Beauty Tips – Natural Health Care Tips

A facial is the quickest way of bring back radiant skin, livening and refining complexion. It leaves the skin soft, smooth and glowing with vitality. The most luxurious way of having a facial is to go to a beauty saloon. This will help to do a thorough job of relaxing jangled nerves so that you emerge feeling fresher, looking younger and beautifully relaxed but if you have time or money problem you can give yourself a home facial.

This is relatively easy and fairly cheap. For instance, a cheap product such as rose water can be blended with different powders and juices to make a variety of face packs. An egg makes an ideal pack for the skin to be used before a party or other such occasion. To tighten the skin milk powder plays an important role.
    
FOR NORMAL SKINS. Mix 2 tablespoons of jowar flour and 4 tablespoons of milk in a clean container. Apply all over the face and neck leaving the area around the eyes and lips. Leave it on for 15 minutes, and then wash off.
FOR DRY SKIN. Mix 2 tablespoon rose water, with 2 teaspoons of jowar  flour and 3 tablespoon milk powder. Apply it on face and leave it on for 20 to 25 minutes and let it dry for best result then wash it off.
FOR OILY SKIN. Take 1 tablespoon rose water and mix it in 2 tablespoons of honey and 1 teaspoon of lemon juice and apply it over whole face. Let it dry and wash it off after 10 minutes.

FOR EXTRA ORDINARY DRY SKIN. Take 1 teaspoon of milk cream and 1 teaspoon of almond oil and mix the yolk of an egg and apply it for 20 minutes.

FOR PIMPLY SKINS. Add juice of a  tomato in a little rose water or cucumber juice. Apply the paste thus formed. This pack will give you a radiant glow and also cure the pimples and acne.

FOR TANNED SKIN. Grind 15 almonds in form of paste and add 2 tablespoons of curd. Apply this pack to remove your tan and to soften the skin.

FOR DULL SKINS. Mix 2tablespoons of glycerine, 2 tablespoons of rose water, 2 tablespoons of lemon juice and use this  paste. This mask is very useful and nourishes the skin.

People who like to browse in junk shops often buy objects, which were once indispensable but have since fallen into disuse because their purpose has passed. Some of these bye ones are very expensive. The older objects are valued because they are more interesting. Improvisation highlights their charm. If you keep your eyes open and use your imagination, it is possible to find old pieces for conversion, which will cost you nothing or at least very little.     

GALVANIZED METAL TUBS AND BATHS- With a handle at each end abound in junkyards. If sound and undented, these can be cleaned and given a coat of paint to great effect. Try decorating them with graduated stripes in a combination of Victorian colors such as bottle green and plum, and fill them with indoor plants. 

WASH STANDS- Look out for washstands in such places. Some make marvelous sideboards. Large white enameled metal jugs with blue rims are a common discovery. These used to be produced in a variety of graceful shapes and, if unchipped, make very attractive containers for flower arrangements of the simple, informal kind.    

MANTELS- Second-hand furniture shops often have useful things put aside. Victorian and Edwardian mantels made of mahogany or cunningly faked to look as if they were, are occasionally found. They often have elegant proportions and interesting shapes; sometimes they include beveled mirrors, little drawers and even lamps. Cleaned up or painted they make impressive bed heads when screwed to a wall. If as may happen, you encounter one with a big space where the mirror was, fill it in with buttoned upholstery. In the absence of lamps, bore a hole at either side of the board

Damage to oil paintings come into several categories. The canvas may be torn or punctured by holes; or, if the painting is on wood, this may have split. Alternatively the varnish may have discoloured, mildewed or crazed, or the paint blistered or cracked.
An oil painting is composed of a number of layers. First there is the canvas made of linen, which is stretched and tacked round a wooden frame. Traditionally, the canvas is primed with a seal, made up of gesso or glue and water. Sometimes a coat of white lead paint is then applied. The picture itself is painted with pigments ground into a thick cream with linseed or poppy oil. This may be thinned further with more oil. Finally the picture is coated with varnish, which intensifies and protects the colours.
A painting on a wood panel is generally built up in a similar way but, whereas blemished canvas can be renovated wood which is split or damaged can only be repaired if you are skilled at retouching. Unfortunately for the restorer some artists do not work in a traditional fashion. All painters hope that they are working for posterity, but few are convinced that this is a definite possibility. Consequently, most tend to concentrate on the immediate demands of their subject and some use unconventional techniques in the process. In other words you cannot always know what has gone on between the canvas and the final coat of varnish. If the painting is intact, clean the grime off the surface of the varnish. There are many lubricants and solvents recommended for this but avoid linseed oil because it darkens, hardens when dry, proves completely insoluble when you want to clean it off and inconsequence, can only be picked away bit by bit. Use turpentine or white spirit only with the greatest caution because although these will lift dirt and grease, they dissolve some varnishes and if this happens, the original paintwork may be disturbed. Preferably, use a proprietary cleaner such as CRP or wipe the picture with a swab of cotton wool dipped in a cup of cold water containing ½ teaspoonful of ammonia. Your painting may be satisfactorily freshened by this treatment although the surface and colours still look dull. Either wipe a little wax polish over the finish and rub gently to a shine later or brush on a coat of synthetic resin varnish, which will not yellow with age.
DEALING WITH MILDEW- Due to being hung or stored in a damp atmosphere some pictures are mildewed. The fungus should be wiped off and a sheet of thick cartridge paper soaked in a 5% solution of sanobrite should be inserted between the canvas and the back of the frame to discourage further attacks. Pictures should be hung in a room, which is neither damp nor too dry. Keep them away from central heating and the heat from open fires or stoves, etc.

When you consider that there are over 100,000 differently formulated cosmetics, using several thousand ingredients, it is surprising not that some people develop allergies or sensitivities to one or more of them, but that so few of us do. The processes by which cosmetics are made are so carefully controlled and the ingredients so scrupulously screened, that most of us can put anything we choose on to our skins with absolute confidence and in perfect safety. Even so there is always a chance of reacting adversely to a product at some time in our lives and it may quite possibly be one, which we have been using happily for months or even years. With very few exceptions, once you have an allergy you will always have it. The only way of avoiding a reaction is to take appropriate evasive action, either by avoiding the type or types of cosmetics likely to contain the allergen or by going for cosmetic range that you know excludes the offending ingredient.
Sensitivities to cosmetics are much more common and often more puzzling than allergies, as they tend to be produced in response to a group of substances rather than to one particular component. You may, for example, develop  sensitivity to perfumes in general rather than to geranium in particular. Because of this, sensitivities tend to be much harder to isolate and you may therefore, find it more useful to adopt the general strategy detailed below than to try to detect the precise culprit.  you frequently have dry, red, itchy patches on your face, neck and body, you are likely to be what is known as generally sensitivity-prone. For this cause lanolin is an oil   taken from the sebum of the sheep and used in a wide range of cosmetics, baby oils, moisturizers, night creams, nail varnish removes and some soaps and shampoos. ‘Super fatted’ or ‘moisturizing’ are the words to watch out for. Look for creams containing petrolatum instead. An allergy to lanolin can produce a dramatic reaction- a dry, scaly rash often accompanied by severe inflammation.
Vegetable oils and mineral oils (linseed oil, olive oil, sesame oil, cocoa butter, petrolatum, oleic acid and butyl stearate in particular) are less likely to cause an allergic reaction but have been implicated in intermittent breakouts of small pimples known as acne cosmetica. Perfume is a common sensitizers in cosmetics and even though they are incorporated into cosmetics at a fraction of the concentration used in pure perfumes, may produce irritant reactions.

On the whole, the eyes protect themselves remarkably well. The eyelids close instinctively whenever dust particles, smoke or irritants in the atmosphere come into contact with them; the pupil contracts in bright light or glare, in order to reduce the amount of light coming through; the gentle windscreen-wiper action of blinking circulates the tears, bringing fresh oxygen to the surface of the eye and keeps the white of the eye clean and clear; the tiny lipid pores along the inner eyelid secrete the fine layer of oil that maintains the integrity of the tear film, by preventing over-fast evaporation. Heavy creams, eye liners, some mascaras and even make-up remover can all block these pores, if carelessly applied and will cause irritation if allowed to come into contact with the eye itself. Caution is the watchword.
If you habitually wake up with swollen, puffy eyes in the morning, bathe them gently with cool water or witch hazel and leave them alone. Any puffiness should subside within half an hour or so. Puffy eyes later in the day can be treated in much the same way or soothed by specially formulated eye pads.
When moisturizing the face, never put cream on to the area directly around the eye. Concentrate instead on the skin to the side and beneath the eye and even then, leave a fairly wide margin. You will find that the cream migrates naturally upwards.  

When putting eye creams or shadows on to the lid, always use the lightest possible touch. A sable brush or cotton wool bud is ideal for this. If possible, avoid using kohl or an inner lid liner (or at least make sure the point of the pencil is soft enough for the eye), keeping outside the eyelashes when defining the shape of the eye, so that the tiny lipid pores on the lid are not interfered with. 

If you wear contact lenses you should be especially careful when applying or removing make-up. Always put your lenses in before applying it and take them out before removing it, in order to avoid smudging grease or dirt on to the lens. Contact lens wearers should also avoid all cosmetics that might shed particles into the eye or stick to the surface of the lens, such as powder eye shadows, heavily ‘pearlized’ products and filamented mascaras. Try to use water-soluble eye make-up instead.

Facial massaging movements are basically of two types- relaxing and toning. Relaxing movements, such as stroking and vibrations are slow and soothing. Toning movements, such as kneading, pressing and percussion are rapid and energetic.                                                             STROKING MOVEMENT- This movement consists of running your hand very lightly over the face. The movement consists of running your hands very lightly over the face. The palms of the hands or pads of the fingers must be incomplete contact with the skin. The movement should always be upwards, never downwards. Do not apply pressure. The palm is used over large surfaces while over small surfaces the cushions of the fingertips are employed. This movement is frequently applied to the forehead, face, scalp, back, shoulders, neck, chest, arms and hands for its smoothing and relaxing effects. Do not use the end of the fingertips for massage movements. Fingertips cannot control the degree of pressure. Besides the free edge of the fingernails are likely to scratch the skin. If the massage has to be done with palms, the whole hand is held loosely and the wrist and fingers kept flexible.

KNEADING MOVEMENT-This clears the waste matter from the muscles activates the nutrition of the tissues. Its aim is to remove fatigue and increase nervous and muscular energy. The pressure should be light but firm. This movement gives deeper stimulation and improves the circulation. This is performed with the thumb and a half bent fore finger, between which the skin is taken and kneaded.  PRESSING MOVEMENT-This is a useful movement to remove the lymph from bags under the eyes. Pressure is exerted with fingertips, following the edge of the lower eyelashes.                                                        PERCUSSION MOVEMENT-This form of massage is most stimulating. The exercise should be done briskly with the fingertips put together to create an even force over the area being treated.

PIANO PLAYING MOVEMENT-This exercise develops the facial muscles and makes them firm. It should be done over the whole surface of the cheeks with the fingers. The movement must be supple and yet brisk.

FRICTION MOVEMENT-This movement requires pressure on the skin while it is being moved over the underlying structures. The fingers or the palms are employed in this movement. Friction movement has a marked influence on the circulation and glandular activity of the skin. 

PINCHING MOVEMENT-This has the same effect as kneading. Pinch the skin between the thumb and the forefinger of each hand. In this movement lift the skin over the whole surface of the cheeks in little rapid plucking movements. 

TAPPING MOVEMENT-In tapping movement, the fingertips are brought down against the skin in rapid succession. The fingers must be flexible to create an even force over the area being treated.

From the earliest appearance of settled communities, floor coverings have been the mark of domestic pride. The easy-to-live, wall-to-wall, long-pile carpets and textured monotones have become a 20^th century symbol of luxury and sophisticated taste. As with all fine things carpets and rugs should be maintained in good condition, since grime, dirt and stains can destroy even the heaviest pile, if left enough without cleaning.
Badly stored rugs in unventilated conditions will also encourage moths to feed gratefully and happily during the warm summer months. If your rug is encrusted with the accumulated deposits of years of hard use, grayed with dirt and dust, beg, steal or borrow a garden or a backyard in which to begin renovation. If possible put up a very strong cloths line, sufficiently high to let you whack the dirt out of the backing and pile. The rug should hang freely with one end as near the line as possible, to let you beat from the back. Never leave a rug hanging overnight dew or sudden showers may dampen the fabric, which will take days to dry out.
After beating it is best to vacuum a large rug with the curtain cleaning hose attachment of your vacuum cleaner, while it is still hanging free hold braided rugs can suffer from two main problems, the outer length of braid wears away, or the lacing may come undone and break off. If the wear is very bad consider replacing worn strip with a new one all fine rugs should be repair by experts, and this is particularly true of woven rugs. So make sure your rug is correctly valued before you begin to tinker with it. Rugs too big to lie flat can be rolled around the light pole, with the pile turned in. It is usually suggested fine hooked rugs be rolled pile out. Small-embroidered rugs can be gently cleaned with carpet cleaning fluid or washed with the foam or soapsuds but they may need blocking to retain their correct size. Measure before cleaning, rinse with a moist sponge, and tack down to the right shape on a wooden floor or large board .

TOO PLUMP CHIN OR DOUBLE CHIN-
1^ST movement: Press the tips of your fingers to your chin gently while moving them upwards.

2^nd movement: Knead with the fingertips.

3^rd movement: Follow the pinching movements.

4^th movement: Finish with a light stroking from the chin towards the lobes of the ears.

TOO WIDE NOSE-
1^st movement-Place your fingertips at the sides  of the nose and start light stroking, moving your fingers towards the temples and following closely the lines at the sides of the nose.

2^nd movement: Put the thumb and the fore finger at the sides of the nose and perform a circular stroking movement.

3^rd movement: After ten of such movements, move up to the bridge of the nose and between the eyes and repeat.
CHEEKS FLABBY AND ROUGH-
1^ST movement: With two fingers perform a deep circular stroking over the whole surface of the cheeks.
2^nd movement: Follow up by patting, kneading and pinching movements.

3^rd movement: The deep stroking with flat fingers from the cheeks to the eyes.

4^th movement: A final light stroking towards the temples, the temples, the hands following the contour of the face.
WRINKLES AROUND THE MOUTH-

Start from the chin, stroking lightly up to the folds between the nose and mouth, passing the corners of the lips and ending at the sides of the nose.
WRINKLEDFOREHEAD-
1^st start with light circular stroking from arch of the eyebrows towards the roots of the hair.

2^nd movement: Smooth out the wrinkles with deep strokes and move your hands from the middle of your forehead towards the temples.
SWOLLENEYELIDS-
put the fingers of both hands on corners of the eyes and slide the pad of the fingers gently over the lightly closed eyelids.
BAGS UNDER THE EYES- Press with your fingers on the fleshy pockets.
CROW’S FEET-

With your forefingers, do a circular massage over these areas.

How can we develop good habits? By ` good ` we probably mean the habits that were inculcated into us as children. Perhaps some of them need re examination, but generally speaking we want our children to learn to be considerate of others and never to cause hurt or offence. It` s in the light of this idea that we have to consider ` bad` habits. Most of those usually put into this category are merely passing phases and do not indicate delinquency or depravity. Unless we make too much fuss of them, they will disappear in time.
HOW WOULD A BABY STOP SUCKING HIS THUMB-
This is the question that worries a lot of parents. Once again they see this habit as reflecting on themselves and are ashamed to have a toddler who is still using this form of comfort. A majority of babies and toddlers suck their thumbs for comfort when tired, upset or bored. Thumb sucking does not cause crooked teeth, if we accept the habit without comment and try as far as possible to avoid situations that make the child tired, upset or bored, the habit will eventually die away unless the child has some inordinate need for comfort which his daily situation is not providing. If we draw attention to it and make a big issue of it the habit is likely to persist longer. The same applies to the variety of `comfort objects` old blankets, soft toys, even bits of papers that some children will suck or stroke their faces with in the sort of situation where others suck thumbs. The only hazard here is that these objects may get so dirty that they become unhygienic or unpleasing to the eye. If possible try to have two so that a surreptitious switch can be made when necessary.                                                    

HOW CAN WE STOP HIS NAIL-BITING?
Again this is not very common in under-fives, but if it happens, it can sometimes be another sign of tension and insecurity. In this case the cause must be considered and direct attention will make matters worse. However like other habits it may simply be a learned response to rough, catchy nails, so keep nails trimmed.
HOW CAN WE STOP OUR CHILD EATING DIRT- Occasionally a child will go beyond the stage of putting unusual things in his mouth and develop a liking for food, coal, paper or even faeces. Luckily it seldom makes the child ill, although it may sometimes be associated with anaemia. However you should try to curb the tendency and safeguard him from all dangerous or poisonous substances.