Summarize the following:
Just start painting gently, using tiny amounts of paint on your brush to start forming shapes. If you're just painting from your imagination, let the paint create the shapes and follow the shapes. If you've already started with a sketch, once you've got a good background of colors on your page or canvas, you can start overlapping colors and shapes to create a sense of space. As you start in on painting your subject, you need to work hard to make the flat surface look more dynamic and three-dimensional. Create perspective by spacing the objects appropriately. If everything is equidistant and the same shape, it'll look flat on your paper, rather than dynamic. Things farther back in the subject should be proportionately smaller, while things closer up should be larger. Some painters find it effective to put their painting upside down to examine it. The mind supplies a symbolic version of what you're painting--in your mind, you know what an apple is, so you'll tend to paint that version of the apple, rather than what you're seeing in front of you. Looking from another perspective sometimes can help you see the shapes for what they are, rather than the symbols. Identify the light source and the shadow to start adding value to the painting. Start adding the lightest colors and gradually create the darker tones. It's much easier to layer darker colors over lighter colors, rather than the other way around. Don't paint yourself into a corner. Mix small amounts of paint as you go, adding color judiciously and slowly. Vary the amount of paint on your brush and the kinds of strokes you use with the brush to make different textures. Short little strokes can look like fur, while longer smoother strokes will flatten out the paint. Using less paint can help "age" the subject, while using more can thicken it and create density. If you screw up a part by adding too much paint, don't panic. Embrace happy accidents and integrate them into the painting. Don't spend too much extra time layering over it, just let it be and look back over it at the end to see how it effects the composition. Keep moving forward. It's a good idea to focus on one part of the painting, working it through, before moving around. But figure out what works best for you. Some painters jump around the page, painting in different regions, depending on the shapes and the subject being painted. It'll depend on you. But in general, keep working on one part of the painting before moving elsewhere. It's also important to stand back and appreciate the "big picture." Pay attention to how your little moments affect the overall composition and the painting itself. Even if you're just painting a stack of books or a bowl of oranges, it needs to force the eye to move around it. Everything from the composition, to the use of color should be varied and textured, something that takes time and practice. Try studying color theory a bit to get more of a sense of how to use color, if you feel like your picture is looking flat. Painting is hard work! Don't get frustrated when you're first getting started. Now that you've got all the materials and the space set up, experiment with painting different subjects and keep developing your craft. If you tend more toward one type of painting, switch it up every now and then and paint different types of pictures. Keep making things.

summary: Start painting your subject and let accidents happen. Add color from light to dark. Use your brush to create texture. Work on one thing at a time. Make the painting move. Keep at it.

Summarize the following:
When you're at any kind of party or gathering, or even a one-on-one conversation, it can be difficult to get away. Learning to recognize good opportunities to leave will make a short-term goodbye much easier. Notice if the crowd seems to be dwindling. If more than half the people have left, it might be a good time to leave. Find the host, or your friends, give a wave to the room, and leave. Try not to add too much emphasis to your leaving - this could make them feel as if you are desperate to get out. Leave when you want. If you know you won't be able to stay until the end then you could perhaps speak to them beforehand or at the beginning of the party. You don't need to wait for any special signal. If you're ready to go home, or ready for the conversation to move along, say, "Well, I'll be going. See you all later!" Overstaying your welcome is rude, but it can often be difficult to distinguish. People don't like telling you that they'd like you to leave, so try to watch for signals. This may be some other family members starting to pack up or the fact that there is hardly anyone left. If the host of a party starts cleaning up, or withdraws from the conversation, gather your friends or belongings and make your exit. It's also time to leave if someone starts checking their watch or seems otherwise restless. Even saying, "See you at school tomorrow," or "Can't wait to see you again at Christmas" keeps the goodbye light and focused forward. If you haven't already made plans, use it as an opportunity to make them. Even saying, "See you soon" suggests just that. Set up a coffee date or meet for lunch later in the week if it makes the goodbye easier, but don't commit to anything you don't want to. It's OK to just leave. It can be tempting to come up with a "good excuse" when you're ready to leave. You don't need to (lying could also make them feel hurt if they find out you didn't mean it). If you want to leave, just say, "I'm going to go now, see you later." It doesn't need to be any more complicated than that. If you want to extract from a conversation you're ready to end, "I'll talk to you later," is likewise plenty.

summary: Recognize when to leave. Watch body language. Make plans to see each other again. Tell the truth.

Summarize the following:
Ballet slippers, jazz shoes, turning shoes, are best for practicing pirouettes. You need something with good range of motion and support. Modern shoes, such as Capezio Foot Undeez or Dance Paws are also appropriate, which cover and support the ball of your foot. They're easy to slip on and great for quick practices. You also need to practice pirouettes in a safe place, clear of any sharp objects or obstacles. It's always preferable to practice in a dance studio under supervision. Your shoulders should be directly over your hips. Straighten your supporting leg to keep your releve should be as high as possible, imagine yourself stretching up to the sky, and into the ground. Make sure your hips are not tilted to the back, or otherwise off-kilter. Imagine your hips were a fruit bowl. Would your fruit spill? A tilted pelvis can often lead to incorrect turns and eventually knee and back problems. Make sure you have a strong plie prep but don't stay in your preparation (plie) too long, because then you will lose the momentum, making it difficult to pirouette.
summary: Wear the appropriate footwear. Keep your ribs closed and your shoulders back. Check your hips.