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Monday, January 31, 2011

Djokovic less than 100 point gap over Worls No.#2 in Tennis.

Novak Djokovic is almost neck-and-neck with No. 2 Roger Federer in the rankings after winning the Australian Open, with less than a 100-point gap between the two. Djokovic gained ground by improving on his quarterfinal finish last year and stopped Federer's title defence by defeating the Swiss in the semifinals. The contest will remain a close one over the next couple of months—Djokovic must defend last year's semifinal in Rotterdam and title in Dubai, while Federer has no tournaments coming off his record.

Neither player had deep runs in Indian Wells or Miami last year, so their performances at the two Masters events are likely to determine who holds the second spot heading into the clay season, and the security of not having to face No. 1 Rafael Nadal until the French Open finals.

Young players with good showings at the Australian Open moved up the ranks, with quarterfinalist Alexandr Dolgopolov rising 14 spots to No. 32 and Richard Berankis going up 22 spots to No. 73. Berankis had a third-round finish that included a retirement win over David Nalbandian in the second round. Qualifiers Grigor Dimtrov and Milos Raonic also received a boost, with Dimitrov climbing 20 spots to hit No. 85 after reaching the second round, and Raonic moving up 58 spots to go from being ranked outside the Top 150 to entering the Top 100 for the first time.

Monday, January 24, 2011

Mixing Art's in to Tennis: Australian Open Updates

Mixing Art's in to Tennis: Australian Open Updates: " Monday, Jan 24

Australian Open Australian Open Melbourne, Australia Type: Men's &nb..."

Tennis 101 Learn to play the game

The basics - learning how to play the game of tennis:

Tennis is played between two players or teams.
Each "set" is defined as playing a single period until there is a winner.  In match play, multiple sets are played to determine the winner of a "match."




Tennis can be played in the following format:
Singles - Between two individual players.
Doubles - Between four players, two to each side (all women or all men).
Mixed doubles - Between four players, two to each side (male/female teams).

One player starts each set as the server, and the opposing player is the receiver.

To start each point, the server stands behind his baseline, between the center mark and the sideline (see Anatomy of the Tennis Court).  The receiver may stand ready to return the serve anywhere behind his side of the net.

A legal serve requires that the ball leaves the server's racket and travels over the net without touching it, and into the diagonally opposite service court.

Sunday, January 23, 2011

Mixing Art's in to Tennis: Australian Open Updates

Mixing Art's in to Tennis: Australian Open Updates: " Sunday, Jan 23

Australian Open Australian Open Melbourne, Australia Type: Men's Su..."

Saturday, January 22, 2011

Mixing Art's in to Tennis: Pros & Cons using Acrylic Paints

Mixing Art's in to Tennis: Pros & Cons using Acrylic Paints: "As in all painting, the acrylic paint technique has benefits and drawbacks. The good things are that: * It is easily dilu..."

Friday, January 21, 2011

Pros & Cons using Acrylic Paints

As in all painting, the acrylic paint technique has benefits and drawbacks. The good things are that:

    * It is easily diluted with water, so there's no need for special thinners

    * Brushes are cleaned with soap and water

    * By and large you use the same brushes and knives as with oil paints, so you don't need to re-invest in this area

    * If you prefer however, an increasing range of 'acrylic-specific' brushes is coming on the market which gives you extra options

    * It dries fast - often within minutes - unlike oils which can take weeks or even months

    * Once dry, you can instantly put additional layers on top without ever muddying the ones below -as can happen with watercolor paints

    * You can paint on a wide range of surfaces including art canvas, watercolor and other types of specially formulated oil and acrylic paper, wood, various types of board - or even use your room walls as large murals!

    * Colors change very little from their wet to dry state - unlike watercolors - so the strength of colour you see first is what you end up with

    * It washes off clothes and carpets when wet, just by using soap and water

    * There is no solvent-type smell, as there is with oils and turpentine

    * Thinned acrylic paint makes an excellent underpainting if you're using oils

However, like all paintng mediums, there are downsides  when using acrylic paint. These are mainly around one of its main virtues... its quick drying properties. Here are some things you need to consider:

    * Drying so quickly makes it difficult to subtly blend paint, as you can with oils - when painting a cloudy sky or portraits for example

    * You have to keep all your brushes moist as you are painting. Never let them dry with acrylic paint on the bristles or you'll end up with a nice-looking set of short garden canes.

    * Paint which dries on the blade of a palette knife is very hard to get off. This can leave a film which may adversely affect the ability of the knife to make a smooth mark

    * You need a special palette to stop your paints drying out as well. These aren't cheap for what they are. (However, read the article on acrylic paint techniques to find out how to easily make one for next to nothing)

    * If acrylic paint dries on carpets, clothes etc, you'll be lucky to get the stain off. So wear old clothes and/or cover the table and floor with an old cloth!

    * If there's any grease on the painting surface, acrylics will not adhere, unlike oil paints.

    * Acrylic paint tends to be quietly abrasive and soon takes its toll on softer brushes. Try using it with a small nylon 00 watercolor brush, for example, and you'll be lucky to get more than two or three good sessions out of it

    * If acrylic paint gets inside the ferrule and dries it's almost impossible to get out without damaging the brush hairs. What then happens is the dried paint makes the bristles spread and the brush loses much of its value as a quality tool

    * Don't leave the tops off tubes of acrylic paint, the contents will go rock hard in no time. If this happens, you throw them away. Full stop

    * Some brands of acrylic paint have small tops on the tubes. They are extremely difficult to get off as the paint dries in the threads.

    * If you have problems gripping small items, you may want to choose tubes which have large caps - or buy a good pair of pliers!

    * Acrylic paint is a close cousin of PVA glue and as such, quite an effective, if somewhat colourful, adhesive.

Thursday, January 20, 2011

Backhand tips

- Effective Backhand Slice

An effective slice can add some much-needed variety to your game.

In today's game, and you see it all the time at the professional leve, players are most comfortable when they’re in a routine of hammering balls back and forth. They like to exchange shots hit from their strike zones, which is between thigh and chest height, and use some degree of topspin on a majority of shots. You can be successful playing this style, but it makes your game pretty predictable. If you work a dependable slice into your repertoire, though, you’ll add some variety to your attack.

A slice is effective for many reasons. If you’re stretched wide, the slice can be a safe, defensive shot that will get you back in the point. When hit as a rally ball, the backspin slows the pace of the shot and keeps the ball low and out of your opponent’s strike zone. And when you’re inside the court, you can be more aggressive with the slice by driving a deep, low, skidding shot that you can follow to net. It’s also the spin you need to be successful with volleys and drop shots. Here’s a quick lesson on the slice for all skill levels.

BEGINNER

OBJECTIVE: Learn the proper swing path and keep your wrist firm.

When players first learn the slice, they sometimes start by drastically swinging down on the ball. Although the basic motion is from high to low (opposite of the low to high you’re first taught for your ground strokes) and back to high, it’s actually fairly subtle. If you hack down severely on the ball, you may put a great deal of underspin on it, but the resulting shot will float and have little pace, penetration, or consistency. You never want to lose that feeling of hitting through the ball. The other thing to stress is keeping your wrist firm. Many players snap or flip their wrists, trying to get pace and spin on the ball, and end up suffering the same problems as those who chop down when they swing.

For a penetrating slice, use a swing that moves gradually from high to low and back to high. This way you hit through the ball instead of chopping at it.

In fact, the swing path of the slice is almost parallel to the court. One way to think of the motion is to compare it to that of a karate chop. You start with your arm bent, and you straighten it out toward contact with a gradual reduction from high to low, keeping a slightly open racquet face. That way you’re still driving the racquet through contact.

INTERMEDIATE

OBJECTIVE: Incorporate your bigger muscles into the shot and learn to cup the ball.

Players who use their whole bodies when they swing are generally more consistent with their strokes. Take the serve as an example: A player who gets good body rotation and uses his shoulders and legs is going to have a more effective serve than someone who just uses his arm. Using the big muscle groups will sustain consistency for the course of the match, whereas using only the smaller ones will cause fatigue (which will lead to inconsistency). With the slice, it’s no different.

To better control the ball’s flight path and add pace to your slice, cup the outside edge of the ball. If you cup the inside, the ball will float with sidespin.

At this point in your development, you understand the proper swing plane of the slice. You can repeatedly use good technique, but if you’re relying on your arm and hand to power the shot, your slice will never have adequate bite or penetration, and late in a match, when you get tired, it could break down. So stepping into the slice with your legs and stretching your arms out (with your hitting arm moving toward the contact point and your off arm behind you) will involve your quads, chest, and back—your best power sources.

Besides using your whole body to hit the slice, you also need to have good feel and control. That’s where “cupping” the ball begins to become important. When you cup the ball, you cut under and around the outside edge of it. If you’re a right-hander, you’re trying to cup the left corner of the ball (the opposite corner for lefties). This helps control the flight path and adds zip to the shot.

If you hit the inside part of the ball, that means your wrist is ahead of the racquet face, which will result in more sidespin than backspin on the shot. It takes great talent to control this type of slice because the ball has a tendency to sail. Cupping the outside of the ball is a much more reliable technique.

ADVANCED

OBJECTIVE: Develop your shot awareness and begin to use your slice as a weapon.

As I’ve mentioned, slice affords a player variety because there are several different ways in which you can hit it. At this level, you can call upon all your options, and understanding your positioning and status in the point will help you determine which slice to use. For example, being on the dead run and far behind the baseline would call for a defensive slice. In an even backhand rally from the baseline, you may choose to use the slice as a change of pace to throw your opponent off. And inside the court, you can move forward and use your slice to attack. This is what I call shot awareness— having a clear grasp of what’s coming at you and what shot to use in response. From this perspective, you can use your slice to create openings by getting your opponent out of position. For example, if you’re in a backhand crosscourt rally and you get a ball that lands short, hit a deep, skidding slice down the line to open up the court. Or from the same position you can carve a short, sharp angle that forces your opponent up and wide into an uncomfortable position— almost like a drop shot, but with more pace and less arc. If your opponent has to attack off that, you’ll have a good look at a passing shot. And if he tries to retreat to the baseline, you’ll have an opening on his forehand side. Players with versatile slices, like Roger Federer and Tim Henman, often use this tactic against clay-courters who are leery of coming to net.

During a backhand rally, a sharply angled slice can throw off your opponent’s rhythm by drawing him off the baseline and wide of the court.


 Basic Backhand Shot:



Step 1.  Racket back eye's on the ball.












Step2. Point and Prepare, point the butt of Racket towards the ball.












Step3. Always keep eye's on the ball at the point of contact, always been knee when hitting the ball.















Final Step. Make your follow through perfect this gives your shot more accurate, complete your follow thr

Tips in Pen ink Drawing..

Basic Pen Shading , Hatching, Crosshatching, Scumbling..
-It is true that we cannot create a tonal value for pen-and-ink because of it solid black line that the pen ink created, I have some tips to achieve a similar tonal value for pen, like pencil does. first we have to create an illusion of this value through Hatching, Crosshatching, Contour Hatching, Scumbling  and Random Hatching, Stippling.

                    
Hatching
The most basic method of creating value in ink drawing is linear hatching. Fine parallel lines fill an area, so that from just a slight distance, we have the illusion of value. The closer the lines are, the less white paper shows, and the darker the value appears. Heavier lineweight (pressing more firmly or using a bigger nib) also gives a darker appearance.










          
Crosshatching
Crosshatching uses layers of hatching placed at an angle. Usually, the first layer would be vertical, the next horizontal, the next at forty-five degrees, and so on. This methodical approach can look a little mechanical, so artists often use variation in direction to add interest.






                 

Contour Hatching
Hatching placed at a slight angle creates a moire-like effect, the diamond-shaped fragments of white paper enlivening the denser areas of value. This technique is often used in figure drawing, with the direction of line helping to suggest the cross-contours of the body. Hatching which follows a contour can also help to make objects appear more three-dimensional.








 
Scumbling and Random Hatching
      -Scumbling, often called the 'brillo pad' technique, uses layers of small calligraphic, scribbled marks to build up value and texture. Varying the direction and shape adds more interest than a simple circular scribble. Random hatching uses layers of short, straight marks. Various textures result depending on whether these short hatches are applied vertically, at right angles, following a contour or at random angles.









Stippling
      -Stippling uses tiny dots to create value. The closer together the dots, the darker the tone. Larger dots create a denser tonal value more quickly, but can look coarse.

Wednesday, January 19, 2011

Trouble with topspin?


-Here’s a simple and effective way to deal with it.
PROBLEM
You have difficulty applying topspin to the ball because you instinctively swing from high to low. It’s particularly common with beginners who equate the motion with hitting a baseball. The resulting shots are slices or flat balls that you have little control over.

For some players, it’s natural to swing from high to low (from shoulder to knee). As a result they can’t apply topspin to their shots.

SOLUTION
To introduce the concept of swinging from low to high, I’ve had success using my old racquet the aluminum one. Stand in front of the court net about half of your raquet length with your racquet back, holding that position. Have someone face while gripping your racquet
firmly by the handle. Now swing the racquet and brush up on with the net take note that always bend your knees when swinging your raquet. If the motion is too level or high-to-low, your raquet will get stuck in the top of the net. But when your swing along the net surface to continue your follow through you’ve got the proper swinging motion needed to apply topspin to the ball. You’ll also improve your extension and follow through. It’s a great way to “clean up” a messy topspin stroke....

**if you can build a structure like this one, you can practice your stroke at home.... good luck with your killer top spin.

Tuesday, January 18, 2011

My Thought's (Mixing Art in to Tennis)


@ ArT

- My passions has become working with objects such as screws, bolts, electronic materials, metals and finish it with fiber glass. I see so much beauty in objects and parts that may have been discarded or seem to have particular use in daily lives but have not importance to others.
My art is very mixed media oriented a collage of materials and parts on layers of acrylic painting and always has fiber glass in it. I incorporate 3-D subject on a 2-d surface. My work represent my inner thoughts and happening in my life.

@ TeNnis

- If you can react the same way to winning and losing, that’s a big accomplishment. That quality is important because it stays with you the rest of your life, and there’s going to be a life after tennis.