Solid wood is one of our favorite materials and is part of our Scandinavian heritage. It is also a timeless material with many uses. Regardless of the tree species, it is durable, beautiful and renewable. We strive to use this raw material as smartly and efficiently as possible to avoid waste – and we also invest in facilities and logistics so that we can increase the use of recycled wood.
Hassle-free approach to painting a pine tree
Wood is the material most commonly associated with IKEA furniture, and for good reasons. It’s renewable, recyclable, durable, ages beautifully and it is an important part of our Scandinavian design heritage. At IKEA, we believe that sourced in responsible way, wood is a key change driver for climate mitigation. In 2012, we set a goal that by 2020 our wood would be from more sustainable sources. We are happy to announce that we have reached this goal and today, more than 98% of the wood used for IKEA products is either FSC-certified or recycled.
Forests contribute to maintaining balance in the atmosphere, purify the air that we breathe and are part of the water cycle. They nourish wildlife biodiversity and provide homes for indigenous communities who depend on forests for their livelihoods. 90% of plant and animal species living on the planet need forests to survive. They provide sources of food, fuel, timber and many other ecosystem services that we rely upon. Sourcing approximately 19 million m3 of roundwood per year from some 50 countries, IKEA has a significant impact on the world’s forests and the timber industry and a huge responsibility to positively influence how wood is sourced. Responsible wood sourcing and forest management ensure that the needs of people dependent on forests are met, that businesses can work sustainably, that forest ecosystems are protected and biodiversity is enhanced.
100% wood from more sustainable sources
At IKEA, we work with strict industry standards to promote responsible forestry. We don’t allow any wood in our supply chain from forest areas that are illegal or contain high conservation values or from forest areas with social conflict. Before starting to work with IKEA, suppliers must demonstrate that they meet IKEA critical requirements on wood sourcing. IKEA requires all suppliers to source wood from more sustainable sources (FSC-certified or recycled wood). All suppliers are audited regularly and non-compliant suppliers are required to implement immediate corrective actions. By working together with our suppliers, we are proud to announce that we have reached our more sustainable sources goal, which we set out to achieve by 2020. Today more than 98% of the wood used for IKEA products is either FSC-certified or recycled.
As pressure on the world’s forests and the surrounding eco-systems increases due to unsustainable agriculture, the expansion of infrastructure and illegal logging, it is time to take an even more holistic approach to protect and support these important resources for generations to come. The IKEA Forest Positive Agenda for 2030 set out to improve forest management, enhance biodiversity, mitigate climate change and support the rights and needs of people who depend on forests across the whole supply chain and drive innovation to use wood in even smarter ways. The agenda focuses on three key areas: • Making responsible forest management the norm across the world. • Halting deforestation and reforesting degraded landscapes. • Driving innovation to use wood in smarter ways by designing all products from the very beginning to be reused, refurbished, remanufactured, and eventually recycled.
We accomplish more by working together
For many years, IKEA has partnered with businesses, governments, social groups and non-governmental organisations to fight forest degradation and deforestation and increase the volume and availability of wood from responsibly managed forests both for our own supply chain and beyond. We are on a journey to improve global forest management and make responsible wood sourcing the industry standard, contributing to building resilient forest landscapes and improve biodiversity.
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Fixes to 7 Common Tree Painting Problems
“There are several mistakes beginners make when painting vegetation,” says Doug Dawson. “A common one is to jump to the details without first building the large shapes of the trees or plants, and then using the edges of those big shapes to suggest the nature of the leaves or branches that make up those forms. Only then should details, such as individual leaves, be added if need be. This last step is like adding sprinkles to the frosting. I rarely add sprinkles, but when I do, I do it sparingly.
“Another mistake is to paint trees and fail to paint the forest. If I’m faced with a grouping of trees, I paint the group, then paint the edges of the group. Representing a forest by painting the individual trees will work only if you are after a naive style.
“A third mistake I see is students painting a tree trunk like a telephone pole, and then adding the larger branches. When someone works this way, it’s as if they are building the frame for a house and intend to eventually nail on the siding. These tree trunks and branches are usually dark in value. When the canopy of leaves and needles are painted on top of the trunk and branches, these darker shapes often show up like bones in an x-ray. I see this happen frequently when artists paint blue spruce. There is something about a pine tree that causes people to want to paint a dark tree trunk, and then attach dark branches on both sides — perhaps it reminds them of a Christmas tree. Unless you want your painting to look like Grandma Moses did it, you need to block in the whole shape of the tree or trees.
“Knowing these two characteristics of trees can prevent additional mistakes: Tree trunks are typically wider at the base and get narrower as they grow up from the ground. Branches are usually widest where they join the trunk and become narrower as they grow away from the trunk. Towards the end of the painting process, I check my painting, to make sure everything is working. If it looks like the trunk or branches are getting inappropriately wider, I correct them.
“Another common mistake occurs when the trunks diminish in width too quickly, so that the trees resemble carrots — the only trees I know of that actually look this way are Baobob trees in Africa. Typically this happens because the artist compresses the trees to make them fit into the painting. To avoid this distortion, it’s better to let the trees extend off the top of the picture.
“The last mistake is what I describe as “rubber banding.” This happens when branches or tree trunks are excessively fluid or curvaceous. If the vegetation seems too fluid it’s best to insert an occasional straight segment that breaks up this fluidity. Vegetation that is too rubbery looks like you made a mistake.
“Finally, I’ll add some thoughts about color. For me, summer trees are more difficult to paint than fall trees. In the summer there is just too much green. To solve this problem I under paint the green vegetation with reds, oranges, or violets. Where the top layer of green mixes with the color of the underpainting, the greens are duller. Where top layers fail to mix, allowing bright spots of the underpainting show up, the green appears more intense by contrast.”
THE ARTIST’S PROCESS
Doug Dawson prepared this simple demo for one of his classes at the Art Students League to illustrate the two basic steps he typically follows.
Step 1: He blocked in the big shapes.
Step 2: He developed the edges to suggest the nature of the vegetation.
- TAGS
- pastel landscape painting
- pastel painting
Wrapping up
Instead of removing tree sap, being vigilant is more helpful. You need to consider the above tips to protect your car’s exterior paint for a long time. However, if you still have gotten some tree sap on your car, it’s not difficult to remove it. Try any of the above methods and enjoy seeing your beautiful shiny car clean once again.
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