoal have certain attributes and burnt resin or cherry pits mixed with an characteristics, drawing with ink is so much aqueous binder a solution of gum water.
The very nature of the ink as a made into a paste, which is then shaped into substance and the multiple ways that it can sticks and allowed to dry.
To make the ink, be applied as a medium gives it a wider the stick is then rubbed onto an ink stone or spectrum of use both in traditional and ground glass. This is a stone or a piece of experimental ways.
Personally, I have found glass that has a fine textured surface, and that working with ink can help correct our when the ink stick is rubbed against it, it weaknesses and enhance our strengths.
The residue is placed in a Artists tend to develop traits and these tend shallow bowl and slowly mixed with distilled to fall into two types. We can be artists who water until the right amount of liquid ink is are very much controlled by our intellect or made to the right strength. Alternatively, we can function brought from any art suppliers and needs no by allowing the processes to take us to a preparation.
It is pure black and permanent visual conclusion that is furnished by a more when dry. The ink can also be diluted with emotional, expressive approach. Each one of water to produce washes. Ink is a medium that allows comes in different colours that range from these innate qualities to flourish.
Bistre is made from soot containing you to the medium of ink drawing with its wood tar. Other tones of colour can be traditional uses and its more experimental obtained by using different woods. By taking approaches, but it should also give you the the soot from different levels of the charring opportunity to adjust your attitude towards one can vary the intensity of the tone. This in turn will broaden your Because of its strength, this type of ink is visual acumen.
Sepia is obtained by mixing bistre with the Chinese or Indian ink are the most widely ink obtained from the sacs of squid. This was used inks for drawing purposes, including what Professor Seydelmann of Dresden did technical drawing, brush drawing, in , and in the process invented a calligraphy, washes, and other ceremonial drawing medium that is stronger and darker uses.
The tip of this type of pen can become worn quite quickly and the There is a vast array of pens that can be used sharpness of the mark can be lost. These for many different reasons by artists. Bristol board.
See the example of an and different tip shapes. These drawings are usually pro- to make very general quick but accurate duced to give an impression to a client of a drawings that are free flowing. It is difficult proposed site, and are usually completed to correct fibre tipped drawings so mistakes with a hint of colour.
One can get fibre tip should be taken as a part of the process with pens in many colours. The ballpoint can also be Ballpoint pens make a consistent and used on thinner papers, and like the fibre tip permanent mark. One can create a dark line pen, it is hard to remedy mistakes. Remember that drawing with this type of Ballpoint pens can be used for both very pen is usually exploratory in nature so you mechanical or very fluid drawings. They can should accept your mistakes as a part and also be used for making very quick sketches parcel of the learning process that exposes and notes and can be very useful for working your thinking procedure.
There is an example of a felt shaped tips like the fibre tip pens. These tip drawing on page Here we have a pens are best used for quick drawings and drawing that reflects the use of the different sketches and as with the other pens thickness of felt tip pens, and notice the mentioned so far it is difficult to correct your openness and the freedom of mark used to mistakes.
They also come in many different create this drawing. Otherwise they will clog up. These are more personalised instruments Non-waterproof ink is also useful for using than the pens previously mentioned, and if with bleach to draw.
I have not given any you use a fountain pen you should not allow illustrations of marks made with fountain any one else to use it as it wears to your style pens because they are usually associated of writing or drawing with that instrument.
These pens are used for very Rotring pens is controlled through a needle accurate drawings and are generally used by type tube to create a fine definite line.
The professionals such as Architects and line produced is even and consistent and Designers. Drawings are usually done to nibs of different thickness and grades can be scale and are precise working drawings. Cooking hob for. There are now software packages 3. Eye level oven available that enable you to produce 4. Sink and drainer computer-generated plans, but the point of 5.
Washing machine characteristics of a pen that gives a 7. Man-hole cover controlled flow of ink through a needle 8. Storage and work tops point. Dustbin 6. They are usually Mapping pens or nibs are used for very made from reed quill or bamboo, and are fine detail only and fine cross-hatching.
The different Gillot nibs are designed to However, you can make nibs for your own give you a more varied line according to the needs with a sharp knife, razor blade or a angle that you hold the pen, and the quill cutter.
One can also make marks with pressure you apply. The flow of ink to the other materials cut into nibs. Here are a few nib from the dip pen is very different to the suggestions. A plastic straw can be cut and flow of other pens. It is less consistent and used as a quill, or a sharpened matchstick or therefore has to be continuously dipped into a piece of twig. Almost anything can be of use the ink to replenish your supply. Dip pens to dip into the ink to draw with.
So do not be can be used very openly and expressively in afraid to experiment with your drawing the nature of mark making or they can be implements. Dip pen. Natural pen. Make brushes. On the other hand, we can use the sure you dry them and that you store them brush for what we call brush drawings. If The Chinese and the Japanese still use you cannot afford sable brushes there are brushes as drawing and writing imple- other less expensive alternatives.
These ments. The brush is also still used in these brushes are usually made from ox hair, cultures for ceremonial purposes. Brushes squirrel hair or some form of synthetic are very versatile, and they are usually made material. I would also suggest that you try of sable. It is essentially a brush making. Sable brushes are expensive to buy, so it different types of brush: an Oriental brush, is wise to look after them.
Never leave them a flat head brush; and a round head brush, standing in ink or water for any length of which is a Western version of the Oriental time and always clean them after use in the brush. They come in various sizes from A5 to A1, Inexpensive papers can be used for quick and you can get various types of paper, from sketches, working on them with cartridge paper or ledger bond paper to manufactured pens such as the ballpoint, watercolour paper.
This is a hard white board that is smooth and The fibres of the paper will expand when is used by designers for fine pen work. These papers are very useful to use, Do not worry if you see bubbles on the particularly for brush and washes. Allow a good half sketchbooks are necessary. They act as visual a day for the paper to completely dry and diaries, where you can put down and record then you will have a smooth surface to work your first thoughts, visual jottings, and notes on that will take water without it buckling.
You must first stretch the drawing. One used a Chinese white, which paper on which you are about to do the was zinc white prepared paint that was drawing, then cover the whole surface with a painted over the offending area. However, liberal coating of ink. Allow this to dry. You the stain from the ink would often keep can now paint different solutions of bleach showing through.
You could also remove the onto this surface. An important point to mistake from the paper by using a razor remember is that the stronger the bleach the blade or a pumice stone. One could only use lighter the areas will become. Before this method if the paper was durable embarking on this technique, you should enough. However we thankfully have make some practice drawings to experience modern correction fluids and pens that will the unusual effect first-hand.
For examples cover the strongest of marks without any of this type of drawing, see page The pen WARNING: Please remember the health and can be used to cover very intricate work and safety aspects when using chemicals: always as a drawing instrument in its own right. The read and follow the guidelines for use. Make the appropriate marks to describe the scene and then correct any mistakes. If you are happy with this initial drawing, go over these marks using your dip pen. Always try to recreate the varied use of mark already there, then proceed to go over the drawing with washes to give it its tonal base.
Pen, ink, brush and correction materials As in the previous section we are going to use correction materials as a positive element alongside the other materials. It is a way of paper. Drag the end of the quill across the making a personal vocabulary of marks that paper, applying different pressures and can be used as references for future moving the quill in different directions. Then drawings. I can explain how I made my try to make dots with the quill end.
You will examples but it is very important that you find that you need to replenish the ink quite expand upon these and discover your own frequently for these procedures. Now try natural method of working. You can use any dipping the feathery end of the quill into the type of ink; I used Indian ink. The ink and work the ink across the paper by implements used were chosen at random, dragging allowing the ink to naturally thin just to give you examples. You will find when you first cut three channels with a sharp knife making apply the stick that, as with the feather, you a row of jagged teeth.
I dipped the teeth into will make a more opaque line. This will the ink and then made different types of gradually thin out to a series of lines that marks with the wood by dragging in different become less dense in tone as the ink thins. You will notice by fine artists. Dip the brush into the ink; the dot impression fade as the ink runs out. Holding the brush vertically, dab it onto the paper. However because the ink in the drawing with ink. Strip the cotton wool off stem is very free flowing, this implement can one end of the bud and, using a pair of be used to achieve a splatter effect, by scissors, make a diagonal cut across the stem making a stabbing motion.
You can also use to give a pointed end. This end can then be the other end of the cotton bud. Dip this used for making marks smilar to the type you into the ink and you can make thicker would get with a regular dip pen. The hollow heavier lines or tonal areas varying from stem of the converted cotton bud will hold a black to grey.
Aim it at the paper and then pull your speckled effect. You can also use the brush thumb over the bristles of the brush, firing to apply the ink as though you were drawing speckles of paint at the paper. In this way with it. Ensure that the using different hand motions to create a frayed area is quite tough and resistant.
Dip variation of marks. The trunk of the tree has been imagination, two elements that are very useful created by dragging the piece of string up the resources for artists to draw upon.
If we start at the top of the drawing, you will The grass in the foreground has been notice that I have used the string in a twirling produced by dragging the string in short motion to give the effects of leaves. The space in the Sometimes I have built up the tonal areas by background has been achieved by making just making them darker and sometimes I have a few varied marks to imply distance.
The amount of ink the brush is holding will also Oriental brushes are traditional brushes have an effect on the nature of the mark. As used in Chinese and Japanese drawing and you can see some brush strokes are strong calligraphy.
The brush was traditionally in definition and some are more textured - used by holding it vertically to the paper others are tonally lighter and more and making the marks with free rhythmical sensitive.
In the example shown on page strokes. They are dynamic drawings governed by a strict tradition of mark making. However, you should not be restricted by the traditional approach. Hold the brush in a way that is comfortable for you and make the brush strokes without any preconception of what might occur. You will learn most by taking this approach. In the following series of examples you will see that there are different degrees of freedom in the kinds of marks made. The marks that imply leaves or grass are where the body of the brush is placed onto the surface of paper and gradually pulled in an arched direction whilst gradually lifting 2.
Other marks to create natural forms such as grass can be made by putting the point of the brush onto the paper and dragging it across the surface for a short distance in a series of slightly differing directions.
You can create a series of dots by placing the end of the brush onto the paper. Rows of vertical and horizontal marks can imply texture, perhaps a weave or a basket, or could be used to suggest windows in a building.
The accidental spillages add to the dynamics of 3. We can see that control in making the mark has been removed, so what you end up with is largely dependant on chance. The accident in making art has been positively used by many, or even most, artists in their work, particularly contemporary artists.
We have only to look at the work of Jackson Pollock and other abstract expressionists, the drawings of Ralph Steadman, Richard Diebenkorn and, in the past, Rembrandt, Delacroix and Leonardo da Vinci to find examples of this approach. To make a splatter simply load the brush with ink, and throw the loaded brush at the 4. You can use any ink. When you first attempt the technique, the splatters should be random.
However, like Jackson Pollock, once you become experienced, you can start to use it with more direction. You should find that it puts you more in tune with the emotional side of your creative nature, and helps you to expand your ability to discover how accident can be a means of expressing an idea or observation.
Imagine looking into the sky at a cloud formation and seeing something that you recognise as an image. This is a perfect analogy of splatter technique. Sometimes they designed to lay down washes but at the same have a life of their own when they are spread time it is a very useful tool for making on the paper.
Washes are areas of tone that but try to learn how to manipulate the effect.
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