How I Have Been Trying to Stay Healthy

hittshI am getting pretty old now and I have to start taking better care of my body. My wife had me go to the doctor yesterday and I was informed that I have an enlarged prostate. He said one of the symptoms was frequents urinating. I told him that was something I was wondering about, since I would have to use the bathroom a lot at night. I would have to use the restroom at least four times throughout the night. I was recommend to start eating healthier and to start working out. I was also told to get a supplement called Super Beta Prostate. It is supposed to help cure my enlarged prostate.

When I got home I searched for Super Beta Prostate reviews and founds some really good reviews. It seems that everyone who has taken it seems to like the results. I told my wife that I will start taking it and see was happy to hear that. I usually never take supplements, so she is happy I am trying to be healthier. I am going to get a four month supply and it should arrive at my door in two weeks. I am excited to see the results from taking this supplement.

More on Super Beta Prostate Ingredients

My father is a prostate patient. Last week he went to visit a doctor and the doctor prescribed him to take a supplement named Super beta prostate. Super beta prostate reviews clear it why this is so good. Super beta prostate is a typical supplement of prostate gland problems. It contains a lot of things and it is hundred percent natural. All the ingredients of it are vital. It also contains cancer busting Vitamin D.

Spotting A Commendable Anti Wrinkle Cream

aac2After a couple of weeks of using the best anti wrinkle cream, I finally regained my lost confidence. The emergence of wrinkles on my skin has made me extremely conscious about my appearance. I am really thankful for having found this product. It really helped that I made use of the internet to spot the most effective anti wrinkle cream today. I visited blogs and forums to know which product has been proven effective in getting rid of wrinkles and other skin imperfections brought about by aging. I did not forget to visit credible product review sites to weigh the quality of every anti wrinkle cream brand that I learned. All these sources helped me come up with a very good decision. Through all the information I gathered from these references, I was able to spot the safest, most effective and the least expensive anti wrinkle cream. It also pleases me that I did not have to wait for long to see its effect. Now, my self-esteem is back. I can face anyone without having to worry about the creases on my skin. I am beginning to receive flattering comments from the people around me and it’s a sign that I should continue using this product.

An Anti Wrinkle Cream That Erases All Skin Imperfections

I am really thankful for having found the best anti wrinkle cream in the market today. I have never been this confident about my looks until I discovered this product. Previously, I was a bit worried to face people for I was well-aware that I did not look my age. In fact, I looked 10 years older and even our relatives confused me with my oldest sister. It hurts to be thought of that way. I felt like I was so ugly and I looked so old. But if not for these incidences, I would not have realized that I needed to do something to look better. One day, while I was waiting for the bus to arrive, I heard a couple of middle-aged women who were talking about a certain anti wrinkle cream brand. The other seemed really amazed of its wonders. I was intrigued so I immediately searched for it through the internet. After learning that it’s actually one of the most coveted brands in the skin care industry today, I decided to give it an attempt. Up to this day, I am still using this product and I love how it keeps my skin glowing. It did not just erase my wrinkles, it also took away all the blemishes on my skin.

Effective Panic Attack Remedies

eparYou may have already heard people saying that yoga and meditation had helped them get through stressful events. Many people with panic disorder incorporate yoga and meditation into their routine because these are effective relaxation techniques. If you are having panic attacks, you should consider enrolling on a yoga class. Relaxation techniques like yoga are considered effective panic attack remedies. Yoga is a form of exercise that does not only strengthen the body but also relaxes the mind. Attending a yoga class once or twice a week can be beneficial to your overall health. Meditation is also helpful because this will help you reorganize your thoughts and reflect on your decisions. You may experience some difficulties concentrating at first. But you will eventually learn to focus solely on your thoughts. You can meditate every day by simply taking an hour in silence. There are books and articles in the internet that can guide you about various meditation techniques. You should also get enough sleep so you can avoid panic attacks. It is suggested to make plan out your daily activities so you will have adequate time to rest. You should avoid stimulants such as coffee so you can sleep right away.

If you are having panic attacks, you must search for panic attack remedies immediately. You have to address the problem right away because panic attacks may affect your life. It is advised to consult a doctor if you are having reoccurring panic attacks. The doctor will propose suitable solutions to this problem. But he will also help you recognize the root of these panic attacks. It is essential to be informed that panic attacks can be triggered by a number of factors. You may be required to undergo a series of test that is needed to identity the root of your panic attack episodes. Medications and therapy may be given to people that suffer from panic attacks. But there are other panic attack remedies that you can insert into your routine. Regular exercise is advised to people with panic disorder because this will help them increase the levels of hormones that are linked with happiness. This is also beneficial for their overall health. You should also avoid working too much and depriving yourself of sleep. It is also recommended to cut your caffeine intake because this may exacerbate panic attacks.

Some Important Reminders

The intensity and frequency of panic attacks are unpredictable. However, these can be reduced if the person with panic disorder will receive appropriate treatment. The first that a person that experiences panic attacks must do is to identify the source of the problem. Sometimes stressful life events such as loss of a loved one or being fired from work trigger panic attacks. There are also cases wherein existence of an illness causes extreme fear and anxiety. It is vital to discuss these things with the doctor. The treatment for panic disorder involves medications and therapy. It is very important for a person with panic disorder to follow to instructions of the regarding his or her medication. The therapy sessions should also be attended dutifully. There are other panic attack remedies like meditation, exercise and herbal teas. However, you should not replace the treatment prescribed by the doctor with these. You can still use there panic attack remedies but they should be used in conjunction with the prescribed treatment. If you are planning to use any herbal supplement, you should ask the permission of your doctor first. It is also advised to inform the doctor if you have an existing health condition.

Cracking The Crosshatching Code

Elizabeth Apgar-Smith believes crosshatching is especially suitable for subjects with a highly textural quality. For the slick, hard edges of a street scene or a cityscape, she would normally use oil or watercolor. But because most of her subjects come from the countryside around her home in rural upstate New York, the softness of pastels is perfect for depicting the undulating natural shapes. To highlight and enhance the textures of such scenes, she uses crosshatching to reproduce the effect of light breaking across surfaces, as in the sheep’s wool in The Committee.

A beautiful example of crosshatching in action.

A beautiful example of crosshatching in action.

The artist loves playing with color, and she’s found crosshatching allows her limitless options in color mixing. In areas in a painting where she wants intense color, for example, she applies crosshatched strokes in colors analogous to the ones underneath. “This technique is especially effective in creating areas of interest in a painting,” Apgar-Smith explains. “When the eye mixes two colors that are close together on the color wheel, the resulting tone is intensified and will draw the viewer’s eye.” In other areas, she might soften or neutralize the colors. In this case, she applies crosshatched strokes in colors complementary to the underlying ones. “At first glance,” she says, “it appears that the overlapping strokes neutralize one another and produce a flat tone. Although it’s true the resulting color is somewhat neutralized, there’s a vibration to it. The crosshatching has a kind of pointillist effect.”

Besides adding to the interest of the painting, the pointillist vibration lends a sense of movement. The mingling colors enliven a composition, especially when in contrast to flat, opaque areas. “I can lead the viewer’s eye through a painting by juxtaposing flat color, which represents static areas, with heavily crosshatched colors, which seem to convey more energy,” the artist says. This effect also produces the illusion of shimmering light, which contributes to a painting’s vitality.

The artist begins each new work by combing the countryside for scenes that evoke an emotional response. Rarely searching for a specific subject, she simply looks for a scene that strikes her. So that she’s never at a loss, the artist makes sure she has a sketchbook with her at all times: in her purse, the car, and next to the television. When a pattern of light and shapes catches her attention, she makes a graphite sketch to record it. Some of these scenes might seem rather mundane to others, but Apgar-Smith can always identify something irresistible within them, usually a feeling they elicit. “I’m not necessarily attracted to high-contrast light,” she points out. “Sometimes, a soft, hazy light appeals to me, particularly when it conveys a mood.”

Apgar-Smith’s preliminary work consists primarily of a fully resolved value and compositional sketch rendered in graphite, which she completes on-site. In addition, she takes photographs to use for reference in her studio, but “only for shape,” she insists, “never for color.” If she has time, she brings her pastels to the location and draws the composition from her sketchbook onto pastel paper with a medium-value pastel. She then fills in the large areas and makes notations about the key and temperature of the color scheme and the mood. “At times I also determine which complementary colors should dominate,” the artist adds. “I don’t worry about portraying the accuracy of the local color. I just decide which color scheme will help me express what I feel at the scene.”

This preliminary work helps the artist establish the patterns of light and dark within the composition, which allows her to relax and enjoy applying color. Most often, she doesn’t begin color application until she returns to the studio. “The sketch sets the value patterns in my mind,” Apgar-Smith says, “and I can play with color later to develop the rest of the painting.” Once back in her studio, the artist transfers her value sketch to Wallis pastel paper with a medium-tone pastel, just as she would on-site. After she establishes the composition and large tonal areas, she dissolves the binder and pigment with a bristle brush moistened with Turpenoid, simultaneously creating an underpainting and retaining as much tooth as possible.

In the next phase, the artist develops her painting with a web of crosshatched passages. “I begin by making the lines about a stroke’s width apart,” she says, “and always choose colors within the same value range as the underpainting.” She works all over the surface to ensure the whole painting comes into focus at the same time. As she works, she highlights her center of interest with crosshatched strokes in colors analogous to the ones the underneath. For contrast, she applies complementary colors over strokes in the surrounding areas, a technique whose effectiveness she described earlier. Depending on how she wants to lead the viewer through the painting, some elements are developed more than others. As details begin to emerge, she refines her strokes and adds dots and squiggles for variety. It takes from two to six hours for Apgar-Smith to complete one of her paintings.

A glance at this artist’s work is enough to confirm the potency of crosshatching. Shimmering with light, Apgar-Smith’s paintings depict the textures of nature with a kind of authenticity and feeling so difficult to achieve. “As far as I’m concerned, crosshatching is the best technique for capturing the beauty of natural shapes,” the artist says. “The softness of pastels–applied in gentle strokes that mingle colors–is an old idea that always seems fresh.”

Disability Won’t Bring Him Down

Forty years ago John Frazer executed a Zen-like landscape that his art professor at Yale, the legendary Bernard Chaet, published in a textbook with a caption, “This wash drawing makes us detached observers of a calm, panoramic scene.” The painting, an early hint of Frazer’s lifelong interest in Japanese design and culture, suggests a predisposition for living in the moment.

Today Frazer, a tenured professor of art at Wesleyan University, spends much time in a scenic panorama of his own making in Middletown, Connecticut. But here the peacefulness is his aggressive response to a health crisis and reward for mindful planning for the future. Frazer became disabled when a two-inch tumor was discovered on his spine in the mid-1980s. Although the growth was benign, his sense of balance and mobility were both permanently compromised after an operation. Widowed within a few years, he sold the three-story family house and designed a modern, more user-friendly dwelling on a small plot carved out of his old backyard, in collaboration with a colleague, architect John Martin. Martin faced a daunting brief: small, odd-shaped lot, limited vertical expansion, a minimum of three bedrooms, universal design requirements, a finite budget, and close proximity to neighbors. By 1995 Frazer had moved into a 2,680-square-foot house that is best described as a model of universal home design.

Although Frazer now shares his house with a partner, David Sanders, it is fully outfitted for his own independence. “The house,” Frazer says, “was built to be usable by a handicapped person without looking like it, so there are no visible exterior ramps, but once you cross the threshold everything I need is on one level. There are no interior obstacles and I foot-tested every surface for traction. We also made sure that all doorways are at least three feet wide.”

Frazer limps, but he is able to walk; he can still negotiate the stairs leading up to his small guest quarters and down to the cellar, as long as they are left uncarpeted to help him avoid tripping. Nonetheless, he and Martin designed the house to accommodate wheelchairs or walkers should either be needed in the future. An entrance leading from the covered garage, for instance, is ramped, and the main living areas flow into each other without thresholds, allowing a generous amount of maneuvering space.

The fringe benefit of this interior plan is a sense of openness often absent in much larger suburban homes. Universal home design requires special attention to bathrooms and kitchens. Frazer’s ample bathroom, one of three in the house, and part of the master bedroom suite “zone,” includes a large tub with jacuzzi fixture surrounded by wood and plants that impart the atmosphere of a Japanese sanctuary. An adjacent shower stall could be outfitted later with a seat; plumbing under the sink was routed to the side to allow wheelchair clearance. Frazer was adamant about avoiding a clinical look by reducing the number of grab bars and keeping the stall threshold low to contain water since it could be modified later.

As in the bathrooms, all the hardware in the kitchen was chosen to be functional as well as appealing to modernist tastes. Martin considered the main food preparation area’s ergonomics as carefully as a workstation: Frazer can move from sink to refrigerator to stove with a minimum of steps. For convenience he has the option of both gas and electric ranges, and a particularly appealing feature is a retractable air vent system built into the center island.

Although Frazer’s original intent was to breakfast in a nook at the kitchen’s north end, this little space has evolved into computer center and home office. Adjoining the kitchen are dining and living room spaces that meet at a front entry washed with light. Frazer, who taught cinematography for many years, prefers a high level of ambient light directed through skylights and bounce fixtures. Not only is this recommended for reducing glare on the tiled floors but it also keeps a profusion of plants healthy in the nearby “winter garden.” Martin had most of the skylights built as a more economical alternative to off-the-shelf products. Thus far the house has met all expectations and is remarkably glitch-free except for a minor crack that occurred after the structure settled, a little water damage on a brick face awaiting a wood stove, and a medicine cabinet installed so that the door won’t fully open.

In spite of his achievement in universal design, Martin succeeded equally in conceiving a haven for an artist with a discerning eye and a need for privacy. All window views are carefully controlled to emphasize the uninterrupted landscape, including what Frazer calls his “Japanese-American” garden. The house also features the artist’s first home painting studio, a personal playpen filled with north light where he works on still-life studies and undoubtedly the occasional calm, panoramic scene.

Considering that his mobility may decline in the future, the more appropriate question is, “But will it continue to work?” All signs indicate that Frazer has nothing to worry about.

Scottish Art Trip Warms The Heart

I planned and orchestrated the workshop a good year in advance of the departure date. On September 19, artists from California, Georgia, Michigan, Oregon, and Wisconsin gathered in the charming little village of Coldingham, 60 miles south of Edinburgh and 70 miles north of Newcastle upon Tyne.

scotheartThe participants stayed in mobile homes, called “caravans” by the Scots, in a vacation park a short walk from the ocean and the fishing village of St. Abbs. Each mobile home had two or three bedrooms, a living room, kitchen, and bath. Each student received a generous supply of Unison and Yarka pastels, Wallis and La Carte paper, a French easel, and a stool.

After a hearty breakfast each morning, we boarded a bus and headed for a preselected painting site. Along the way, our bus driver, Bill Patterson, told us of Scotland’s rich history and identified local landmarks. I began the daily instruction with a demonstration of how to work with a limited palette of colors on location, how to make notations about color and atmosphere when one intends to later work from photographs, and how to capture the unique colors of the Scottish landscape. The students would then fan out from a central location and spend the balance of the day working on location and taking photographs. At the end of each day, we shared our experiences and critiqued the works in progress.

The greatest challenge we faced was the weather of a typical autumn day in Scotland. The strong winds demanded our attention as we kept track of painting gear and maintained our balance, and the cool temperatures taught us how to work while bundled up with layers of clothing.

“I particularly enjoyed painting on Holy Island,” says California artist Kay Ownes, referring to the island that can only be approached during low tide. “The castle on the very edge of the sea was spectacular, and the surrounding harbor, full of boats and activity, was glorious in the full sunlight.”

Rebecca C. Cullen of Petaluma, California, especially enjoyed painting the moors growing from the side of the road deep in the mountains. “The values were so pronounced, and the colors inspired my soul,” she says.

Joan Daykin of Bishop, California, was amazed at the variety of colors in the rock walls that lined the roads. “They could be nearly white, light tan, gray, yellow, brown, almost black, pink, and even red. And growing between the rocks were lacelike ferns and clinging plants,” she says.

Anne McClure of Yosemite, California, says, “This is the land of my ancestors, and it holds magic and beauty as far as the eye can see; every turn of the head is a new and exciting painting.” Lucille M. Allred and Wanda D. Johnson were so motivated by the experience that they created enough paintings for an exhibition in the gallery in which they are partners, the Cass Gallery in Roseburg, Oregon.

Another highlight was our personal tour of the Unison factory, located in the rectory of an old church in Northumberland, England. The road leading up to the factory was so narrow that our bus had to stop a mile away, and we were then shuttled the last bit by car. John and Kate Hersey, founders and owners of the company, took us through the small buildings arranged on 20 acres, and gave us the rare privilege of visiting John’s studio, where he paints and formulates pastels.

Michelle Richeson summarized her experience by saying, “When you leave a workshop you may only have a couple of near-finished paintings, but you will also have a sketchbook loaded with observations. You’ll probably also have rolls of photographic film packed with potential images and a head full of new ideas. That was certainly the case with this workshop, and I’m sure all of us are looking forward to another one.”