What does the Distributor need to do

It is imperative that a meeting takes place with both Manufacturer and 'Poor Performing Distributor' around the table. At that meeting both sides must state their aspirations for the business. Invariably the Suppliers aspirations will be more ambitious than those of the Distributor. The skill now is to bridge the gap between what the two parties aspire to. What does the Supplier need to do to help the Distributor perform better, and by when? What does the Distributor need to do to make more sales, again by when? What do both parties need to do to resolve the issues? Again, planting seeds is important, so that the Distributor develops ideas along the lines of the Suppliers thinking. A specific action plan needs to be put together to meet the immediate objectives, with a longer term ongoing plan to sustain the higher levels of business, once growth has been achieved.

Formalising a reporting structure is a key strategy. Careful consideration regarding a format is important. Too complex and the Distributor will procrastinate, or even worse, ignore. It needs to be easy for the Distributor to deal with. It needs to be in a format that allows the Supplier to benchmark each Distributor.

The frequency of reporting is also a consideration. For high volume fast moving products, perhaps a Monthly report is needed. With longer sales process items (eg Capital Equipment) a quarterly report may suffice.

Expect some resistance to formalised reporting. The Distributor may need to be coerced, even incentivised. Explain that reporting from all Distributors will allow a better flow of success stories and cross referrals, hence greater business opportunity. And for those who stubbornly refuse to report, and are not performing well, now is a chance (contract allowing) to sever business relationships.

There will always be an element of 'Us and Them'. And of course the Supplier must respect the fact that the Distributor has other priorities too, as they are likely to represent other suppliers. However, getting the Distributors together once every 12-18 months for a conference, training and intelligence sharing event is likely to pay dividends for the Supplier. It will engender a sense of worth and belonging for the Distributor.

"All this is all very well, but my Company has 25 Distributors, they are based anywhere from New Zealand to Alaska, Singapore to Brazil. How can I reasonably be expected to do all this?" A very reasonable question. First, a network of this size will need more than one person to manage it. Second, it is important that you take the time (albeit sometimes infrequently) to visit all Distributors. For those far away, it can be prudent to engage the services of a specialist Sales consultancy local to the Distributor, who can monitor the Distributor with 6 or 12 weekly progress meetings, and instill good sales practice at the same time. An independent Sales consultant will understand the Suppliers objectives, the local culture and trading conditions, and provide an unbiased assessment of the progress and challenges.

It is interesting to talk to Supplying companies who believe the Distributor route has failed them. It is always the Distributors fault, or is it? Perhaps a recognition of joint responsibility may have yielded an all together different outcome. And perhaps now, on reading this, the realisation of this responsibility is becoming apparent.

Some Suppliers have recently stated to me that "We believe we can do an equally good job in the territory without giving away all that profit." I cannot argue with this view one way or another as there are many options to doing business. Of course each come with a cost associated to them. Careful consideration of overheads, employment, local laws etc are vitally important.

The underlying message is that you need to work with your led strip distributor to gain the rewards. Both time and money must be invested. Mutual respect and spirit of cooperation are key.

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You will save money with using less paint

Most Modern Oil Paintings that I have worked with are simply too stiff right out of the tube for my particular style of painting. Mediums will help dilute the oil paint and make the paint flow better, which means you will be using less paint. Using less paint, means you will save money.

There are many different kinds of mediums that are used for different reasons, like speeding up the drying time of paint, improving gloss, etc. Do not be overly concerned with mediums right now.

I like to start my painting using thinned down acrylic paint. I first tone my entire canvas with a neutral color. I then draw in my composition using different values of the same color. I let this initial drawing dry over night. I then apply the oil paint using the fat over lean oil painting method.

Lighting:This is a very important part of oil painting. Without proper lighting, you will not be able to accurately see your colors. The best kind of lighting is natural sunlight, so if you have the opportunity to paint in a well lit room or outdoors, that would be ideal. Of course not everyone is blessed with this type of situation, so the next best thing is to use lighting that mimics natural sunlight.

This type of lighting is referred to as "full spectrum lighting". There are number of different full spectrum lighting products available. Just do a search on Google for "full spectrum lighting" and you will find a number of websites on the topic.

Safety:Understanding of the internal chemistry of oil paint systems at the different stages in their lifetime lets you test the authenticity of the oil paintings from your home. In older days, artists used to give a layer of varnishes to protect the painting. Analysing the material the painting was done on will give a picture about its age. Understanding the colors used, their combinations, theme of painting, any signature on the paint etc help us find out the period the work was done.

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Oil Painting Technique And Some Instruction

The following is a list of frequently asked questions about the BOB ROSS Oil Painting Technique and some instruction about the use and care of the materials.

BLENDING:This technique refers to the softening of hard edges and most visible brush strokes by blending the wet oil painting for sale on the canvas with a clean, dry brush. In blending, an already painted area is brushed very lightly with criss-cross strokes or by gently tapping with the corner of the brush. This gives colors a soft and natural appearance. Not all oil paints are suitable for this technique - most are too soft and tend to smear. Only a thick, firm paint is suitable for this technique.

MARBLING:To mix paints to a marbled effect, place the different colored paints on the mixing area of your palette and use your palette knife to pick up and fold the paints together, then pull flat. Streaks of each color should be visible in the mixture. Do not over mix.

THINNING PAINTS FOR ADDING HIGHLIGHTS:When mixing paints for application over thicker paints already on the canvas, especially when adding highlight colors, thin the paint with LIQUID WHITE, LIQUID CLEAR or ODORLESS THINNER. The rule to remember here is that a thin paint will stick to a thicker paint.

CLEANING AND DRYING THE BRUSHES:Painting with the wet on wet technique requires frequent and thorough cleaning of your brushes with paint thinner. An empty one pound coffee can is ideal to hold the thinner, or use any container approximately 5" in diameter and at-least 6" deep. Place a Bob Ross Screen in the bottom of the can and fill with odorless thinner approximately 1" above the screen. Scrub the brushes bristles against the screen to remove paint sediments which will settle on the bottom of the can.

Dry your larger brushes by carefully squeezing them against the inside of the coffee can, then slapping the bristles against a brush beater rack mounted inside of a tall kitchen trash basket to remove the remainder of the thinner. Smaller brushes can be cleaned by wiping them with paper towel or a rag (I highly recommend using Viva paper towels because they are very absorbent). Do not return the brushes to their plastic bags after use, this will cause the bristles to become limp. Never clean your Bob Ross brushes with soap and water or detergent as this will destroy the natural strength of the bristles. Store your brushes with bristles up or lying flat.

APPLYING LIQUID WHITE:Use the 2" brush with long, firm vertical and horizontal strokes across the canvas. The coat of Liquid WHITE should be very, very thin and even. Apply just before you begin to paint. Do not allow the paint to dry before you begin.

PLACEMENT OF OIL COLORS ON THE PALETTE:I suggest using a palette at least 16"x20" in size. Try arranging the colors around the outer edge of your palette from light to dark. Leave the center of the palette for mixing your Oil paintings for sale.

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Learn to Paint by Copying Paintings

Michelangelo di Lodovico Buonarroti Simoni's father sent him for formal schooling, but Michelangelo preferred copying paintings in churches. He later befriended arts and studied with some of the great painter and sculptors of his time. But he thought that he could learn more by copying the masters.

In museums around the world, you can see artists creating copies paintings. In Louvre in Paris, you can see a stream of artists copying their great paintings. Copying masterpieces has been a cornerstone of traditional art education for a long time. In fact, one art course you can take at The New York Academy of Art in New York City, NY, USA consists of students walking a few blocks to The Metropolitan Museum of Art (MMA) and copying paintings. That is the course!

I have done copies of paintings at MMA New York City of Gallery Oil Paintings by Theodore Gericault (French Romantic Painter, 1791-1824) and Diego Rodriguez de Silva y Velazquez (Spanish Baroque Era Painter, 1599 - 1660).

Artists at MMA who want to make copies make a request to MMA's Education Department. The Museum allows artists to get exclusive use for a month to one room or gallery in the museum to do a copy of a specific painting. The public still has access, but only one artist is allowed to copy in that gallery. I highly recommend your doing the same.

Museums vary in permitting artists to do copies. In New York City, USA, the MMA does, but the Frick Collection and the Museum of Modern Art do not. Check with your museum.

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Basic Piece Of Equipment- Bridge Saw

The bridge saw is the most basic piece of equipment in a fabricators shop. However, the needs of fabricators vary greatly when considering a bridge saw, depending on the market they serve and their production requirements. For this reason CMS has designed a wide range of sawing solutions. From the basic Flexa Saw, an extremely robust semi-automatic bridge saw to the SPRINT / FALCON CNC saw which are fully automated, to water jet / saw combination such as SprintJet.

ABWQ-3000A granite bridge saw machine is developed from ABWQ-3000 bridge saw. The main difference is in the table. Pop up rollers are used in the table of ABWQ-3000A. So the operator can easily move the slab on the table before or after stone cutting.

ABWQ-3000A overall dimension is much smaller than heavy duty bridge saws, because stone fabrication shops usually don’t have enough space to stand a huge heavy duty bridge saw. The compact but strong structure design has greatly reduced manufacture cost. This makes the small bridge saw affordable for most of stone fabricators.

The manual bridge saw is the entry-level bridge saw for standard stone shops. This saw is powered and moved using joysticks. Laser positioning lines are standard, also a small programmable cutting system. Tables rotate manually with hard stops every 22.5 degrees. Horsepower ranges from 20 – 40 hp, blade size diameter between 14 inches to 48 inches.

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