Write an article based on this "Use fabric, rather than paint. Use a lamp globe, rather than a papier mâché sphere. Mount a bike helmet or hard hat inside the mask for added comfort."
article: If you're a decent tailor, fabric may be a better choice for the outside of your Mau5head than paint. Fabric is strong, durable, and looks great. Even better, though, is the fact that fabric coverings are interchangeable, allowing you to rock several different Deadmau5 looks without having to re-paint your mask! If you're pressed for time, waiting several days for a papier mâché mask to dry can be a non-starter. If you can get your hands on one, you may want to instead use a thin yet sturdy plastic lamp globe as the central "head" portion of your mask. Acrylic plastic lamp globes work well. Obviously, you'll want one roughly the same size as the mask above (14" (35.56 cm) in diameter)). Lamp globes are often available from specialty home furnishers and at some department stores.  Bonus points if it already includes a hole at the bottom that's big enough for your head! Finally, you may find that your Mau5head is more comfortable if you secure a sturdy piece of headgear to the inside of the mask so that you can comfortably "wear" the mask on your head. You can do this with superglue (or, if you're worried about damage to your headgear, lots of tape).  Heavy pieces of headgear, like hard hats, can put stress on the mask when you're not wearing it. Make sure your mask is strong and rigid enough to support the weight of any headgear you install inside it to keep your mask from imploding!

Write an article based on this "Divide your hair into portions. Unclip and divide one section of hair. Dust just the ends of your hair. Dust all around your head."
article: Gather your hair into four large equal portions. Twist each portion and clip them to your head. Each portion should be out of your face and held tightly against your head. If your hair is thick and curly, you can make a lot of two-strand twists or braids. Pin these to your scalp. It can be difficult to dust your own hair if it's very short. You may want to ask a friend to help you dust your hair if it's too short to do on your own. Unclip one portion of hair near your eyes. Divide the hair within this portion into 3 or 4 rows of hair. If you have straight hair, feed one row of hair between your index and middle fingers. Pull your fingers down so that only the ends of the row of hair are exposed. If you have curly hair, twist one of the rows so it's neat. You'll probably see some loose ends poking out from the section. These will be hairs that you dust. Take hair cutting shears and look at the end of each row or twist of hair. If you find a split end or knot, trim less than 1/4 of an inch from the end. You should only cut the split end to preserve the length of your hair. Avoid using kitchen or craft scissors which can be blunt and will damage your hair. Professional hair scissors will create sharp clean cuts that can keep your hair healthy. Once you've dusted the front portion of your hair, continue dusting the remaining portions around your head. If you're having trouble seeing the split ends, hold a row of hair up to the light. This can make it easier to spot any split ends or knots. When you're done dusting, you should see very fine hairs over the floor. If you've dusted correctly, you shouldn't see large locks of hair or curls on the floor.

Write an article based on this "Take time to express curiosity in your surroundings. Identify variations in color so you can accurately recreate them. Squint at objects to see their composition of shape and color. Use negative space to create balance or tension. Study the composition of a particular scene or object."
article:
Study the color, shape, texture, and size of random things you encounter throughout your day. Look at the face of the person you're talking to. Notice how light affects the shadows and the shape of their features. Pay special attention to how light looks on certain textures like clothing and skin.  Noticing these things will help you gain a better understanding of how real objects look with different types of light hitting them. As a fun exercise, try to describe objects without using their names to help you visualize and capture shapes. For example, if you’re looking at a tree, you might describe the trunk as a sloping cylinder and the leaves as tiny lemon shapes. When you're looking at something, notice any color variations and how that causes your eyes to want to linger or move to another area. Note the subtle hues within a certain color (like all the different shades of red on an apple). For instance, if you're looking at a brightly colored tulip, note how the hot pink petals contrast with the soft green hue of the stem and how your eyes are drawn to the lighter tips of the petals. Take time to squint your eyes at a particular thing, landscape, or scene. Squinting minimizes your eyes ability to see color and detail and blurs the distinctions between things. This is especially helpful if you want to paint a mass of individual things that are far away like a landscape or a forest full of trees. Squinting will also help you distinguish between shadows and light. When you're looking at a particular object or scene, notice the background space (like a wall, table, or backdrop). Allowing negative space in your paintings will give it a sense of balance or tension depending on the scene and overall esthetic. For example, take note of the colors, shadows, and textures of objects behind the central objects you'd like to paint. For instance, a burnt orange wall with a diagonal shadow can make the candles and flowers in the foreground stand out more. Notice how certain objects are put together to create shapes or lines. The geometry of a particular scene or collection of objects draws the spectator’s in a particular pattern. For example, imagine a still scene of a bookstore. The aisle on the left creates a line that moves the eye vertically, a string twinkle lights between shelves might move the eye across the top, and another shelf encourages the eye to move up or down. The vertical eye movements on each side of the painting might act as a sort of frame for the still-life piece.