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ARLIS/NA Mid-Atlantic

The Mid-Atlantic Chapter of the Art Libraries Society of North America

Month: April 2013

Mary D. Doering to lecture and show Women’s Clothing from the Civil War Era at the Library of Congress

1855 ikat dressWomen’s Clothing during the Civil War Era:  Dresses, Foundations, and Accessories from the Collection of Mary D. Doering will showcase original clothing from the nineteenth century. Planned to compliment “The Civil War in America” exhibit currently on display at the Library of Congress, this lecture and presentation will take place on Thursday, April 18, 2013 in Dining Room A, sixth floor of the James Madison Building, at noon.

The April 18 presentation “Women’s Clothing of the Civil War Era” will combine a traditional lecture and a discussion of original garments from the period 1855 to 1870 with an emphasis on the Northern States. The evolution of the garments’ styles, the accompanying foundations, as well as the related technology and marketing media will be discussed. Despite the trauma imposed by the Civil War, the mid 19th century witnessed the development of ready-to-wear garments and the growth of urban department stores, both of which were essential contributions to the modern American fashion industry.

Mary D. Doering has specialized in costume history for forty years as a collector, lecturer and guest curator.  Since 2001 she has taught costume and textile history at the Smithsonian Masters Program in the History of the Decorative Arts (an academic partnership with George Mason University).  In addition, she has lectured at numerous professional conferences and museums.  She earned her M.A. in Art History/Museum Studies at George Washington University in 1980.  She pursued additional study in the History of Dress at the Courtauld Institute (University of London) in 1982. Selections from the collection have been loaned to the Colonial Williamsburg Foundation, the D.A.R. Museum, the Fashion Institute of Technology and the Smithsonian Institution, to name a few. Exhibitions at historic sites and regional museums have been a particular specialty, and Ms. Doering has worked as guest curator and lender for a variety of locations including Dumbarton House, James Madison’s Montpelier, the John Marshall House, and the Maryland Historical Society.

While still in High School Ms. Doering was given a small collection of family heirloom clothing dating from the 19th century. In the intervening years her collection has grown to comprise over a thousand items, which span the period from 1600 to 1975.  In March 2008, Arts and Antiques Magazine included the collection among its “Top 250 Collectors”.

Kathy Woodrell, Reference Specialist, Fine & Decorative Arts, Library of Congress

In the Library: Announcements from the Vertical Files

Greetings ARLIS DMVers! The show I organized in the Library here at NGA will be closing at the end of next week, Friday, April 26. Please come and take a look–and maybe we can grab coffee or lunch, as well?

Please note that the exhibition is open only during regular business hours, Monday to Friday, 10:00 am- 4:30 pm.

In the Library: Announcements from the Vertical Files

Often printed on simple postcards, museum and gallery announcements advertise upcoming exhibitions—conveying the who, what, when, and where. The objects in this show, however, do more than merely inform; they reflect the materiality of the art they promote. Through imaginative use of layout, color, form, and material they distill the spirit of the works of art into a handheld package. Crafted of paper, vinyl, plastic, and sand, they expand, light up, reflect, and decode.

This exhibition is culled from the vertical files of the National Gallery of Art Library, which houses an extensive collection of announcements, pamphlets and small exhibition catalogues.  Also on display here are installation views borrowed from the Library’s department of image collections. Together, this group of objects provides insight into the overall experience of  gallery-going and the material culture of the art world.

— Anne Simmons, Reference Librarian for Vertical Files and Microforms, National Gallery of Art Library

New Finding Aids from the ICFA at Dumbarton Oaks

ICFA at Dumbarton Oaks

The Image Collections and Fieldwork Archives (ICFA) at the Dumbarton Oaks Research Library and Collection is pleased to announce the publication of four new finding aids on the department’s archival collections webpage.

ICFA staff completed the archival processing and finding aids for the following collections:

Additionally, ICFA has revised existing finding aids for collections produced by Byzantine scholars and/or Dumbarton Oaks staff, including:

In future months, ICFA plans to complete the processing of the Robert Van Nice Fieldwork Records and Papers and the Margaret Alexander Fieldwork Papers. While these projects are still in progress, ICFA staff and interns have created online resources to document these collections, including:

More importantly, ICFA is currently moving its long-form finding aids to an open-source web-based collection management system (International Council on Archives Access to Memory or ICA-AtoM) for increased accessibility.  While the change has opened the door for lively debates about archival description and “More Product, Less Process,” this challenge has definitely been an educational and exciting journey for the staff in ICFA.

For more information about ICFA’s ongoing activities and projects, please visit the departmental blog and “friend us” on the Dumbarton Oaks Library and Archives Facebook page.

Internship Opportunity at the Smithsonian Libraries

The Smithsonian Libraries’ Summer Internship Program includes an internship for working with artists’ books at three of the art libraries at the Smithsonian (the Hirshhorn Museum and Sculpture Garden, the American Art Museum / National Portrait Gallery, and the National Museum of African Art). Interns will be working closely with staff from all three libraries and the Smithsonian Libraries’ internship are unique learning experiences that benefit from professional mentorship from SIL staff, as well as internship programming opportunities and events from the Libraries and the Smithsonian Institution. Please note that this internship does not carry a stipend, though we are happy to work with students to help them obtain credit from their college or university.

Information about the project (titled “Artists’ book accessibility and research”) and how to apply for an internship can be found at:

Please note that although the deadline is given as April 12, we will be accepting applications until the internship is filled.

Smithsonian Fellows Lectures in American Art

The Fellowship Program at the Smithsonian American Art Museum cordially invites you to attend three afternoons of lectures in American art delivered by Smithsonian art history research fellows. The talks will be held in the museum’s McEvoy Auditorium, located at 8th and G Streets NW, Washington, D.C. This event is open to the public and no  reservations are required. For further information, please contact Amelia Goerlitz at (202) 633-8353 or email

In conjunction with the lecture series, the Library will be offering for sale a wide variety of books on American art. Book sales will be held in the auditorium lobby from 1:00 to 2:00 p.m. each day and during the afternoon intermissions. All proceeds benefit the Library acquisition funds.

2:00 p.m. to 3:45 p.m., moderated by Karen Lemmey, Curator of Sculpture, Smithsonian American Art Museum

  • Katelyn Crawford, Terra Foundation Predoctoral Fellow in American Art, University of Virginia: “West Indies Portraits: Traveling British Artists and Eighteenth-Century Jamaica”
  • Laura Turner Igoe, Predoctoral Fellow, Tyler School of Art, Temple University: “‘Covert of Danger and Blood’: The Incorporation of Philadelphia’s Centre Square Waterworks”
  • Catherine Holochwost, Patricia and Phillip Frost Postdoctoral Fellow, Independent Scholar: “Living Fossils and Rural Idylls, or Nature in the City”

4:00 p.m. to 5:00 p.m., moderated by Eleanor Harvey, Senior Curator, Smithsonian American Art Museum

  • Kenneth Hartvigsen, Predoctoral Fellow (National Museum of American History), Boston University: “Banjos, Rifles, and Razors: Black America’s Changing Image on Nineteenth-Century Sheet Music”
  • Shana Klein, Wyeth Foundation Predoctoral Fellow, University of New Mexico: “Cultivating Grapes, Cultivating Empires: A Study of Horticultural Imperialism in Late Nineteenth-Century Still-Life Representations of Fruit

2:00 p.m. to 3:45 p.m., moderated by William Truettner, Senior Curator, Smithsonian American Art Museum

  • Miri Kim, Predoctoral Fellow, Princeton University: “Dust, Dirt, and Gems: Imagining Geological ‘Deep Time’ in Albert Pinkham Ryder’s Moonlit Marines”
  • Adam M. Thomas, Douglass Foundation Predoctoral Fellow in American Art, University of Illinois, Urbana-Champaign: “Out of Darkness: Irving Ramsay Wiles and Indeterminacy in the 1890s”
  • Emily Burns, Terra Foundation Postdoctoral Fellow in American Art, Washington University in St. Louis: “The Indian and the Cowboy: American Primitives in Fin-de-Siècle Paris”

4:00 p.m. to 5:00 p.m., moderated by Emily D. Shapiro, Executive Editor, American Art, Smithsonian American Art Museum

  • Abra Levenson, Predoctoral Fellow (National Portrait Gallery), Princeton University: “Charles Demuth’s Token Subjects”
  • Nicholas Miller, Predoctoral Fellow, Northwestern University: “Painting the Self, Painting the Other: The Ambiguities of Identity and Diaspora in Palmer Hayden’s The Janitor Who Paints

2:00 p.m. to 3:45 p.m., moderated by Virginia Mecklenburg, Chief Curator, Smithsonian American Art Museum

  • Susanneh Bieber, Postdoctoral Fellow, Freie Universität Berlin: “Building a Better Future: Ben Shahn’s Mural Resources of America
  • Hyewon Yoon, Predoctoral Fellow (National Portrait Gallery), Harvard University: “Lisette Model—The Window Reflections Series, 1938–41”
  • Berit Potter, Terra Foundation Predoctoral Fellow in American Art, Institute of Fine Arts, New York University
  • “Beyond Skyscrapers and Automobiles: Exhibitions, Inter-American Cultural Exchange, and the War Emergency”

4:00 p.m. to 5:00 p.m., moderated by Joanna Marsh, James Dicke Curator of Contemporary Art, Smithsonian American Art Museum

  • Michael Maizels, Predoctoral Fellow (National Portrait Gallery), University of Virginia: “The Aftermath, Again: Re-staging the Work of Barry Le Va”
  • Gregory Zinman, Postdoctoral Fellow, New York University: “Analog Circuit Palettes, Cathode Ray Canvases: Situating Nam June Paik in the History of Motion Painting”


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THE Bacchanalian pictures are inspired by Titian. Like the painters of the so-called " Eclectic " school, Poussin has selected from the Italian master ideas, forms, landscape setting, and colour. But although a good technician, very prolific, and at times more personal than in these pictures, he falls far short of his model. One loses interest in rechauffés of a bigger man's work.

The French school is poorly seen at this gallery. Watteau, the finest product of French art, is not represented. An excursion to the Dulwich Gallery should be made to see him at his best, and there are a few choice pictures of his at the Wallace Collection, where Lancret is better seen than here. In his "Four Ages of Man" series, there is a charming panel, "Manhood," with the gracefully posed youths shooting arrows at a high mark ; but with the artificiality characteristic of the Frenchmen of the period, the amoureux spread around appear to be totally oblivious of the spent arrows which might well put an end to their amours.

[217] Nor is Chardin to be judged by the two little pictures in these galleries.

Claude is fine and clear in his stately and serene landscapes, but I prefer the "Dido building Carthage," by Turner, between two of them. What technically is so extraordinary in the Turner is the heated, sun-suffused atmosphere; which is attained by a scumble of warm colour across the sky, the hills, and the middle distance-a very interesting point to study. See behind this transparent scumble the boat, the builders, and incidents well defined in the first instance, and then fogged by this semi-opaque wash. A truly wonderful effect is here produced out of the endless resources of his genius.

Merimée tells us that " Greuze was fond of dead colouring in full impasto, which he glazed all over ; afterwards painting upon the glaze when it was dry, beginning with the lights and proceeding gradually to the shadows." Though somewhat artificial and over sweet, he has a tender grey in his flesh, which is often admirable.

* * * * * *

The few examples which we have discussed should serve to awaken an interest in the material side of a work of art, as distinct from those aspects of it which belong to the realms of æsthetic thought. Viewed broadly, they cover, I think, sufficiently [218] for our purpose, the ground of acknowledged legitimate technique. A canvas or panel, a few colours, brushes, vehicles, and a palette knife are the comparatively simple materials with which an oil-painting is done, and three or four main methods, with subtle variants, constitute the limits within which the painter is forced to work ; so that in describing the apparent practice of the leaders among the craftsmen, my constant repetitions are due not only to a lack of phraseology, of which failing I am conscious, but rather to the fact that the notes are very few on which the illimitable combinations and imaginings are rung.

But now that in my poor way I have sought to show you how to extract and detach from a Work of art some of its constituents, you might try your hand unaided to seek a similar lesson, and profitable pleasure, on the remaining works in these galleries, or among others elsewhere.

In any case, do not attempt more than about two rooms on any one day, on one occasion making a technical quest, on others, quite separately, notes on the linear construction of composition, the scale of figures to their setting, colour arrangements, and the massing of light and shade. It may even be instructive to join the crowd and look for subjective points of interest.

And now let us make our way to the British section of these galleries.

THE words written by Reynolds on the established method of his maturity have already been quoted. It was his habit at one period to jot down in Italian the colours, mediums, and processes of which he made use, in each successive portrait, notes which are to be found in Eastlake's " Materials." He was a great experimentalist, and methodically made these memoranda, eventually to confine himself to the combinations which furnished him with the best results. So we may take it that when he refers to his "established method," with it his best work was accomplished. Wax, I believe, is not mentioned at the time, but a solution of it, dissolved in spike oil or turpentine, was a favourite medium about which he told an amateur friend, asking him at the same time not to tell any one. The amateur tried the vehicle, and complained that it cracked. Reynolds's only answer was, "All good pictures crack." Now you will understand how it is that "The Age of Innocence " and many others that are of a thick [220] pasty consistence have cracked : but not all of them ; much depended on the nature of the other oils and varnishes used with the wax.

There is always danger of pictures suffering that are done with a thick paste of colour entirely concealing the grain of the canvas.

His heavy use of bitumen is also responsible for other fissures. Bitumen is liquefied when heated by the sun. A. story is told how a Reynolds picture with much bitumen, which had been exposed to the sun, was found with the eyes run down into the cheeks of the portrait. The only cure for this displacement was to leave the picture in the sun, and reverse it, till those features found a resting-place in their sockets again.

Reynolds made many copies of the Venetian, Flemish, Dutch, and Spanish works, and embodied in his own painting what he admired in their methods ; and he was critical enough also to know what to avoid. His "gilded" final colouring is doubtless inspired by Titian and Rembrandt; his more silvery schemes, such as the " Two Gentlemen," by Velazquez. But for all his researches into the practices of other men, he is very personal, and there is no mistaking him for the masters from whom he did not disdain to learn.

The "Portraits of Two Gentlemen" is one of his best works here, done on a canvas covered entirely with the grey of its background, an [223] idea evidently borrowed from Velazquez ; for, like the " Admiral Pulido-Pareja," the figures are superposed on its dry surface. In most modern portraits the background is painted wet with the head, but Sir Joshua managed to do more than a hundred in a year, and would find it facilitate matters to have some of his grounds nearly completed for him except for a final warming glaze. The more elaborate backgrounds were done by assistants, the master superintending and completing them while they were still wet, or by glazes and retouchings when dry.

The breadth and oneness in these two heads is admirable, and there are no small accents to detract from their simplicity.

The hair of the near man, the better of the two, is thinly suggested on the grey ground; the flesh and hands are first prepared with a cool monochrome, and then scumbled and glazed.

The foreshortened hand against the black satin is a real pleasure to the craftsman, as is also the silveriness of the harmony. There is a frankness and freshness about this work rarely found in his pictures, many of which he juggled with, rubbing asphaltum and other glazes into them, so that now little light remains. Examples of this we have in a small lost profile at the National Gallery, " The Banished Lord," and in the " Snake in the Grass " with its heavy accidental shadows, in which the breast of the semi-nude figure is fine in colour and modelling. No doubt [224] by these means he achieved a rich colour-quality ; but they are dangerous, and more often than not leave destruction hi their wake.

The "Admiral Keppel," painted with wax as a medium, has been so enriched, but is in good condition. The tone of the head against the splash of white on the neckcloth has the substance that such tonality gives. Its apparent brilliancy is heightened by the cast shadow on the crimson coat and the cloud of Antwerp blue for a background. It is finely drawn and boldly handled.

There is little else but Indian red and black in the flesh of " Lord Heathfield," which is altogether a splendid performance, both in its modelling and telling character : a dignified old soldier.

"The Countess of Albemarle" is but a slightly tinted monochrome like many of his portraits. No doubt the black tendency of the greys prompted him to force the colour in his other pictures. His black and blue under-painting helped the flesh greys, but when overdone destroyed the glow that Rubens held so dear.

"The Age of Innocence" has all the charm of Reynolds's child pictures, and in spite of its fissures is simplicity itself. Only a strong concentrated light imparts such breadth, and only a "dilated" eye can seize it. If we have here the solidity that wax establishes, we must take the defects of the qualities of wax and be grateful.

In " The Holy Family," cleanly done at first with a cold monochrome, we have a fine composition [225] effective in light and shade. But the head of the Virgin, otherwise beautiful, has about it a hard tinniness, for the edges are too clearly cut and not lost and found enough against its dark background. The pink of the dress is solidly painted into a glaze ; and on the child some dry draggings of colour are visible.

"The Graces" do not belie their name. Here the great cast shadows are used so wisely that they save a composition which without them would be too markedly arranged. The quality of toned colour in sunlight is delightfully suggested.

In the confused and poorly drawn " Lady Cockburn and her Children," the parrot against a fluted column is a colour passage of real beauty, a delicious harmony.

"George IV. as Prince of Wales" is another frank and well-constructed head, and everything else by the master is worthy of the closest study.

National Gallery

The bigly seen and broadly handled head of the man in black should help the student to realise and distinguish essentials from non-essentials in painting.

THE charm of Gainsborough lies in his intense personality. Except those paintings which are directly inspired by him, there are few that resemble his style; and this individuality, combined with his faculty to seize sweet and elusive expression, make him one of the most lovable of our painters, in spite of seemingly puerile lapses-for of ten his drawing could not well be weaker, nor could his composition. But he could draw, and when he is careless about it and about his construction; he gives us at least something to compensate for their loss in all he did. The colour scheme of " Mrs. Siddons " first attracts us. There is an absence of positive shadow in the flesh. Let us see how it is done.

The picture was evidently laid in in a cool monochrome, the flesh very sparingly glazed, and then accents, such as the black of the pupils, the nostril, the red of the mouth, a few streaks in the powdered hair, and the black velvet riband on the neck, just drawn with a small brush hi their respective places over the dry or nearly dry ground. [229] And, curiously enough, the effect is not hard, although a trifle thin.

In Gainsborough's paintings there is rarely any decided impasto. Perhaps because of their thinness his pictures do not crack ; but they are often chalky in their whiteness.

The blue and golden brown, with the black hat on the red setting, is a striking harmony ; and all these are but thinly stated. There was an old superstition that no picture was durable that was not loaded. Gainsborough settles that point for us, and we see that his meagre but clean white grounds uphold his light and freshness.

In the "Parish Clerk" the exquisite hand on the book is fine in the quality of its shadow, and is in direct contrast to " Mrs. Siddons." The light and shade of this picture are fused together in wet state, and very subtly.

The "Musidora" is somewhat patchy with its overglazed colour.

"The Duke of Bedford's" head is brimful of nature. There is also a portrait of a dignified old man, and a tenderly coloured group of "The Baillie Family."

The best technical lesson to be learnt from this artist's manner is the safeguarding of the fascinating freshness, and looseness of the sketch in the finished work. Why is the sketch often preferable to work completed from it? For one reason mainly : it is done in one painting, and therefore the light of the ground is not lost.

[230] What, when our pictures are overloaded, are we to do to restore something of this looseness? Firstly, we should scrape away the heavily loaded passages with the " plush mat," and then, if necessary, scumble a little light opaque colour over them. When this is thoroughly dry, we have a new ground over which the paint should no longer suffer from the want of transparency. This process gives little trouble, and will regain for our work what over-labouring will have lost for us.

Gainsborough's later landscapes are somewhat summary, dark, and scratchy. The earlier wood scene, " Village Cornard," more Dutch in feeling, has none of these faults ; it is juicy in colour, and more solidly handled.

National Gallery

A fine example of the lightness of handling so characteristic of the master's manner.

There are Romneys in our gallery that have their charm, but there is a flat emptiness about them. The flesh is rarely flesh for the want of greys, and his red shadows are monotonously mannered. It is hardly fair to judge him by examples that are in many respects not his best.

Constable broke new ground ; and so strong was the prejudice against the greenness of his work that he was requested to brown his pictures in the early days. For all that, he has had more [233] influence on modern art than perhaps any other painter.

The " Flatford Mill," if seen alone, in spite of its hardness and lack of unity would appeal to lovers of light and nature, but by the side of his richer and more sparkling trio, next to be mentioned, it seems tame and uninspired. Such free use of the palette knife, as in his three notable canvases ("The Corn Field," "The Valley Farm," and "The Hay-Wain"), has always a taming effect on surrounding pictures that are painted without its aid, and, as with the craving for narcotics the doses of the reckless who are bitten with the craze, are gradually increased till the scintillations play havoc with a whole wall of neighbours. But there is a day of reckoning with these dust-traps, when all the glory is for ever departed. Constable could use his palette knife, but even with him the surfaces are sometimes a wee bit mechanical, as in the stag and tomb picture on the east wall, known as " The Cenotaph."

"The Valley Farm" is finely dramatic. The accidental shadows and the concentrated light on the white house are conceived and executed with real mastery.

National Gallery

A sparkling richness due to the use of the palette knife.

Crome had a singularly broad outlook. His " Mousehold Heath " and " Slate Quarries " claim consideration. The " Quarries " is done on a rough canvas similar to those on which Paolo Veronese [234] worked, and in touch recalls the great Venetian. Such is the effect of surface on style.

The half-length of "Miss Fry" is well painted, if small in treatment. Larger in manner is " Mrs. Siddons," whose eyes, partly shaded by the overhanging fringe, are a fine study. The liquid play on the white draperies considerably enhances the attractions of this portrait, one of Lawrence's chef-d'œuvres.

The unfinished " Portrait of the Princess Lieven" shows clearly his direct method.

National Gallery

This artist is not seen to advantage in "The Countess of Oxford." The cast shadow is inevitable hi his silvery portraits. The whiteness in this is exaggerated; one longs for a little more warmth.

The lady in a white dress by Raeburn is undersized. The question of scale is a perennial subject of controversy.

Portraits should not exceed, and be rather under life size, but only slightly so.

There is a loss of dignity and a certain meanness in a portrait that is too large to be considered half [239] life size and is plainly intended to be full in scale. An irreverent friend calls it " monkey size."

A really big head in nature suffers by much reduction in the portrait. Everything depends on the space around. An 8 1/2-inch man's head would be quite big enough for a small canvas, and may perhaps swim in a large area.

Some cattle by Ward in a picture entitled " Regent's Park in 1807," at which most Londoners will be surprised, are treated vigorously with a full brush in the lights.

His facility is extraordinary-quite a conjurer with his materials ; but for all its ease, the work is superficial rather than great.

Now let us turn to the work of one of the greatest men of genius England has produced- perhaps the strongest landscape painter of any age. He may be equalled in some of his themes, but he has so many that his versatility appears truly phenomenal.

Who ever painted the sea with all the depth and heaviness of its volumes, as in "The Calais Pier" [240] and "The Shipwreck"?-to say nothing of the dramatic intensity, of the whirl and boil of the waters, and of their light and shade. Mark, too, the juiciness of colour in his active life-giving little figures. Then think of his ingeniously constructive invention in the " Garden of Hesperides," with its mass of rock and its fearful dragon, and of the piecing together of innumerable studies into a homogeneous whole in the " Childe Harold's Pilgrimage, Italy," "The Bay of Baiæ," and many others. For technical soundness, which is not Turner's forte-for he often fights the impossible with impossible agents-note the freshness of one of the finest of all his productions, " Crossing the Brook." This, like his other " inventions," required careful thought in its preparation and, unlike his more impetuous efforts, remains fine in surface and colour. We shall see that the foliage in the middle distance has under it a substratum of solid white pigment, and we may surmise that the light passages throughout are done over a solid under-painting. The velvety tree against the sky is thick in its darks, and thinly drawn over the sky, and so its softness and roundness are felt. Look around and appreciate how varied are his resources and his ability to command his material in a hundred ways, to fit in with his mood and his wishes.

National Gallery

Both this and the Shipwreck are great and dramatic compositions. The weight and the whirl of the water are superb.

National Gallery

The fine preservation of this superb work, so rare with Turner s pictures, is undoubtedly due to careful preparation of the grounds.

You may perhaps wonder that but scant allusion has been made to other than technical expression in the works reviewed.

Firstly, there are innumerable and able writers who have dealt with the historical and intellectual aspects of these and kindred works. The most elegant litterateurs of the last century have spent their lives, not without effect, in such analyses of the arts, and to quote them here would confuse the issues and force me to overstep the necessary limits of a manual which, to be fully useful, should be portable.

Our visit to these galleries is but a sequel to the preceding lessons, in which an attempt has been made to explain without elaboration two separate ways of working with an oil-painter's materials. In the galleries we have an opportunity of learning how, with the given processes and with variants on them, great results have been produced, or, I should say, appear to me to have been produced, by men who have mastered most of their possibilities.

However imaginative or otherwise gifted the [244] painter may be, he has first of all to be a painter a sound craftsman. The knowledge of his medium, of expression and its capacities are his first essential requirement ; without it he is dumb-dumb as a thinker who is incapable of properly reducing his thoughts to words.

To teach the alphabet of our art and a few useful expressions, is the primary object attempted. Advice has been given you during our visit to make copies of certain works. These should be begun after about a year's painting from the life ; and the experience gained in the making of such copies should be applied to the painting of succeeding studies from nature.

The order in which they are done should be decided by your weaknesses, and works should be selected as correctives. If, for instance, you are able to deal with broad masses and fail in finish, copy such a work as Van Eyck's small head of a man with the red head-dress. If, on the other hand, you are too much tied down to your outline and are too timid to depart from it, or are inclined to over-model, try " The Age of Innocence," or the dark head in Reynolds's " Portraits of Two Gentlemen." They should certainly check any tendency to smallness. Later on you may attempt Van Dyck's " Van der Geest," and the small "Philip IV." by Velazquez. While painting the nude, first make a study of the two arms in " The Abduction of the Sabine Women " by Rubens, later " The Good Samaritan " by [245] Bassano, and last of all Rembrandt's "Woman Bathing."

In every case select the picture which in your opinion, or, better still, in the opinion of others competent to advise you, is best calculated to counteract any obvious weakness to which your work leans.

The student invariably follows his strength, which, until he is many-sided, is the last thing to do. You may neglect for a time what comes easiest to you, and turn to fortify the weaker links in the chain of your accomplishments. Do not lack the moral courage to exhibit your failings before your fellows, and do not let a childish vanity urge you on to a constant repetition of what you think your forte, or you will end in strengthening one set of muscles at the expense of all the others. Your performances will be lopsided and unequal. Value as nothing the praise of the incompetent, and value your studies in the making even less.

You will, of course, need to consider many things besides the manipulation of your materials-things to which, in the course of a little chat with you, references may occur.

What I have just said with regard to a partiality in your painting study applies with even greater force to a neglect of composition.

[246] You probably have, even if you are not conscious of it, some constructive ability, like the man who, on being asked if he could play the fiddle, replied that he didn't know, he'd never tried. You may not know. Anyhow, try ! I remember well that in a class of students whose work I supervised, and whose sketch compositions I criticised, there were some who mistrusted their capacity for artistic arrangement, and who with a little persuasion were induced to make an attempt in this direction. They gained in the course of tune much facility, and developed in some instances undoubted power.

You may desire to make natural effects your chief aim, and if there lies your strength, by all means do ; but do not forget at the same time to make them decorative. They will be studies, and not pictures, if within the four corners of their frame they are ill-balanced.

The first demand one makes of a work of art is that it be satisfactorily disposed, not necessarily on worn conventional lines, but that its pattern or " blot " be adjusted conformably to the shape and proportion of its setting, and that it obeys the laws of what is called decorative effect. These laws are very wide, for a good Japanese print is as decorative as a fine Titian, a complete Dutch genre picture, a Turner landscape, or a Velazquez portrait group. There are no actual limits to decorative laws ; you may even make new ones for yourself. An industrious striving to create [247] and record impressions you will find the best schooling.

A knowledge of modelling in wax or clay is helpful in composing figures that are in action or that might be sculpturesquely interwoven. Nothing is more suggestive than some such plastic material. Lord Leighton, the grace of whose line is rarely equalled, modelled most of the groups for his classic compositions; and for flying or clinging draperies a fairly modelled clay figure, on which the material used has been previously dipped in a mixture of clay and water, and is arranged in folds which will remain in condition for an indefinite period, is hard to improve upon.

Then there is a little secret of my own which I will now divulge to you.

You have probably heard of a smoked plate- that is, a common white plate held over a lighted candle to blacken its surface. With the finger lights are touched out, and can be made often to suggest effective arrangements and fancies. It is a favourite pastime with students. But I think I have improved on this practice ; for china is fragile, to say nothing of the difficulty of storing piles of it ; the regrettable alternative is to efface what might one day prove a useful design. You should always keep your sketch compositions ; the best pictures are frequently done from sketches made many years before the final painting from them.

With the assistance of an old friend I developed [248] this substitute for a smoked plate. We took a millboard about 20 by 16 inches-a convenient size-and covered it with Aspinall's enamel. When this dried, as it does in a day or so, we had an excellent surface for experiments. A wash of water-colour ivory black replaced the candle smoke, and with a wetted brush we amused ourselves making all sorts of fantasies. A few such prepared millboards are now to me indispensable, and I advise you to make some in the same way. They will greatly facilitate your management of line, grouping, and light and shade. In the same manner you can work in colour with water-colours, and you will find it the most fascinating thing possible.

Landscape Painting
Constructive Anatomy
Charcoal Drawing
Freehand Drawing
Drawing for Art Students
landscape painting free art book, constructive anatomy, george bridgman free art book, charcoal drawing free art book, freehand drawing free art book, drawing for art students
free drawing sketching painting lessons

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Key Messages

The most important few words you have to say.

Effective key messages create understanding of essential ideas rapidly. A good key message plants an intuitive idea into the mind instantly. Ideally, that key message is grounded in authenticity and compels action.

how key messages matter

For any sort of business, key messages can help:

  • to distinguish a brand from competitors.
  • to guide organizational decision-making.
  • to maintain clear focus, preventing off-purpose drift.
  • to generate more business of the business you want.
  • to foster and maintain the loyalty of customers, suppliers, and staff.

establish relevance

Whether for a particular audience or for the world, a key message can be a single eloquent word. Some key messages take a few lines to read or a few seconds to hear. In every case, an effective key message is brief, simple, and full of meaning.

  • Is your slogan meaningful?
  • Does your market regard your name as fitting?
  • Does your motto strike the right people as relevant?
  • Does your call to action actually prompt appropriate action?
  • Does your elevator speech compel people to ask for your business card?
  • Does your mission statement harmonize your organization's purpose with your market's values?

the corporate concept

A good corporate key message contains the corporate concept. For example, Coca-Cola is much more than a one-beverage company. Coca-Cola sells fruit juices and other soft drinks under other names. Yet, the name Coca-Cola is associated foremost with the soft drink of the same name. The corporate motto covers it all: Enjoy.

succeed at this test

Could you express your brand promise wholistically in a single word or short phrase?

a simple concept that's yours in your market's mind

When an organization is successful at propagating and living up to its fundamental key message, then the identity of that enterprise is associated with a single concept that it virtually owns in the mind of the market.

  • Volvo = safety
  • Heinz = ketchup
  • Rolls Royce = elite
  • Molson = Canadian
  • Wal Mart = low prices
  • McDonald's = fast food
  • Guinness = black Irish beer
  • Baskin-Robbins = 31 flavours
  • Tim Horton's: donuts and coffee
  • Fender = electric guitars & basses

Is your fundamental key message simple, distinct, and well-known in your market? If not, then be assured: This is one of the problems Articulate solves.

internal or external focus

Of course, brand promises and mottoes address external audiences. Success with key messages for external audiences may only follow from clarity of the ultimate key message meant for internal communication only: the vision statement. Your vision statement succinctly describes where your mission will take you if you stretch to achieve it.

what you aim to achieve

Your vision statement describes a hoped-for future in the present tense. It expresses a tremendous or outrageous vision of success. That hoped-for future is currently not achievable. You can achieve it only if you work hard, adapt, grow, learn, stretch beyond your current reach, and have clear intentions under certain values.

When thinking about the future seems misdirected; when decisions today need to be validated or refined as aligning with your organization's purpose, these can be checked and calibrated in relation to a strong, clear vision statement.

make a difference

An authentic, articulate key message can reach the right people effectively, creating or reinforcing the right impression and helping to avoid direct competition. Since 1996, with expert help from Articulate Consultants, independent businesses in Canada and the USA have been discovering and articulating their key messages to good effect.

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Wormy Chestnut

Deep in the forests of southern eastern Australia, the trees are affected by wildfires, years of drought, attack by insects, the occasional flood and winds so strong that the trees stunt their growth to cope with the environment. It is from these trees that Australian Wormy Chestnut is born with each piece showing nature’s signature. Deep red gum veins formed by fire, ambrosia beetle marks, pin holes and squiggly worm marks are all reflected in Australian Wormy Chestnut. No two pieces of Australian Wormy Chestnut are ever the same.

Species in Detail

Wormy Chestnut  – Eucalyptus Obliqua
Exhibits pinholes, dark gum veins, some surface checking & worm marks.
Straw brown to light chocolates.

Janka Rating of 8.0


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Saturday, January 23, 2010

Saturday, January 23, 2010 - Today's Words of Inspiration and great giveaways!

Spin to Support Save the Children (and you will get a chance to win a Frigidaire Affinity Washer and Dryer)!

I have been sending out Tweets about this for the past few days and then remembered I hadn't posted it here yet! Frigidaire and Jennifer Garner are teaming up to support Save the Children’s U.S. Programs, dedicated to helping children living in poverty in the United States. We should all continue to participate in ways to help the people of Haiti, but let's not turn a blind eye to the children of the United States who are living in poverty, and suffering from hunger.

Their new Spin & Win game gives you the opportunity to win gift cards for spending quality time with your children, whether it’s curling up with some new books, starting a craft project or having a family movie night. They’re giving away a prize every day! Plus, you could also win a brand-new Frigidaire Affinity washer and dryer, with time-saving features that give you more time for the important things in life. (My washer is on it's last legs, so you can count that I will be making sure I spin daily!)

The best part is that every time you play, Frigidaire will donate $1 to Save the Children, as part of their $250,000 commitment to support Save the Children’s CHANGE program, dedicated to providing nutritious snacks and promoting healthier lifestyles for children living in poverty in the United States.

Visit to participate. You can play every day through April 26, 2010!  (Open to legal residents of the 48 contiguous U.S. & D.C., 21 or older. Void in AK, HI and where prohibited.)

Remember, with every spin Frigidaire will donate $1 to Save the Children, so even if you don't want or need any of the prizes, please participate to help the children!

Use 'Today's Words of Inspiration' as a breathing meditation to still your mind, quiet your thoughts and bring in positive energy. As you inhale bring in only positive energy by saying in your mind, I breathe in positive energy (or you can say creative energy if that is what you wish to create more of) and as you exhale, Affirm out loud today 'I find new ways to give and share daily, keeping my spirit open to the generosity and abundance of the Universe'

Spend some time each day enjoying focused breathing AND soul guided meditative visualization, in doing so, you can bring about amazing, profound and powerful changes in your life.

Visualize yourself manifesting something unique, guided by universal forces that emerge spontaneously from within your soul. Do this at least twice today and see how by taking a moment away from the hectic pace and breathing in positive energy and affirming what you wish to create, your thinking will become different.

Remember, attitude really does determine altitude.

It is OK to *Re-Tweet* the link to this post and You can find me (@Tracy_Iglesias) on Twitter here! Twitter love: re*tweet by copying and pasting the following into your update field:

OK to RT: @Tracy_Iglesias #ascendingbutterfly - Today's Words of #Inspiration and Great #Giveaways! -

Make this your best day ever, Bless and Be Blessed!

Don't forget to enter the great giveaways on the upper right hand side of the page! It's just our way of saying Thank You for choosing to spend part of your day with us. We are really happy you landed HERE! Don't forget to use the share button below any inspiration to stumble, digg, tweet or share with your friends on facebook and twitter! And if you want to share inspiration with other members, Ascending Butterfly has a NING group with real time chat HERE

˙·٠•●♥ Ƹ̵̡Ӝ̵̨̄Ʒ ♥●•●•٠·˙˙·٠•●♥ Ƹ̵̡Ӝ̵̨̄Ʒ ♥●•●•٠·˙˙·٠•●♥ Ƹ̵̡Ӝ̵̨̄Ʒ ♥●•●•٠·˙

NOTE: Readers have asked us to make entering the contests and giveaways, faster and easier. Your wish is our command! We have moved our 'Today's Butterfly - Featured Site(s) of the day, which is where we host our giveaways, to the upper right hand side of the page. It will be located here from now on to make entering the giveaways faster and easier. Keep the suggestions coming, remember we also have a NING group with real time chat, you can give us your comments and suggestions in REAL time, how cool is that?

NOTE 2: Twitter followers: please remember you must also follow Ascending Butterfly using Google friends connect on the upper right hand side of the page for your entries to be processed. And remember if your profile does not have an email and you don't leave your email in your entry, we will not accept your entry. Make sure your entry or your profile have your email address!

Just a helpful Reminder: How to Follow Using Google Friends Connect:

Please look to the upper right hand side, where the follower pictures are. (Note the number of followers before you start this process)

1) press the follow button - the google pop up wizard will open, this is not an ad and your pop up blocker will not block it

2) tick the option that reads 'follow this blog publicly' once that button is selected, hit follow again - it should now read 'you are now following'

3) if the follower count went up you know you did it succesfully, if your profile has a picture, that picture will be the first one on the left side. If your profile doesn't have one, it should still be searchable on the members list. (Remember, following a blog, does NOT subscribe you to receive emails, you have to subscribe separately to do that, you will not receive emails for following)

˙·٠•●♥ Ƹ̵̡Ӝ̵̨̄Ʒ ♥●•●•٠·˙˙·٠•●♥ Ƹ̵̡Ӝ̵̨̄Ʒ ♥●•●•٠·˙˙·٠•●♥ Ƹ̵̡Ӝ̵̨̄Ʒ ♥●•●•٠·˙

This is not a paid insertion, all opinions expressed are my own, and I did NOT receive any compensation for alerting readers of Frigidaire's giveaway and Save the Children initiative. (however if Frigidaire would like to send me an Affinity Washer and Dryer for an honest review I would certainly be open to the idea!) :-)

  1. I always love it when celebrities get involved with charities, or helping others in some way!
    Love your blog, I'm following you. :D

  2. P.S Thank you so much for voting for my daughter, I really appreciate you taking the time! *loves*


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Tuesday, February 19, 2013

B-READY for the Stroller Fashion Show!

Fashion Week in New York City wasn't the only place where you could see new colors and fashions on the runway! Even in baby land there were Fashion Makeovers this month, and not just one but 3 new hot colors! This year’s hottest shades — bright copper, mossy green and slate gray — will be the featured fashions on BRITAX’s line of B-READY strollers. BRITAX blended fashion forecasting with customer research to identify and showcase these three new colors in 2013 on its popular B-READY stroller.

Check them out:

Britax B-READY Stroller in newest fabric color 'Copper'

Britax B-READY Stroller in newest fabric color 'Moss'

Britax B-READY Stroller in newest fabric color 'Slate'

“Our fashion selection strategy involves more than just changing or mixing primary colors,” said Davis. “At BRITAX, we draw inspiration from fashion research, listen carefully to our customers, and then bring colors that appeal to a parent’s sense of style. Together, these three new colors complement our evolving, fashion-forward stroller line.” ~ Michelle Davis, Director of Fashion Design, BRITAX

According to Michelle Davis, Director of Fashion Design at BRITAX, the B-READY’s new slate (gray) color frequently appears in home interiors, as families move beyond basic neutrals in search of a stately shade to complement a range of colors. BRITAX selected moss because the green hue is trending upward in apparel and accessories. Copper is increasingly popular as a chic accent in jewelry and decorative metals. So now your stroller can actually blend in and integrate with your decor and lifestyle!

Besides being chic, the B-READY stroller features foam-filled rubber tires and four-point suspension to provide a smooth ride. Baby can comfortably and safely ride from age 6 months (or from birth, when used with an infant car seat) up to 55 pounds.

The top-selling single modular stroller supports growing families with its integrated CLICK & GO system. It easily converts into 14 configurations that can carry one or two children using any combination of the top seat, 2nd seat, bassinet and infant car seats (sold separately). Additionally, its reversible top seat accommodates four recline positions.

The BRITAX B-READY’s (MSRP: $499.99) sleek new fashions will be available online and in independent and major retailers this February.

My Take:

With a look that both mom and baby can wear straight off the runway, what's NOT to love? I'm evenly tied between the three colors to be honest, but was toying with changing my living room over and painting the walls gray so the timing on the new slate gray couldn't be more perfect!

Which is your favorite new color Butterfly? Sound off with a comment here, who knows, maybe we'll even see a giveaway of one of the new colors here soon!

˙·٠•● Ƹ̵̡Ӝ̵̨̄Ʒ ●•●•٠·˙˙·٠•● Ƹ̵̡Ӝ̵̨̄Ʒ ●•●•٠·˙˙·٠•● Ƹ̵̡Ӝ̵̨̄Ʒ ●•●•٠·˙

FTC Disclosure: This is a sponsored post. I am a Britax Latina Advisory Board Member and Hispanic Digital Outreach Blogger. All opinions, ideas, and stories are 100% my own. You can connect with BRITAX on Twitter and Facebook.

  1. I love the copper, but I have to say the slate is my favorite. I want a purse in that color.

  2. I love this new trends of making every day items more chic. We all want to feel like fashion mavens even when we are just doing errands.


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Sunday, August 4, 2013

Did you miss #KBBlog5? When it’s the Fifth Year Blogging Anniversary of @KittyBradshaw, you know it’s ON in the City!

Kitty Bradshaw, #KBBlog5, Blogaversary, New York City
Center (in Pink): Kitty Bradshaw, #KBBlog5 Blogaversary Event, New York City

In mid July, 150 Bloggers from around New York came together under the Studio Arte Space to network and to help Kitty Bradshaw ring in her Fifth Year of Blogging in true New York Style!  Guests were treated to cheese platters sponsored by Cabot Creamery, sparkling wine sponsored by Barefoot Wine, cupcakes by Tipsy Tasty Cup Cakes, desert shooters by The Dessert Stylist, and food sponsored by Golden Krust which included jerk chicken, beef patties, veggie patties, and rum cake.  General Motors was on hand to speak directly with bloggers and encouraged them to enter to win a chance to have a driving experience which included a GM vehicle loan for one week and a $100 gift card.  Last but not least Jaguar and Company Clothier was on hand to present the lines vintage chic designs and sample presentations of their unforgettable fragrance.

When I met the lovely Raijean Stroud of Swa-Rai Media Group at The Niche Mommy Parenting Conference in New Orleans last year, we talked fashion, blogging and strategy, and when she put out the call on The Niche Parent (the conference has since been re-branded) Facebook Forum for someone to cover an event for her in New York City, I was happy to help. Little did I know what a Social Whirlwind this event would be! But I will tell you, I urge bloggers to join forums, networks and groups, not just the ones between bloggers and brands but with EACH OTHER! You never know when you get an invite that is not in your city that another blogger could help you out with or vice versa, pay it forward my friends, seriously, pay it forward!

Here are some event photos I captured:

Golden Krust Bakery, Kitty Bradshaw, #KBBlog5, Blogaversary Event, New York City, Jamaican Patties, catering
Golden Krust Bakery provided some amazing Jamaican Patties and Chicken, they were definitely a crowd pleaser!

Golden Krust Bakery, Kitty Bradshaw, #KBBlog5, Blogaversary Event, New York City, Jamaican Patties, catering
You know I had to capture a shot of this vignette of Hot Sauces and Jamaican Jerk Sauce!

Upon exiting, guests received gift bags filled with items from Command BrandTide PodsJaguar and CompanyDirty Dog Treat Boxes12-Fold pocket squaresPanama Jack Sun ScreenGreen and Black ChocolateEpilady USASprigsvilleApril Marinand rounded out the sponsors. NRelate creates plugins for bloggers looking to monetize. (Like hello, don't we all want to find creative ways to monetize?!)

During the event, Stephanie Cipriani was on hand to raise awareness for the Lower Eastside Service Center/Angel Thrift Shop.   The LESC uses the money from Angel Street Thrift Shop to fund programs benefiting individuals and families affected by Substance Abuse, HIV/AIDS and Mental Illness. (And they will pick up the donations so give them a call fellow New Yorkers please, don’t just toss stuff that would be a benefit to a family who needs it!)

Barefoot Wine, Moscato Spumante, bubbly, #KBBlog5, New York City, Blogaversary Event
Barefoot Wine, Moscato Spumante,  #KBBlog5, New York City, Blogaversary Event

Barefoot Wine kept the Moscato Spumante Popping, super refreshing on a hot muggy day in the summer in New York City during a heat wave. DJ Sean Soul created three 80’s music mixes for guest to enjoy that will be available for download within a couple of days on her site. We were definitely getting down on that dance floor!

Kitty Bradshaw, #KBBlog5, Blogaversary Event, New York City
Kitty Bradshaw, #KBBlog5, Blogaversary Event, New York City - takes a moment to thank the sponsors!

My Take:

I had a blast helping to ring in her Fifth Blogaversary, Kitty was a gracious hostess in every way, and we enjoyed singing and dancing along to the music.  Plus Great Eats and Treats Too!

I am definitely thinking I should do something BIG for my next blogaversary!

Bloggers enjoying a 'selfie' moment!

˙·٠•● Ƹ̵̡Ӝ̵̨̄Ʒ ●•●•٠·˙˙·٠•● Ƹ̵̡Ӝ̵̨̄Ʒ ●•●•٠·˙˙·٠•● Ƹ̵̡Ӝ̵̨̄Ʒ ●•●•٠·˙

FTC Disclosure: This is NOT a sponsored post. No monetary compensation has been received to share our event recap coverage.

  1. Well Happy kitty bradshaw look's like you threw a great bash! Lovely picture Miss.butterfly !!

    1. @Big Happy Buddha - Kitty definitely hosted a fun party, and I am inspired about doing something fun in 2014 for my next blogging anniversary as well!

      ♥ Ƹ̵̡Ӝ̵̨̄Ʒ


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Shortlist the hotels you like. Enjoy great prices. Earn points.
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The Package Project

A sneak peek at the package I’m sending to Emma, my Package Project partner.

It was all set to go with brother-in-law this weekend, until he told me he couldn’t take wood into Australia!

So now I’ll post it minus the wooden thing and send that seperately – hopefully it all gets there!

You Might Also Like

  • Reply
    25th July 2010 at 6:34 PM

    oooo that package looks like a good one!

  • Reply
    Cupcake Couture
    23rd July 2010 at 7:52 AM

    *Looks wonderful!

  • Reply
    Emma Julie
    23rd July 2010 at 2:29 AM

    So excited!

  • Leave a Reply


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Ask Away...: A Big Garden Update + My Resident Toad Fred

Tuesday, September 13, 2016

A Big Garden Update + My Resident Toad Fred

So within 2 weeks from the photos from my last garden update post, a lot has changed.  Even though Fred, my resident toad has destroyed the Cucumber Beetle population, they still killed off my cucumbers. So it was time to rip all that junk out.  I really enjoyed cleaning up the garden beds because I love how it looked afterwards.

 I wish I had a before photo of my unruly ass tomato plant.  It was insane. That bastard is not going in a bed next year.  I will just stick to containers.
 So this was my small garden bed before.  The cucumber plants basically took it over and were starting to die off.
 So I began ripping them out because there was no new healthy cucumbers growing.

And after! VOILA! So clean! I planted a bunch of lettuce now so I'll have it well through fall!  Right now there is just some sprouting new lettuce, 2 eggplants, and onions.
Now I'm gonna get sappy.  Remember I told you about the toad I found that we named Fred? We actually found him in the Spring.  He was on the other side of the house and we'd say hi to him and even pet him every day.  Then after about 2 months I didn't see him again.  I was sad but I assumed he just went somewhere else.    Until one day when I was on the other side of the porch and was harvesting some cucumbers and startled myself when I saw 2 familiar eyes blinking back at me. It was Fred!! Same markings, same exact size and everything. I was so happy.  I knew he'd be good for the garden beds so I picked him up and placed him inside the smaller bed and broke a clay pot into pieces with a hammer so I could make little hiding spots for him. I also put a dish of water in with him.  Each day I'd come out and there Fred would be!   I would also find his poop so I knew he was eating plenty of bugs.  So at the beginning of September, I moved Fred over to the big garden bed and moved his hiding spots and water dish over too.  He seems to love all the new foliage to hide in and all the space.  Fred is safe from critters because they can't get in the fencing around the garden beds.  He's safe from birds because he has plenty of hiding spots and I don't think any of the birds in my yard would be able to eat a toad his size.

I really love Fred. He's a cool little guy and he really has done great pest control in my garden.  Of course, me being the animal rights person that I am, knows that it's not okay to keep wild animals in captivity so even though I know winter is coming and it would be easy to put Fred inside, I know it's not right.  He knows what to do.  Clearly he's been around a couple of years.  So my plan is that by the end of September I'll open the door to the one garden bed and allow him to hop out (if he doesn't hop out after a week I'll have to help him) so he can find a nice hiding spot to hibernate during the winter. They say toads come back to the same spot each year if they know there's good food and protection. I sure hope he does come back because I love checking on him everyday like a little pet, but seeing him in his natural habitat.
Okay, so here's the fun part.... I found these two bastards in my garden. The one was on a Friday on my tomato plants! It's a tomato hornworm. They're basically giant a$$holes and they will destroy your plants.  So guess who had a nice dinner? That's right, Fred did.  We picked the hornworm off the plant and tossed it in front of Fred.

After he played dead for a minute he tried to climb back up a new plant, which is when Fred got him.

 And then Sunday evening I was looking at my garden and checking up on Fred when I noticed another one of those little bastards!   So I of course fed him to Fred.  Let me tell you that if my enticing Fred with big ass meals doesn't get him to come back next year then I don't know what will.

Oh I almost forgot... on Friday we saw something really crazy.  After Fred ate his first hornworm, he started doing this weird thing where he was almost scratching his head with his back legs.  I yelled for James, thinking Fred was dying or something because the worm was poisonous (they aren't).  We started to watch as he basically was peeling something over his body (turned out to be his skin) and would eat it. After googling it, it's totally normal and a good sign.  Unlike snakes, when toads shed their skin they eat it because it's packed with nutrients.  It was so cool to see and I'm so grateful for all the learning experiences I've had this year thanks to Fred.

Check back next week for an informative post about garden toads.  How are your gardens doing?

 photo ScreenShot2014-06-25at102225PM_zps4fdda517.png

  1. I have vowed to be better next season. My flower bed quickly got over ran with weeds and the july heat totally killed my hanging baskets and I didn't notice until it was too late.

    1. I know its so hard to keep up with flowers sometimes!! My hanging baskets got destroyed too from the heat and humidity!

I love reading and responding to comments but in order to get my reply you must be a no-reply blogger. If you are, here are some quick steps to change that!

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Sunday, March 12, 2017

NONA : Beyonce - Hold Up (Cover)

I'm not a fan of remixes 99.99% of the time. They are created by people who lack creativity to create their own songs. And 99% of covers also lack creativity. In both cases, they ruin the original song.

But here is an exception. Here's the first cover I'm going to post because the video and song is so much better than the original. Well actually, I'm not a Beyonce fan and fail to see her popularity. Her performances don't entertain me and there is nothing in her songs that I can relate to.

Anyways, here's NONA's cover of Beyonce's Hold up. I really like the slow motion video as it bring out the nuances and subtleties. The singing is awesome. It's just a fun video to watch. That is Michael Goldman.

PS: There's a cameo by Meg Myers. I'll let you look for it.

[Youtube] Nona cover of Beyonce's Hold up


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Surgeon General finally warns about Skin Cancer

Look how the sun hits your body while swimming and playing...

Look how the sun hits your body while swimming and playing…

This past Tuesday, the United States surgeon general issued a call to action to prevent skin cancer, calling it a major public health problem that requires immediate action.

Nearly 5 million people are treated for skin cancer each year. According to the American Cancer Society,  more cases of skin cancer are diagnosed annually than breast, prostate, lung and colon cancer cases combined and skin cancer rates are increasing.

“We all need to take an active role to prevent skin cancer by protecting our skin outdoors and avoiding intentional sun exposure and indoor tanning,” said Acting Surgeon General Boris D. Lushniak, MD, MPH.

I say this all the time, but it bears repeating as often as possible:

“Most skin cancer is 100 percent preventable.”

Most cases of melanoma – as many as 90 percent – are believed to be caused by cumulative exposure to UV rays. UV rays are also a major risk factor for the most common curable forms of skin cancer,  basal and squamous cell skin cancers. Exposure to UV rays comes from the sun and other sources like tanning beds and sunlamps and the U.S. Food and Drug Administration (FDA) now requires that tanning beds and sunlamps carry a warning stating people under 18 should not use them. Lushniak said there is a flawed perception in the US that tanned skin looks healthy, and that needs to change. I always say,

“Tanned skin is damaged skin.”

According to the Melanoma Education Foundation, One blistering sunburn before age 20 doubles your lifetime risk of melanoma. Three or more blistering sunburns before age 20 multiplies your lifetime risk by five.

How many times have you gotten a bad sunburn?

Reduce your risk of skin cancer for yourself and your children:

-Jodi, proud owner of a lily white complexion.

Too much sweat?

Question:  Is there such a thing as sweating too much? What can I do about it if I’m constantly soaking through my clothes? It’s so embarrassing, especially at work!

shutterstock_155697284Answer:   Yes, the condition definitely heats up during the summer months but can plague sufferers all year long with overly sweaty armpits, palms and even on soles of the feet. It  is called hyperhidrosis which just means “excessive sweating.”

Hyperhidrosis is simply abnormally heavy perspiration. Sweating is a normal bodily function, but some people may have overactive sweat glands that produce more sweat beyond what is required for regulation of body temperature. It can be most noticeable at the armpits because sweat can soak through clothing and become obviously embarrassing. Or you may also be aware your palms are often sweaty so you avoid shaking hands with others.  Hyperhidrosis can occur  in many parts of the body whether exposed to triggers such as heat, physical activity or exertion, embarrassment, stress or not.

How do we treat excessive sweating?

First, we’ll evaluate your excessive sweating for any potential causes of secondary hyperhidrosis (for example, an underlying disease that causes excessive sweating such as hyperthyroidism).

To gauge your sweating problem, we will try you on stronger prescription-grade antiperspirants which can also help block sweat glands to reduce sweating. Typical over-the-counter antiperspirants are 1-2% aluminum chloride but prescription products can contain up to a 20% solution of aluminum chloride hexahydrate or similar aluminum salts. While these can be irritating in those with sensitive skin and sweat glands, they do reduce perspiration, however they require continuous usage.

After a few weeks of trial, if the prescription products do not reduce your sweating problem well enough, we can now use Botox® (onabotulinumtoxinA), which is FDA approved for the treatment of excessive sweating of armpits. We also use Myobloc® (rimabotulinumtoxinB) or Dysport® (abobotulinumtoxinA) off-label as an alternative, especially for those who have excessive sweating on palms and soles of feet.

These injections work to temporarily de-nerve the sweat gland and results in a local reduction in sweating where injections have been administered for up 5 months. Injections must be repeated at regular intervals to keep excessive sweating at bay and you may still need to use an antiperspirant.

What to do about an inflamed, raised, hard scar

Question: I had an injury to my shoulder earlier this year and while the wound has mostly healed and is no longer scabby, the resulting scar is still painful, raised, hard and lumpy. It’s bigger and uglier than the original wound. What can I do?

Answer: There are two types of scars that resemble what you describe and there’s a lot we can do in the dermatologists office to help them look and feel better.

Keloid scar

Keloid scar

Keloids and Hypertrophic Scars

This type of scarring is usually after local skin trauma (e.g., laceration, tattoo, burn, vaccination or surgery) or as a result of an inflammatory skin disorder (e.g., acne, bites or abscesses).

Scars are composed of new connective tissue that replaces lost tissue in the dermis or deeper parts of the skin, as a result of injury. Their size and shape are determined by the form of the previous wound. The process of scarring is characteristic of certain inflammatory processes. A resulting scar can be thin (atrophic) or thickened, fibrous and overgrown. Some individuals and some areas of the body (e.g., anterior chest) are especially prone to scarring. Scars may be smooth or rough, pliable or firm, they can be pink or violaceous or become white. They can also be hyperpigmented (darkened). Scars are persistent and normally become less noticeable in the course of time.

At times though, and in certain anatomical locations (e.g., shoulders, sternum, mandible and arms) they can grow thick, tough and corded forming a hypertrophic scar or keloid. Under normal circumstances,  wound healing takes place through the rapid and repeated reproduction of fibroblasts (the most common cells of connective tissue) at the wound site. But when fibroblast activity continues unchecked and excessive collagen (protein found in connective tissue) is deposited at the site of injury, the scar gets too big and a hypertrophic scar or keloid is formed.

Hypertrophic Scar remains confined to the borders of the original wound and most of the time, retains its shape. It is characterized by hardness, redness and irritation compared to the surrounding skin and can take the form of a firm papule or nodule.

Conversely, a Keloid is an overgrowth of dense fibrous tissue that you’ll notice extending beyond the borders of the original wound. Like a hypertrophic scar, a keloid can be hardened, raised and often darkly discolored. Keloids do not regress, appear to get better or shrink over time on their own. Instead they grow in a pseudo tumor fashion and distort the size and shape of the original lesion.

If you know you have a hereditary predisposition toward keloid scarring, mention that to your dermatologist because then we will not try to surgically remove them (called excision) because keloids tend to recur.

The differences… A hypertrophic scar can occur at an any age and usually stays within the borders of the original wound, whereas a keloid commonly occurs in the third decade and enlarges beyond the area of the initial wounding with web-like extensions. Keloidal growth can also be triggered by pregnancy and compared with hypertrophic scars, a keloid can often be painful and super-sensitive.

How we treat stubborn keloids and hypertrophic scarring

We often use a 3-step process in the office to attack raised, hardened scars as soon as we notice a scar is exhibiting signs of hardening, as early as one month-post op, in the case of a scar due to surgery.  The earlier you treat a keloid or hypertrophic scar, the better your results will be.

We inject  5-fluorouracil “5-FU” (used primarily as an anti-cancer drug but also used for the prevention of scars in glaucoma surgery for at least 15 years) combined with a specific low-dose corticosteroid (to reduce further inflammation and any pain) along with Pulsed Dye Laser treatments.

5-FU works to reduce skin’s metabolism rate and inhibits the over-production of the fibroblasts building up on and around the wound. We combine that with Kenalog (triamcinolone), the low-dose corticosteroid, and perform injections one to three times per week, at regular intervals such as Monday, Wednesday and Friday, depending on how red, hardened and inflamed the scar is.  Once the scar softens, injections can be reduced to two times per week, once a week and then every other week, monthly and finally, every six months. The Pulsed Dye Laser is used to decrease any redness, to normalize the wound surface and improve skin texture at the scar and to further blend scar into surrounding skin and we perform those treatments in intervals of four to eight months apart.

While any keloid or hypertrophic scar can be treated with this technique,  you’ll get the best results the younger the scar is. The more inflamed and symptomatic the scar, the better the response to treatment. Older scars that have been hardened for many years and are not inflamed, red, itchy or painful, will not respond as quickly or as thoroughly. Hypertrophic scars respond better than keloids, which frequently recur, although small isolated keloids (less than 2 cm in diameter) usually completely resolve with this technique without recurrence.

No matter what, keep all scars out of the sun for best healing, at least until the “pink” of new skin is gone because exposure to the sun only makes scars darker.

What good is coconut oil for hair and skin?

Question: I’ve been reading more and more about using coconut oil for hair and skin. Do you think this is a good idea? Can you tell me how to buy coconut oil and how to use it properly?

As a solid its an ointment or balm, warmed to a liquid a liquid its a moisturizing, conditioning oil

As a solid, its an ointment or balm, warmed to a liquid, its a moisturizing, conditioning oil

Answer: I love coconut oil as an added treat for hair and skin (as long as you are not allergic to nuts or coconut). But, I only recommend buying organic unrefined expeller-pressed virgin coconut oil (also called VCO).

I think VCO is a great addition to any hair and skin routine because:

  • It has no preservatives, additives, or color.
  • It’s available at any local health food store or online.
  • It’s affordable at $9 for a small 14 oz. jar.
  • It’s a multi-use beauty product:  Coconut oil is  a solid (like butter) at room temperature and ideal as an ointment or lip balm, but if you place the jar in  warm water, it melts into a liquid oil perfect for massaging, baths, a moisturizer or a hair mask.
  • That smell is like being on a desert island (refined VCO  does not retain its natural coconut aroma).

The real beauty of VCO for skin and hair is its natural, molecular composition

Not only does VCO have a high saturated fat content-composed of 90% saturated triglycerides, but its low molecular weight and straight linear chain (called a medium-chain fatty acid, in contrast to other saturated fats comprised of long chain fatty acids which make them larger molecules), it is able to permeate the hair shaft  and skin surface rather than just sitting on top. That’s what makes it so effective. If you use it at room temperature (when it is solid) it is the perfect ointment to relieve dehydrated, chapped, scaly and itchy skin and it can even improve symptoms of psoriasis and excema.

The medical literature supports my own observations of VCO as a healthful skin conditioner and moisturizer. Studies have shown that  VCO use may improve skin barrier function (protecting skin from bacteria and fungal intrusion) and  decrease trans-epidermal water loss (skin’s ability to retain moisture). Animal studies have shown that coconut oil use can improve wound healing and increase collagen production, too.

For hair, in addition to its high absorbability, VCO contains a high percentage of the saturated fat, lauric acid, which also is highly attracted to the protein in hair. Because VCO actually absorbs through the hair shaft, it has positive effects on the strength of hair while it prevents hair damage and protein loss from styling, brushing and even chemical treatments.

 A little coconut oil on your skin and hair goes a long way:

  • As a daily body moisturizer, after shower or bath
  • As a bath oil
  • As a skin exfoliator for skin and to help control dandruff in hair
  • As a cuticle conditioner
  • As a lip balm
  • As an intensive hair mask, from scalp to ends
  • As a scalp or body massage oil

Coconut oil can be greasy if applied too heavily, but don’t worry, it absorbs in a few minutes leaving behind that beachy smell and softer, healthier, smoother skin.

It can be applied on wet or dry skin. But only apply to dry hair because water limits the VCO from coating the hair properly and permeating the hair shaft. To remove VCO from hair, do not wet first. Simply lather up shampoo in your hands and apply directly and completely over hair and scalp, from roots to ends, then rinse thoroughly.

VCO can be applied in the same way to children and adults. Just be sure that you don’t use coconut oil at all if you are allergic to nuts or to coconut.

Have you tried virgin coconut oil yet? What’s your favorite way to use it?

Are you aware of this summer itch hazard?

Fiberglass: Up close and personal. These little fiberglass fibers, when they become exposed and loose, can get lodged in your skin if you touch them and cause intense itching!

Question:  I was working outside doing pool and yard chores and all of a sudden I got this intense itching and burning on my upper, inner arms. What is it and how can I get rid of it?

Answer: This is a true story and it can easily happen to you the more time you spend on outdoor summer activities.

This patient came into the office in a panic about what was itching on her upper arms. I noticed some redness and scratch marks where she had been itching and asked her what she was doing that day. After she told me she was doing yard work and pool chores I had a sneaking suspicion that she was a victim of fiberglass intrusion. This tough material is a fiber-reinforced polymer made of a plastic matrix reinforced by fine fibers of glass. You can come in contact with fiberglass in boats, oars and boating equipment, pool equipment, insulation, storage tanks, cars, bikes,  bath tubs, hot tubs and surf boards just to name a few. I shined the light upwards on the reddened area and looked with a magnifying glass and there they were:  Hundreds of small, hairy spicules of fiberglass that had penetrated her skin.

That’s when the light went on in her eyes and she told me how she had wrapped her arms around the fiberglass pool filter canister to twist it loose. Over time and with unrelenting sun and weather exposure, uncovered fiberglass degrades and the needle-like fibers on the surface can come loose which can get lodged in skin that comes in contact. this intrusion causes intense itching and burning (we clinically call it contact dermatitis because its caused by coming in contact with the substance, in this case, fiberglass) and will continue to itch and burn until the fiberglass “spicules” fall out or are removed.

How to get fiberglass out of your skin

Wash skin exposed to fiberglass as soon as possible by letting water run downward over the area (never rub upwards as this pushes the spicules further in or causes them to break off in your skin). You can try running a wet washcloth downward under downward running water to help dislodge strands.  Gently dry in a downward motion also. When skin is dry treat remaining area with a dusting of talcum powder which causes the fibers to slide out of and off the skin. Itching may continue for a day or so until all strands are dislodged, but no lasting effects should be seen.

If after washing your skin you are still itchy and uncomfortable, a trip to the dermatology office is necessary. The irritation can be treated with topical anti-inflammatory creams so the itching and redness are decreased.

Have you ever been the victim of a fiberglass intrusion?

Can I use perfume as a deodorant?

Q.  I ran out of my usual deodorant, so in a pinch I sprayed my favorite perfume under my arms. Is that bad?

A. Possibly. Because underarms, especially in the summer, are more sensitive when susceptible to wetness from sweat, humidity, friction and heat. Your underarm skin could have a different reaction to a perfume you normally spray elsewhere like neck, hair and back of knees, so keep perfume away from delicate areas such as armpits and genital areas.

Can antiperspirant/deodorant cause itchy armpits?

Question: I’ve noticed that every time I use my antiperspirant/deodorant my armpits start itching the next day and they keep itching even if I stop using the product for a few days. Eventually it stops itching. Could my antiperspirant/deodorant be causing my itchy armpits?

Answer: Yes. It’s highly possible in both men and women.

What it’s like to be an armpit on a hot August summer day: There’s a thicker-than-usual amount of antiperspirant/deodorant on freshly-shaven skin to avoid sweat marks and odor. As you go rushing about your day, damp armpit skin rubs together along with some sweat, oil and your clothing. But underarm skin is sensitive from the shaving too and sweat glands are mostly blocked by irritating chemicals and perfumes in addition to the fabric, laundry detergent (and possibly chlorine bleach) from your shirt. What if you added sand, salt water and chlorine to that mix?

How antiperspirant/deodorant works: Underarm odor is not caused by the watery sweat that wets your shirt which is secreted by your eccrine sweat glands to lower your temperature through evaporation. The odor is caused by bacteria that break down fats secreted by your apocrine sweat glands.  An antiperspirant contains an aluminum salt chemical to block the watery secretion from the eccrine glands which can be a primary irritant, especially when skin is more vulnerable  in the summer or freshly shaven.  But, It’s deodorant that controls the odor with perfumes and sometimes an antibacterial chemical to inhibit bacterial growth such as triclosan, also a common skin irritant.

You can now see how your antiperspirant/deodorant could be exacerbating an already sticky situation in your armpits!

5 steps to avoid itchy armpits

Don’t worry. You don’t have to wing it like Matthew McConaughey or Julia Roberts, who both reportedly abstain from wearing deodorant. Just experiment with different ingredients and formulas until you find one that does not cause you itchy armpits.

1.  Read labels and switch underarm products, formulas. Many antiperspirant products contain a percentage (14-17) of the highly irritating ingredient aluminum zirconium tetrachlorohydrex GLY. Read product labels looking for a product in the lower percentage or for the least irritating antiperspirant ingredient, aluminum chlorhydrate. If excessive sweat is not your primary problem, switch solely to a deodorant to see if it was the sweat-gland blocking antiperspirant that caused your itching. If the deodorant product still causes itching, try an all-natural brand such as Tom’s of Maine which relies on botanicals such as aloe, sage and lemongrass to soothe skin and inhibit odor and irritation. Sometimes it’s the formula that causes the itching due to the drying nature of increased alcohol in a liquid spray, roll-on or clear versus a dry solid. Look for aluminum-free, alcohol-free and fragrance-free products.

2. Shave armpits at night. And don’t apply any antiperspirant/deodorant afterwards. Let skin breathe.

3. Go au naturel at the beach. Don’t apply any underarm products if you will be at the beach or swimming as excessive skin rubbing, sweating and salt, sand or chlorine can all further irritate sensitive underarm skin.

4. Switch laundry detergent, too. Try a dye- and fragrance-free laundry detergent to reduce exposure to irritants to your underarm area. Steer clear of chlorine bleach on T-shirts.

5. See your dermatologist if rash doesn’t clear.  If you notice bumps, rash or pustules that do not resolve within a few days, see your dermatologist as folliculitis or other bacterial or fungal infection could be at play.

Inaugural post … and croissants!

Wow…today is the inaugural blog…I don’t really know what to say. I guess, Welcome! Welcome to my blog! I will certainly try to give you my honest opinion, feedback and of course, answers to your skin care concerns and questions. Anything having to do with skin, hair and nails are up for grabs here…so ask away! Additionally, I will try and keep you up to date with the latest news and media reports on dermatology. I hope you enjoy it all!

BTW…today is National Croissant Day! In addition to being a skin care guru, I’m also a foodie. At our office, we love to celebrate anything having to do with food. No food holiday goes unnoticed!


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Posts Tagged ‘ASNA’

ASNA at Parallel London

Come and support ASNA on the 4th September. We will be celebrating the summer and raising funds as we join in the first ever fully accessible fun run taking place

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Created on: Thursday, August 11th, 2016
Filed under: ASNA, Events, Family Fun Days, News and Resources, Short Breaks

ASNA Carers Weekend 2016

Follow this link to book for this weekend. Carers Booking form 2016

Created on: Friday, July 15th, 2016
Filed under: Carers Weekends, News and Resources, Seminars, Workshops & Presentations, Short Breaks, Training

ASNA Family Respite and Training weekend 2015

ASNA family respite and training weekend 2015 will take place on the 10 - 12th April 2015 at the De Vere venue, Sunningdale Hotel , Ascot. The weekend promises to

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Created on: Sunday, February 22nd, 2015
Filed under: Events, Family Weekends, News and Resources, Seminars, Workshops & Presentations, Short Breaks, Training

Carers weekend 2014

The ASNA Carers weekend will take place at Hellindon Lakes Hotel, Northants during the weekend of 17th - 19th October 2014. Carers booking form. Book early to avoid disappointment!

Created on: Wednesday, September 3rd, 2014
Filed under: Events


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Order of Precedence
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Heroin Abuse & Addiction Treatment

Many individuals do not understand the incredible amount of stress that comes along with being an athlete. Additionally, when we think of an athlete, the type of drug abuse that comes to mind is that of performance enhancing drugs, not substances such as heroin. However, illicit drug abuse has become quite common among current and retired athletes alike. As a professional athlete, there is a huge amount of pressure placed upon you to not only perform, but to deliver exceptional results. The rush of the competition along with a possibility of fame and fortune causes many athletes to place additional expectations on themselves to be the best player on the field. When there are setbacks or mistakes made, the stress faced by the athlete can become even greater, affecting their overall sense of self-worth. A negative view of the self also applies to retired athletes who may be grieving the end of a loved career, especially if they did not meet the goals they had set for themselves before retirement. Under these circumstances it is not surprising that a number of athletes turn to substances like heroin to provide themselves with a sense of relief and escape from the daily demands of the competitive world of sports. Heroin becomes a coping mechanism that makes all concerns and stress seem to melt away.

Athletes Recovery is a program that has been specifically designed to treat the mental health and substance abuse needs of both current and retired athletes. Our highly trained staff is dedicated to providing athletes with a confidential treatment approach that can meet the unique needs of professional and collegiate athletes struggling with heroin addiction. The treatment we provide for our patients is rooted in the principles of recovery, placing extra emphasis upon spiritual, emotional, and personal growth. We are determined to do all we can to transform the lives of those we treat as they begin their journey toward recovery. Together we can help you overcome your addiction and achieve a better future.

Why Seek Treatment at Athletes Recovery?

If you are currently using heroin to cope with the current stress of life as an athlete or if you are a retired athlete trying to numb emotions about your past career that are causing you pain, then you have most likely begun to see a number of detrimental effects in many areas of your life. The longer you continue to use this substance the stronger the addiction will become and, if left untreated, will only lead to more problems. The health problems associated with this drug depend somewhat on how the drug is abused. For those addicts who inject heroin, they may develop collapsed veins, bruises, bacterial infections, and serious infectious diseases such as AIDS. Smoking heroin on the other hand can lead to respiratory problems including pneumonia. In addition to physical effects, heroin abuse can cause an individual to pull further away from friends and family, leaving them socially isolated. It can cause them to spend excessive amounts of money to obtain the drug and it could ultimately mean the end of their career.

Heroin can be one of the most addictive substances that can be abused and, without proper treatment, an addict is usually unable to kick the habit. An inpatient treatment program that specializes in working with athletes is often the best option for helping them to stop abusing this terribly destructive drug. In addition to a number of different therapeutic approaches, an inpatient program provides athletes with the ability to step back from their stressful lives and take the time to focus solely on recovery.

Program Philosophy and Benefits

Athlete’s Recovery is a private, confidential program that is specifically tailored to meet the needs of current and retired athletes who are struggling with mental health and substance abuse issues that may be unique to their career. Our culturally-competent, compassionate, and experienced treatment staff works hard to provide each client with an individualized client-centered plan of care that meets the personal needs of each athlete we treat. The treatment methods we use at Athlete’s Recovery place an emphasis on strength and accountability of the team. Additionally, our services are based upon the mental and physical regimes our athletes are inherently familiar with. We want each patient to leave our program knowing that they have had the best experience imaginable.

If you feel that you are in crisis, or are having thoughts about hurting yourself or others, please call 9-1-1 or go to the nearest emergency room immediately.

Treatment Options at Athletes Recovery

Before starting the treatment process at Athlete’s Recovery, each athlete will complete an initial intake assessment, which will provide our treatment staff with a clear picture of his or her presenting symptoms and concerns. A treatment plan will then be developed based upon the results of your assessment. You will be fully included in the treatment planning process, taking into account any concerns you may have and answering all of your questions. Your personalized treatment plan may include some of the following therapeutic approaches:

Detoxification: If you have arrived at our program physically dependent upon heroin, you will need to complete our detoxification program before beginning other treatment methods. Our medical team will provide medically-monitored detox, which will allow us to effectively remove any drugs in your system as we monitor you for safety and comfort. Once this process is complete you will be able to fully engage in the therapeutic process.

Individual therapy will provide you one-on-one time with a licensed therapist who will be able to help you work to determine the underlying circumstances that may have led to the development of your heroin addiction as well as help you process surrounding emotions. Additionally, you will be able to explore the unique difficulties faced by athletes and work on ways to cope without this drug.

Group therapy can be extremely beneficial because it will provide you with the opportunity to work with other athletes who understand the challenges you may be facing. As a team, you will build off of one another to develop better coping skills, emotion regulation, learn how to identify triggers, and how to prevent relapse.

Family therapy is a very important part of the treatment process as addiction is a family disease. This time is often used to educate everyone about the disease of addiction and teach family members how they can help their loved one through the recovery process. Family therapy can help open lines of communication and allow everyone to freely express their emotions.

In addition to traditional therapy, Athlete’s Recovery offers a number of additional treatment approaches. These may include:

  • Exercise and weights
  • Prayer and meditation
  • Physical therapy
  • Educational therapy
  • A.A. and N.A.
  • Yoga
  • Acupuncture

Continuing Care

When you have come to the end of your inpatient treatment program you will work closely with your treatment team to develop a plan for continued care that will help ensure your recovery success. Some of our athletes find that they would do best in a sober living facility. Others may feel that they have made enough progress to continue their recovery in either a partial hospitalization program (PHP) or intensive outpatient program (IOP). Both PHP and IOP programs allow our athletes the opportunity to work on their therapy during the day while slowly reintegrating back into their community in the evenings. Finally, others may discharge home with a sober coach, referrals to traditional outpatient therapy, and references for community resources.


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Buyers Guide: Squat Racks

The Athletic Business Buyers Guide is widely recognized as the most comprehensive directory in the industry. This resource (available in print since 1977) features information on 3,000 companies that provide more than 11,300 athletic, fitness and recreation products and services in 850 different categories. Listings are updated daily, providing the most current information. The Athletic Business Online Buyers Guide is the one source for all of your facility and equipment needs. View the Digital Edition of the 2017 Buyers Guide.

Ontario, CA
Cranston, RI
Jefferson, IA
Champaign, IL
Riverside, TX
Woodinville, WA
Franklin, IN
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Mukilteo, WA
Twin Falls, ID
Coon Rapids, MN
St. Louis, MO
Westerville, OH