Waarom staat u hier de hele dag werkeloos?”


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Oh what pictures you’re showing us. I would love t…


Oh exactly what pictures you’re showing us. I would certainly love to go to Scotland one day.
Hope you have actually a good evening.
Love Elzie

heiligenleven : Eucherius van Lyon


 

 

 Welkom op mijn blog met informatie over de

Orthodoxie. Teksten, bezinningen, theologie

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Gezangen uitgevoerd door het koor van de orthodoxe kerk van Gent

 olv. Paul Morreel

 

 

 

 

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 De blog is zoveel mogelijk op punt gesteld. Niet meer werkende URL’s verwijderd (zoveel mogelijk)

Nederlandstalige artikels zijn zoveel mogelijk hersteld.

In de rubriek ‘Nederlandstalige orthodoxe artikels’ is een item bijgevoegd : de belangrijkste teksten over orthodoxe filosofen of westerse filosofen die erbij aanleunen  zijn van nu af daar te raadplegen (kijk onder letter F van filosofie) Daar zitten wel enkele anderstalige tussen

profeet Jeremias


 

 

 Welkom op mijn blog met informatie over de

Orthodoxie. Teksten, bezinningen, theologie

Foto’s……….

 

Gezangen uitgevoerd door het koor van de orthodoxe kerk van Gent

 olv. Paul Morreel

 

 

 

 

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 De ,blog is zoveel mogelijk op punt gesteld. Niet meer werkende URL’s verwijderd (zoveel mogelijk)

Nederlandstalige artikels zijn zoveel mogelijk hersteld.

In de rubriek ‘Nederlandstalige orthodoxe artikels’ is een item bijgevoegd : de belangrijkste teksten over orthodoxe filosofen of westerse filosofen die erbij aanleunen  zijn van nu af daar te raadplegen (kijk onder letter F van filosofie) Daar zitten wel enkele anderstalige tussen

Road Trip: Chiricahua National Monument



Hoodoos, columns, pinnacles and more

This past weekend, I had the opportunity to travel with Trina on a Sedona Camera Club outing to Chiricahua National Monument.   We both needed a break between setting up our winter home studio and teaching workshops, so this was the perfect adventure.  I went as “key grip” to help with camera equipment, but I packed along my new Travel Painter Art Box as well.

Sunset

Waning moon over the rocks

We arrived Friday afternoon in Willcox, Arizona, and then hurried off to the park to shoot the sunset, followed by a little astrophotography.  Saturday morning, we met at 4:45 am — no hotel breakfast for us! — and went off to shoot the sunrise.  Next we worked the cramps out of our legs by taking a long hike, followed by daytime photography and then a second sunset shoot to round out the day.  Sunday, we had to forego the sunrise shoot to head back to New Mexico to pack for a workshop I’m teaching in Sedona this week and then one for the Tucson Pastel Society next weekend.  Whew!

The Travel Painter Art Box in action

I was happy to see how well the new paint box worked, and how handy it was to carry on the trails.  I only had time for a couple of quick sketches, but it was worth it.  The first sketch I made in a wash in the noontime shade of alligator junipers; the second, toward sunset up on Masai Point.  These sketches will become reference material for a future studio painting.

Six Years After the Fire 6×8 oil sketch

Hoodoo 6×8 oil sketch
(Palette for both of these was yellow ochre,
transparent earth red and Prussian blue, all Gamblin paints)

By the way, this was our second trip to Chiricahua.  Our first trip was about 15 years ago, and I remember being very impressed with the green lushness of the park.  But in 2011, a major fire swept through, charring much of the landscape.  Now, six years later, the grasses have returned, but so many of the hills and canyon sides are filled with broken, charred stumps.  This explains the title of my first sketch.  The amazingly strange rocks, of course, are untouched and just as weird as ever.




Michael Chesley Johnson, AIS PSA MPAC PSNM
www.MChesleyJohnson.com

23e zondag na Pasen


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Schilderij  marteldood van St.Lieven – st Baafs Gent

 

 

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Het voornaamste gebod


 

 

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Gezangen uitgevoerd door het koor van de orthodoxe kerk van Gent

 olv. Paul Morreel

 

 

 

 

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Basilios de Grote God roept ons voortdurend om ons te bekeren:


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Ik weet volkomen zeker wat deze valse bisschop leert; ik weet het niet van horen-zeggen, maar doordat ik het met mijn eigen oren heb gehoord. Omdat onze diocesen aan elkaar grenzen, heb ik vaak met hem gedisputeerd wanneer hij de Godheid van Jezus Christus loochende. Dat heb ik gedaan, zowel onder vier ogen als in het openbaar, in de aanwezigheid van Athanasios, bisschop van Alexandrië. Mij advies luidt: hij mag niet langer een christen bisschop zijn, en zij die in gemeenschap met hem blijven, kunnen niet langer als christenen beschouwd worden.
Servatius had de heilige Athanasios tijdens diens ballingschap met grote eer ontvangen, en zich volledig achter hem gesteld. Hij had hem ook vergezeld tijdens diens ballingschap in Trier van 336 tot 338, Ook op het concilie van Sardica in 347, en dat van Rimini in 359, was Servatius een der voornaamste bestrijders van de Arianen. Toen Tongeren door de duitse Hunnen werd bedreigd, bracht Servatius de bisschopszetel over naar de vesting Maastricht, waar hij op deze dag, Pinkstermaandag, gestorven is in 384.

www.dagelijksevangelie.org

 

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Basilios de Grote God roept ons voortdurend om ons te bekeren


 

 

 Welkom op mijn blog met informatie over de

Orthodoxie. Teksten, bezinningen, theologie

Foto’s……….

 

Gezangen uitgevoerd door het koor van de orthodoxe kerk van Gent

 olv. Paul Morreel

 

 

 

 

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Product Review: Travel Painter Art Box



The Travel Painter Art Box


I always enjoy reviewing new products for the outdoor painter.  It’s an opportunity to try something new, perhaps help the maker improve the product—and get out in the field to paint!  This time around, I’m reviewing a new paint box from Russia.

Good hardware all around!

Finely crafted box interior

Palette is slid out, showing contents of box interior. 
I’ve removed the two dividers that would partition the interior into three sections.

The Travel Painter Art Box is advertised as a tripod-free paintbox.  It’s a slim, lightweight pochade box beautifully constructed that can be used either on the lap or while standing.  To stand, a comfortable cloth belt attaches to the box so it hangs from your neck and is steadied by your chest or belly.   For left-handed painters, the maker has a clever way of changing how the strap attaches.  Three adjustable compartments inside the box allow for several paint tubes, short-handled brushes and short turps jar.  The lid can hold two 6×8 or 8×8 panels.  Two wingnuts on the lid allow for easy angle adjustments of the lid for painting.  All in all, it’s a very simple but well-crafted box and a good value at $89 US.


I took it out on a couple of trial runs to see how it works.  Overall, I was very pleased with the lightness and ease of use.  I hiked in over a mile and back with it on a woodland trail, and I didn’t feel the weight more than I would a DSLR camera.  It took just a moment for me to open it up and start painting.  It’s a box I’ll carry on my next road trip, which will involve hiking to painting spots—and certainly overseas to Scotland and Italy next year!

Here you can see how the strap is positioned for a right-handed artist.


Here are some observations:

Panel Size.  The maker notes that the box is made for panels that are 20mm wide.  He recommends using boards cut to the metric standard rather than to an avoirdupois standard; 8 inches is a little larger than 20 mm, and sometimes a 6×8 board is a little smaller or bigger than what’s advertised.   Fortunately, I found that a 6×8-inch Ampersand Gessobord fits exactly with just enough room to slide the panel in and out easily.  But I also learned that a no-name brand of 6×8 panel I also use is too big; I had to trim off a fraction with a utility knife for it to fit. 

Brushes.  I use mostly Grand Prix flats from Silver Brush.  These are too long to fit diagonally in the box.  I took three and trimmed off about a half-inch so they would fit.  Other brands or models may require no trimming or more.  But I wanted to fit everything in this box, as I didn’t like carrying an extra bag.  Also,  I didn’t want to deal with a brush holder.  When  painting, I just slid the palette open a bit so I could shove the handles into the box to secure them. 

OMS container.  Again, I wanted everything to fit inside this box.  I’d lost my tiny Guerrilla Painter turps jar, but I had found a small metal screw-cap medium cup.  It doesn’t hold much in the way of OMS.  Then I remembered that Gamblin’s Solvent-Free Gel can be used as both a medium and a brush cleaner!  I packed in a tube of this instead.  Perfect solution to the messy, welded-on-lid problem with medium cups. 

Paper Towels.  I use paper towels when painting.  I figured that for two 6×8 paintings, I wouldn’t need very many.  So I ripped a few sheets off the roll, cut them into squares, and used a bulldog clip to hold them together.  This packet fit neatly in the box.  When I painted, I just clipped it to the lid for easy access.  As the paper towels got soiled and unusable, I just stuffed them back into the box for disposal later. 

Palette.  The palette is 20x20mm, just like the box lid that hold the panels.  I always like to have my palette at least as big as my painting surface.  This is polyurethaned plywood, the same as the rest of the box, and nicely finished.  It slides easily in its groove—a little too easily, actually.  While painting, I was worried that the palette might slide out entirely.  This didn’t happen, but I recommend that the maker add some sort of “stop” or lock for the palette to avoid this.  (When closed, the hinges of the box lock the palette in place.) 

Comfort.  As I mentioned earlier, you can either paint with the box standing or sitting.  I chose to stand during my first session.  I was a little puzzled at first with how to position the box against my tummy and to get comfortable with the strap.  (The photos show you how it’s done.  You’ll note that I have the strap positioned a little differently from the way it is on the website for the box; I found what worked for me.)  But once I was over that minor hurdle, using the box was a piece of cake.  With my left hand I steadied the box and hold a paper towel, and I then painted with my right.  In my second session, I sat with the box in my lap.  This was, of course, even easier.

I highly recommend this box for anyone who needs to travel super-light.  It’s the kind of thing you might throw over your shoulder and take on a daily hike or bike ride just in case you run across something that needs painting.  It’s also great for study-to-studio work and gathering reference sketches. And it’s definitely what you’d take on a trip where weight and space are at a premium.

You can find out more about the Travel Painter Art Box and purchase it at https://www.etsy.com/shop/TravelPainterArtBox for $89 US.  By the way, it didn’t take it very long to get from Russia to New Mexico, only two weeks.  You can probably get one in time for Christmas!

Here are the two paintings I made with the Travel Painter Art Box:

Lake Study I – 6×8 Oil – Available

Lake Study 2 – 6×8 Oil – Available


Michael Chesley Johnson, AIS PSA MPAC PSNM
www.MChesleyJohnson.com

Paint the Grand Canyon with Me! October 24-27, 2018



Mohave Point Morning, 18×12 Oil by Michael Chesley Johnson
Private Collection

Have you ever perched on the edge of the Grand Canyon to gaze at its unfathomable vastness and wondered how you might paint it?  No doubt you were overwhelmed by that awesome expanse of beauty.  Clouds sail over the maze of buttes within its walls, casting blue shadows that shift to violet and green.  Here and there, the Colorado River peeks out, a long mile below, far enough away that you can’t hear its tumultuous rapids.  Closer at hand, sunlit cliffs drop into shadow.  A flying raven, a mere mote floating against the cliffs, tells you that the walls are, surprisingly, more remote than you thought.  Shadow and light confound your perception of depth and distance.

Your Instructor

Well, have no fear!  In this special plein air painting workshop, I’ll lead you on path that will have you painting the Canyon like a pro.  I’ll show you how to select a scene and block it in with a “best guess” of value and color, and then how to make adjustments to color temperature to capture the moment accurately—all without sacrificing the magic.  I feel confident I can help you have an enjoyable, productive time at the Canyon, as I’ve been an invited artist to the Grand Canyon Association’s “Celebration of Art” plein air painting event four times, as well as painting there on my own for years.

Canyon Trails, 12×24 Oil by Michael Chesley Johnson
Available

This workshop, sponsored by the Grand Canyon Field Institute, is approved by the National Park Service.  What’s more, the workshop includes the entry fee to the Park as well as complimentary camping at Mather Campground, located right in the Park on the South  Rim.  (Other lodging is available by reservation at your cost.)  There’s nothing quite like waking up on the rim and taking a morning stroll with your coffee to enjoy the sunrise.

Registration for Grand Canyon Association members begins tomorrow, November 6; for non-members, registration opens up November 12.  Cost:  $550 for GCA members; $575, non-members.  You can find full details and register on the GCA website at this link.

I hope you’ll join me!  Grand Canyon is a spectacularly special place, and I’m eager to share it with you.  Here are a few more painting I’ve made over the years of Grand Canyon.

Afternoon Shadows, 6×8 Oil by Michael Chesley Johnson
Private Collection

Outpost, 6×6 Oil by Michael Chesley Johnson
Private Collection

Morning Light, 6×6 Oil by Michael Chesley Johnson
Private Collection


Michael Chesley Johnson, AIS PSA MPAC PSNM
www.MChesleyJohnson.com

22e zondag na Pinksteren


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19Er was eens een rijk man die in purper en fijn linnen gekleed ging en iedere dag uitbundig feestvierde, 20terwijl een arme, die Lazarus heette, met zweren overdekt voor de poort lag. 21Hij verlangde er naar zijn honger te stillen met wat bij de rijkaard van de tafel viel. Ja, zelfs kwamen honden zijn zweren likken. 22Nu gebeurde het dat de arme stierf en door de engelen in de schoot van Abraham werd gedragen. De rijke stierf ook en kreeg een eervolle begrafenis. 23In de onderwereld, ten prooi aan vele pijnen, sloeg hij zijn ogen op en zag van verre Abraham, en Lazarus in diens schoot. 24Toen riep hij uit: Vader Abraham, ontferm u over mij en geef Lazarus opdracht de top van zijn vinger in water te dopen en mijn tong daarmee te komen verfrissen, want ik word door de vlammen hier gefolterd. 25Maar Abraham antwoordde: Mijn zoon, herinner u hoe gij tijdens uw leven uw deel van het goede hebt gekregen en op gelijke manier Lazarus het kwade; daarom ondervindt hij nu hier de vertroosting, maar wordt gij gefolterd. 26Daarenboven gaapt er tussen ons en u voorgoed een wijde kloof, zodat er geen mogelijkheid bestaat, zelfs als men het zou willen, van hier naar u te gaan noch van daar naar ons te komen. 27De rijke zei: Dan vraag ik u, vader, dat gij hem naar het huis van mijn vader wilt sturen, 28want ik heb nog vijf broers; laat hij hen waarschuwen, opdat zij niet eveneens in deze plaats van pijniging terecht komen. 29Maar Abraham sprak: Zij hebben Mozes en de profeten; laat ze naar hen luisteren. 30Maar hij zei: Och neen, vader Abraham! Maar als er een uit de doden naar hen toegaat, zullen ze zich bekeren. 31Hij echter sprak tot hem: Als ze naar Mozes en de profeten niet luisteren, zullen ze zich ook niet laten overreden, als er iemand uit de doden opstaat.’

 

 

 

 

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Lazarus en de rijke man


 

 

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 olv. Paul Morreel

 

 

 

 

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Post-Workshop Report: Doug Dawson in Sedona, Arizona



Now and then, I like to sponsor a master artist to teach a workshop.  This week, Doug Dawson came to town.  He’s taught workshops for me in Lubec, Maine, and Campobello Island, New Brunswick, but this was his first time in Sedona.  Eager to show him the sights, we went late into the evenings, scoping out locations for the next day.

Doug talks about toning choices for paper

Demonstration of a color study

Critiques every day!

If you don’t know Doug, he’s a wonderful painter and teacher, adept in both pastel and oil.  A founding member of the Art Students League of Denver, he was honored by the Pastel Society of America with the title of Master Pastelist and also was elected to the Master’s Circle of the International Association of Pastel Societies. In 2008, he was named a Pastel Society of America Hall of Fame Honoree. Besides teaching regularly at the League, he travels to several workshops a year, and I’m always excited when I can get him to teach.

Painting with Doug in Jerome
(Doug on the left, me on the right)

Looking into the sun for some nice rim lighting

Talking design in the field

I guided our group to several of my favorite spots, including the ghost town of Jerome, the Tlaquepaque art village and the Jordan Historical Park.  Each of these locations is different in its own way, and often challenging.  The students, who came from as far as New York City and San Francisco, enjoyed a variety of scenery that is hard to find elsewhere.  It was a treat to work with Doug again, and I’m looking forward to next time.

Interlopers – javelinas!
Beautiful moonrise over Snoopy Rock and the Tlaquepaque Chapel

Below are my sketches from the workshop.(They are available, so if you’re interested in any, let me know!)

Ridge View – 9×12 oil 

Ridge – 6×8 oil

Tree Study – 6×8 oil

Hotel – 9×12 oil

And the last one is from my artist-in-residence demoat L’Abuerge de Sedona for Goldenstein Gallery.  (Also available!)

Sunny Creek – 12×9 oil

Also, I still have a spot left in my November 14-17 workshop.  Let me know if you’re interested!—
Michael Chesley Johnson, AIS PSA MPAC PSNM
www.MChesleyJohnson.com

Paulinus van Nola : “Hij neme zijn kruis op zich en volge Mij”


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 Welkom op mijn blog met informatie over de

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Gezangen uitgevoerd door het koor van de orthodoxe kerk van Gent

 olv. Paul Morreel

 

 

 

 

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To Blend or Not to Blend–That is the Question



Blending Swatches(Pastels are Cretacolor; paper is Art Spectrum)A = Two colors (blue, orange) feathered over each otherB = Same, but then blended with a finger protected by a finger cotC = Blended with the pinky nailD = Blended with the flat side of a painting knifeE = Blended with a lemon yellow pastelF = Blended with a blue-green pastel

Now and then, I have a pastel student who will say, “My last instructor likes to blend with a finger.”   Usually this statement is made in the context of my demonstrating and noting that I like to use hard pastel sticks as blending tools.  But sometimes, I, too, use my finger.  There’s no hard-and-fast rule about blending.  I double-checked that much-loved tome, The Pastelist’s Standard Desk Reference, and in Volume 43, it mentioned several tort cases involving blending, but no one case established any one method over another.  So, blend with what you will.

But your choice does make a difference.  When I use my finger, it’s usually just a quick touch to soften an edge or fill in a spot.  I use the back of my pinky finger’s nail to make an adjustment.  Using the pad instead would add oil to the pastel, darkening and muddying it.  If I’m wearing finger cots, this is not an issue.

Other than the finger, just about anything can be used for blending.  Styrofoam peanuts—which can screech like fingernails on a chalkboard—bits of pipe insulation, a variety of erasers applied lightly, painting knives (yes, really), pastel pencils, graphite pencils or vine charcoal sticks.  And cats, which can add a random element to one’s approach.

My favorite tool, however, is a hard pastel.  I like a long, unbroken square stick such as NuPastel, Cretacolor or Polychromos.  I hold the stick like a miniature conductor’s baton and lightly feather the other end over the passage to be blended.  It requires the most delicate of touches, and the more you work the pastel, the more consistent the color and texture become.  (The swatches above are still rough.)  Color choice is also important.  A complementary color will grey down the passage as well as blending or softening it; a richer color can raise the chroma of an area; a cool one or a warm one will cool or warm an area, respectively.

With this post, I’ve included a few swatches of blending options.—
Michael Chesley Johnson, AIS PSA MPAC PSNM
www.MChesleyJohnson.com

21e zondag na Pinksteren


 

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40Toen Jezus bij zijn terugkeer door het volk werd ontvangen, omdat iedereen Hem verwachtte, 41trad er een man naar voren, die Jaïrus heette en overste van de synagoge was. Hij viel Jezus te voet en smeekte Hem naar zijn huis te komen, 42want hij had maar een dochter, een kind van een jaar of twaalf, en deze lag op sterven. Terwijl Hij er heen ging, raakte Hij door de opdringende menigte bekneld.
43Er was een vrouw bij die sinds twaalf jaar aan bloedvloeiing leed. Haar hele vermogen had zij aan dokters uitgegeven, maar bij niemand genezing kunnen vinden. 44Zij naderde Hem van achteren, raakte de zoom van zijn mantel aan en op hetzelfde ogenblik hield haar bloedvloeiing op. 45Jezus vroeg nu: ‘Wie heeft mij aangeraakt?’ Allen ontkenden het en Petrus merkte op: ‘Meester, de samengepakte menigte dringt van alle kanten tegen U op.’ 46Maar Jezus zei: ‘Iemand heeft Mij aangeraakt, want Ik heb een kracht van Mij voelen uitgaan.’ 47Toen de vrouw zag, dat zij niet onopgemerkt was gebleven, kwam zij bevend naar voren, viel Hem te voet en verhaalde ten aanhoren van al het volk, waarom zij Hem had aangeraakt en hoe zij op hetzelfde ogenblik genezen was. 48Hij sprak tot haar: ‘Dochter, uw geloof heeft u genezen; ga in vrede.’ 49Nog was Hij niet uitgesproken, of daar kwam iemand uit het huis van de overste van de synagoge met de boodschap: ‘Uw dochter is gestorven; val de Meester niet langer lastig.’ 50Maar Jezus die het hoorde, zei tot Jaïrus: ‘Wees niet bang, maar heb geloof, dan zal zij gered worden.’ 51Toen Hij aan het huis kwam, liet Hij niemand mee binnengaan, behalve Petrus, Johannes en Jakobus, en de vader en moeder van het kind. 52Allen waren luid aan het wenen als rouwklacht over haar. Maar Hij sprak: ‘Weent niet; ze is niet gestorven, maar slaapt.’ 53Ze lachten Hem uit, omdat ze wisten, dat ze gestorven was. 54Hij pakte haar bij de hand en roep: ‘Meisje, sta op!’ 55Haar levensgeesten keerden terug en onmiddellijk stond ze op. Hij gaf opdracht haar te eten te geven. 56Haar ouders stonden verbaasd, maar Hij verbood hun aan iemand te vertellen wat er gebeurd was.

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opwekking van het dochtertje van Jaïrus


 

 

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 olv. Paul Morreel

 

 

 

 

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GDPR Double Opt-In Marketing with Microsoft Dynamics


GDPR will affect every company that uses personal data from EU citizens. If you’re collecting email addresses and send email to subscribers in the EU, you’ll have to comply with GDPR—no matter where you’re based. GDPR touches several aspects of email marketing, especially how marketers seek, collect, and record consent.

In this post, we’ll look at how you can setup a Double Opt-In Process best practice to remain GDPR compliant. This process will use Campaign Automation, meaning that it will grow alongside your website. Add new forms as required and adjust the process flow to suit.

The automation process will automatically create new leads / contacts within Microsoft Dynamics directly from your website and require list consent via an automatic email reply. Double Opt-In helps you to confirm interest and keep your marketing lists clean. If you require people to respond to an email before you add them to your marketing lists, it will weed out invalid email addresses. It also means less spam complaints, as everyone has signed up and confirmed that they meant to sign up.

With the addition of the ‘Submitted Subscription trigger’ within our campaign automation builder, you can now easily manage subscription preferences, adding and/or removing subscribers from the correct marketing lists.

The great thing about campaign automation is that you can lay out the flow of actions and easily adapt them for your needs.

To set up the double opt-in process, you will need to create all the elements that you will include in your subscription management campaign automation.

Marketing lists

You will need both contact and lead marketing lists for each subscription.

Subscription Lists

You will add your marketing lists to your subscription lists to associate them according the subscription preferences. With subscription lists, you can divide your email campaigns based on categories of interest or by frequency of emails. For example, you may have a monthly newsletter, but another subscription list could be used for special announcements, like event invitations or promotions.

Web Content Form

The form will be embedded on a web page. Include, at minimum, the following required fields: first name, last name and email address. You can also include other important fields that you would want recorded on a new visitor’s lead or contact record.

This would also be a good place to include a checkbox field that requires people to accept your terms and conditions for your company to collect their personal data and for them to receive your emails. In an HTML component on the form, you can link to an article hosted on your website or a landing page, giving all the details of your terms and conditions. If you would like this checkbox to be mapped to the lead or contact record, you will need to add a field in your CRM to the lead and/or contact form.


Subscription management page

Include all subscription lists on your subscription management page so subscribers can pick based on interests or frequency of emails.


Email template

The email template will serve as a confirmation that the recipient is interested in receiving additional emails from you. It will contain a link to the subscription management page.

Once you have all the pieces ready, you can set up your campaign automation. There are many variables that can influence the layout of your campaign automation, but we will cover a few common options.

The Double Opt-In


For a standard double opt-in process, set up your steps in this order:

  1. The entry point: Use the Submitted Form trigger. The form, which is embedded on a web page accessible to visitors, will allow you to collect a bit of personal data, such as name and email address. It can also include a checkbox to accept your linked terms and conditions for collecting personal data and sending emails to subscribers.
  2. The first series: This will include a Send Email action. This is where you will use the email template containing a link to the subscription management page.
  3. Submitted Subscription trigger: This trigger checks to see if someone has submitted the subscription management page that was linked in the email. You can set this to wait a set amount of time before sending participants down the negative path. In this example, it is set to two days to give people plenty of time to check their email and click through to the subscription management page.
  4. Positive path decision node: In this example, the decision node is connected to four series. These series contain actions relevant to the subscription preferences indicated on the subscription management page. Since this example has two subscription options, newsletter and special announcements, separate series are required to handle adding and removing members of the corresponding marketing lists. If you have more subscription options, you will need to include additional series to include actions for those preferences.

5. Negative path series: For anyone who did not submit a subscription management page within the two-day period, they will be sent down the negative path. You can include actions in this series, such as Notify User. Since this person did not submit their preferences in time, we can assume they were not truly interested in receiving additional emails, so you may not want to add them to a marketing list or send them another email.

Email consent is a small aspect of the GDPR (General Data Protection Regulation), but for marketing teams it is a crucial consideration to make sure that internal and external their processes are compliant. For a full review of your business website contact Sysco Software Solutions, Dublin and Belfast – marketing@sysco-software.com

The post GDPR Double Opt-In Marketing with Microsoft Dynamics appeared first on Sysco Software Solutions.

Auch ich bin ganz entzückt von all den schönen Ein…


Auch ich bin ganz entzückt von all of den schönen Eindrücken, die du uns da gezeigt hast. Die Rinder gefallen mir ausgezeichnet, die sehen so kuschelig aus, ich würde die gerne mal streicheln. Da muß ich wohl auch mal hin, du hast uns den Mund so richtig wässerig gemacht. In einer Woche kann man schon viele Eindrücke sammeln, gibt es noch mehr???
Lieber Gruß
von Edith

A New Version: Changing Things Up



Now and then, I have the opportunity to make a studio “copy” of a painting I did in the field.  I put “copy” in quotes, because I never try to make an accurate copy.  Instead, I create a brand-new piece that’s based on the first one—and I take liberties with it to keep things interesting.  I don’t want to paint the same painting, and to keep from doing that, I may change materials or process or both.

Last fall, I went with my group up to Slide Rock State Park in Arizona to paint the spectacular fall color.  Golds, oranges, tawny greens—we had it all.  I made an oil painting of a cluster of aspen trees, set against Sedona’s red rocks, and backlit by the late afternoon sun.

Original:  A Poplar Time
12×9 Oil by Michael Chesley Johnson
SOLD

It loved that little painting.  But when it sold recently, I decided to make another version for myself before shipping it out.  So, I set up my easel and went to work.

I changed a few things, though.  In addition to my standard palette, which uses only ultramarine for my blue and no violet, I added cobalt blue and quinacridone violet, plus burnt sienna.  (All Gamblin colors.)  In the original, I’d used just ultramarine blue and phthalo green in the sky; the ultramarine made the redder, darker part of the sky and the phthalo green, the lighter, warmer part.  In the new version, I wanted to sandwich a cobalt blue between the two.  Additionally, I wanted to enrich the cool reds of the shadowed rocks in the near distance.  In the original, I used just permanent alizarin crimson, modified with blues and greens.  In the new version, I used the stronger quinacridone violet.  I tempered it with a little burnt sienna and cobalt blue.

New Version: That Time of Year
12×9 Oil by Michael Chesley Johnson
AVAILABLE

Finally, I used a small painting knife.  I’d employed a brush in the original, and it made blending the shadowy parts of the aspens easy.  In this one, I had to use all my Jedi powers to get the knife to blend effectively.

All these changes kept the job interesting and also made for a whole new vision of this scene.  It’s a different painting than the original but presents the same quality of light as in the original—and this was my goal.

By the way, my Holiday Sale continues!  Visit www.mchesleyjohnson.com/sale-items to get a gift for yourself or a friend.—
Michael Chesley Johnson, AIS PSA MPAC PSNM
www.MChesleyJohnson.com

Isaak de Syriër : “Ik ben gekomen, om vuur op de aarde te brengen”


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Laten we de tempel van de rust vullen met zijn wil, als met parfum, door het zuivere gebed, het gebed van het hart, dat onmogelijk te verwerven is als men zich overgeeft aan de voortdurende impulsen van deze wereld. Dan zal de wolk van zijn heerlijkheid je ziel bedekken, en het licht van zijn grootheid zal in je hart schitteren (cf 1Kon 8,10). Allen die wonen in het huis van de Heer zullen met vreugde vervuld zijn en zullen zich verheugen. Maar de arroganten en de laaghartigen zullen verdwijnen in de vlam van de heilige Geest.

www.dagelijksevangelie.org

 

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Isaak de Syriër


 

 

 Welkom op mijn blog met informatie over de

Orthodoxie. Teksten, bezinningen, theologie

Foto’s……….

 

Gezangen uitgevoerd door het koor van de orthodoxe kerk van Gent

 olv. Paul Morreel

 

 

 

 

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start nummer één en ga dan naar de tekst in de rechterkolom.

 

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Ethical Carnivore – Louise Gray


I loved this book –  Ethical Carnivore  by Louise Gray – it got better the further in and I found myself thinking about it quite a lot.  Louise comes across as a kind, determined, vulnerable woman who wants to be honest about what she does.  She eats meat – so what is the honest thing?  Kill it for yourself and don’t hide behind plastic packaging and anonymous looking chunks of pink stuff.


Louise comes from a farming/shooting background and so the idea of picking up a gun isn’t totally new, although it seems her brothers took to it as children more than she did.  When she made this decision to spend a year only eating meat she killed herself, at least she had her dad to teach her how to handle a gun and take her out to shoot rabbits, I wouldn’t have a clue who to ask.

The first chapter is less strong than the rest, it feels a bit – well- shaky.  She finds it hard to manage the gun and can’t dispatch a rabbit without tears.  I probably wouldn’t have started this way, but her vulnerability comes across straight away, and that is good. She isn’t a campaigning, tattooed activist who lies in front of lorries, she is a normal, sensitive westerner who has been removed from the reality of food and now has decided to face up to what it means to eat meat.  I liked that – I identified with her fears and squeamishness, I couldn’t have done what she did.

She delves headlong into abattoirs and intensive chicken farms, eating road kill, going on fishing trawlers and breaking the necks of roosters.  Eventually she tackles shooting a deer. She visits farms where animals are simply units to be processed and others where they are loved until they die humanely. She describes being in a large abattoir as being in hell and was deeply traumatised.  Addressing the question of whether CCTV should be be installed in them she says no – no one should see what happens, it is like being in a vile dream. But how else do you despatch enough animals to supply the ever growing demand for meat in this country? Around 8 billion animals (livestock and fish) are killed each year in the UK for food. Can that really be true?  This figure is taken from a vegan website which says:
This included 9.8 million pigs, nearly 15 million sheep, 18 million turkeys, 14 million ducks, over 945 million chickens and 2.6 million cattle. Add to that 4.5 billion fish and 2.6 billion shellfish you have a total of over 8 billion animals killed in the UK each year.This equates to around 22 million animals slaughtered every day; 919,000 an hour; 15,000 per minute and 255 every second.
I was particularly interested in reading this book after making “Would You Eat An Alien?” for Radio 4 – a whacky look at the intelligence and sentience of farm animals.  It was such an eye-opening set of programmes to be involved with and taught me a lot.  We are strange creatures, we don’t treat chickens as real birds, or cows as real mammals – somehow farmed animals are different to their wild relations.  But of course they are not.  Maternal and social bonds are just as strong, the ability to feel pain and fear is just as strong – but it is far easier if we don’t acknowledge it.  If we had to kill pigs or cows ourselves I am sure most would be vegetarian pretty quickly.  But we don’t and we absorb the Old MacDonald farm image and turn a blind eye to reality.

I went to see Louise give a talk at the Birdfair this year – she asked if the audience would rather be a chicken or a pheasant? Clever and brave for that venue – the majority of whom would be opposed to pheasant shooting. Most of the people there, and I am sure more generally, would choose to be a pheasant – given than it lives a wild life until shot (or run over or eaten by a fox).  Surely better than living for only 6 weeks, bloated and full of chemicals, hardly able to stand and never seeing daylight. She was courageous, polite and definitely, in my opinion, held the moral argument. There is no doubt pheasants – agree with their existence in the UK or not, have a better life than your average broiler.

Therefore I applaud Louise – she didn’t pretend everything was fine – she found out for herself, carried on eating meat but did the honest thing and killed it with her own hands.  And the surprising thing is – she carries on trying to eat only the animals she kills, which has had a drastic effect on how much meat she eats.  She now eats mainly vegetarian food with occasional meat thrown in.  That seems to be a very healthy and sensible way to live. We all know the dangers of too much rich, animal fat.  Many people in the West overdose on protein they don’t need (my family for a start!)

Well done Louise – well written, direct from the heart, not one ounce of preachiness and its challenging. Its a great read. And if I was asked round to Louise’s for a squirrel supper, I think I would look forward to it very much.