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The vision thing

In order to paint or draw, an artist pretty much needs to be able to see.

Over the past couple of years, I’ve been experiencing what I considered to be normal age-related declines in vision (I’m 46). I’ve had more and more trouble reading small text. When reading for too long, my vision locked into that distance and I became unable to focus on greater distances for several minutes. My distance vision became noticeably less acute (road signs were harder to read, for example). I couldn’t see as well in low light. I began making plans to visit an ophthalmologist—something I should have done much earlier.

About a 6 weeks ago, after doing some research, I began taking vitamin D supplements in relatively high doses (6,000 iu per day) in gelcap form (solid pills have not been shown to increase serum blood levels of vitamin D). I did this because I’d read about research on reduction of cancer and diabetes in people taking similar dosages.

Well, I still don’t have cancer or diabetes (as far as I know). Yay for me. The unexpected effect, however, is that my vision has dramatically improved. I can read smaller text without strain. My vision no longer gets blurry when I read for too long. My distance vision is more acute. My night vision has improved. I don’t have the 20/15 vision I had when I was 25, but my eyes certainly work a lot better. It appears that the reduced flexibility of the corneas that happens with age has been to some degree reversed.

I can’t be certain that vitamin D is the cause of the improvement, as I made other dietary improvements at about the same time (cutting out almost all processed foods, refined sugar, and wheat, for example). I’m also unwilling to stop taking vitamin D for a month or so to see if my vision declines. But I think the most likely explanation is the vitamin D. I’m pretty pleased.

I’m not a doctor and you should not take medical advice from me. If you were to do this, the results would probably be different from mine, but I thought I would pass this on.

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Momentum

Writer Steven Pressfield has a post on his blog on maintaining momentum. He’s a proponent of the value of working every day.

Momentum equals power

Momentum produces another critical payoff. As we work day after day with focus and intensity, energy starts to concentrate around us. That energy acts like a powerful electromagnetic field, drawing to us all kinds of providential aid and assistance. Ideas come. Insights accumulate. We even get help from outside sources—friends with money, colleagues with contacts. Serendipitous meetings produce happy outcomes, seemingly random occurrences bring unexpected allies and lucky connections.

When Paul said, “Start the next one tomorrow,” what he meant was, “Don’t mess with your momentum.”

Paul knew that the interval between the completion of Project L and the commencement of Project M is a power moment for Resistance. Resistance loves that moment because it can jump all over us with its arsenal of procrastination, self-doubt, indecisiveness and self-befuddlement. It can paralyze us.

The time to decide on Project M is while we’re in the middle of Project L. We should know what we’re going to do next. Otherwise we’re sitting ducks for Resistance.

This is exactly how it works for me. If I am working on a painting and can do some kind of work on it every day, then the momentum carries me through. If I stop, there’s a lot of effort involved in getting started again.

Go read the whole thing.

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I get more than 23 spam comments here for each legitimate one. Spam filters catch most of them, but occasionally one slips through and I have to delete it manually. And once in awhile, a legitimate comment gets tagged as spam, so I have to rescue it. (Sometimes I miss those and they get deleted. If I did that to one of yours I apologize.)

Oh, how I hate those parasites.

In case you’re not aware, comment spam is valuable because Google and other search engines rank sites based on how many other sites link to them. Google tends to filter out any site that’s just a bunch of crappy links, so just making sites solely for that purpose is a waste of time. But a link in a comment from a site Google considers legitimate (this site has a Google page rank of 4 out of 10, which is not too bad for a blog with a limited audience) does count. Enough such links, spread out over the internet, gets a site onto the first page of Google search rankings and decreases the cost of purchasing ads.

That’s worth money, so scumbags write programs to scour the internet, finding sites where automated comments can be entered. They are often written to look kind of like a generic nice comment, such as “Excellent points. Keep up the good work!” with hidden links. If you write a real comment that looks generic like that, it’s likely to end up in the spam filter.

Sigh. Sorry for the non-art post, but it’s kind of frustrating.

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Blogversary

The first post here was July 2006. Posting has become intermittent, but I still find it worthwhile to keep going. Here’s to another year.

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I recently negotiated a commission to create a painting. I thought posting a copy might be useful. The name of the customer was changed to protect privacy.

Commission agreement

  1. This is an agreement between John Smith (“John”) and David Rourke (“David”).
  2. David will create a painting according to subject matter and composition chosen by John.
  3. The painting will be approximately ____ x ____ inches in size. It will be completed in oil paint using professional-quality materials and methods.
  4. David will complete the painting, to the best of his ability, within three months.
  5. John will pay David a total of _____________________ dollars (not including applicable sales tax) for the painting. Payment is due as follows:
    1. One third of the total price upon completion of this agreement. David will then create one or more preliminary composition drawings for review and approval by John.
    2. One third of the total price upon approval of the final composition drawing by John. David will then prepare the canvas and complete the painting within a mutually agreeable time frame.
    3. One third of the total price upon delivery of the completed painting.
  6. Payment is not refundable. However, John can end this agreement at any time with notice in writing to David.
  7. Framing is not included in the price.
  8. Although John will own the painting and has the right to display it as he sees fit, David retains copyright of the image. This agreement provides John with authorization to use photographs of the painting for personal, non-commercial use. Any other use of any image of the painting or portion or derivative thereof requires prior authorization in writing from David.
  9. David will deliver the completed painting to John when it is sufficiently dry for hanging. It is recommended that the painting receive a coat of protective varnish approximately six months after completion. Upon request, David will varnish the painting at no additional cost.
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I’m working on some changes to the underlying technical structure of this site. So far, I have switched the database from MySQL version 4 to version 5. That seems to have gone surprisingly well so far (given my limited technical skills), and the site is loading much more quickly.

Next, I will attempt to clean a bunch of old, unused tables out of the database. That may cause some problems with the blog and I may have to restore from backups.

I apologize for any problems over the next couple of days. I’ve been avoiding this for a long time, but it really has to be done if this site is to work the way it’s supposed to. Please let me know if you have any problems with the site.

Thanks.

Updates

24 April 2009: So far, so good. The blog is running a lot faster now. I’ve recovered some recent comments that were in the database, but had become invisible. The archives page is now displaying properly. All the posts and other stuff seem to work correctly.

2 May 2009: Still working fine (he writes while superstitiously knocking wood to banish the avenging spirits of tempted fate). I wish I’d done this a long time ago, as it was much easier than I thought it would be.

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Rather, I am experiencing technical difficulties. My apologies to anyone who may have tried to post comments.

Update

24 April 2009: This problem seems to be resolved. The missing comments have been restored.

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Keep working on a painting until you’re sure it’s finished. Then come back again a few days later and work on it some more if you realize it’s not as good as you thought it was.

That seems like a “duh” kind of statement, but it’s inconsistent with lots of art book advice. We are told that it takes two to make a painting: an artist to do the work, and someone else to hit him (or her) on the head before it gets ruined. Freshness and spontaneity above all, we are told. Never overwork the paint.

That advice was a problem for me until I realized what a crock it is. My problem isn’t a lack of freshness—it’s that I am so often tempted to stop too soon. I get parts of the painting to look really good and the rest basically not too bad, so I want to stop rather than put in the extra hours needed to get the hard parts exactly right. That whole “freshness” canard is an excuse for laziness—something seen in the work of many a marginal painter of approximate smears.

If you really want the painting to look like you got every part of it right the first time (i.e., “fresh”), then do what Sargent did and continually scrape off anything that didn’t come out exactly right and paint it again. And again. And again, until it is correct in it’s calculated appearance of perfect spontaneity. Even if you have to paint it 100 times.

If a look of freshness is not what you’re after (it’s not something I’m all that interested in, myself) then just keep painting until there isn’t anything you know how to do that will make it better.* If you’re not willing to keep at it until the difficult parts look right, then you’re not serious about painting.

——————————————

*Or you realize that this painting is just a dog and trash it. You should allow yourself to do that only very rarely, however.

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Silverpointilism

Awful art pun. Couldn’t resist.

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Merlin Mann on the work involved in being an artist:

But, let’s be honest. This is a tough idea to sell to folks with “real jobs” who are just looking for a diverting bit of creative tourism or who find themselves yearning for a nostalgic amble past a mostly-abandoned adolescent arts hobby. People who want to learn how to feel creative. To feel successful. To feel like an artist. Not that there’s anything wrong with that.

My sense, though, is that for most people who repeatedly do (and sell) creative work, this all seems a bit like wanting to feel like a world-class athlete. Because “feeling creative” produces great work in approximately the same way that “feeling like a doctor” makes you a gifted thoracic surgeon.

He’s hitting what I hope has been an enduring theme here. Regardless of talent, if you don’t show up and put in the hours, you don’t get good, and the paintings don’t get painted.

Read the whole thing.

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Argh

I hate the idea of having to write an artist statement, but it has become necessary. I find it very hard not to sound either pompous or banal (or both). Here’s my current version. Any suggestions for improvement?

David Rourke | Artist Statement

“This is an occupation known as painting, which calls for imagination, and skill of hand, in order to discover things not seen, hiding themselves under the shadow of natural objects, and to fix them with the hand, presenting to plain sight what does not actually exist. And it justly deserves to be enthroned next to theory, and to be crowned with poetry.”
—Cennino d’Andrea Cennini, circa 1400 A.D.

What

My paintings are about simple things carefully observed. When I’m planning a painting, I often just walk around my house, looking for an object—a pair of blue jeans, a paper bag, a dress borrowed from my wife—that feels like it might be the right subject of a painting. I then plan the composition around it.

How

I work directly from life. Realist painting is less about the mechanics of rendering than it is about learning to accurately observe light, form, and color. Each painting is an exercise in letting go of preconceptions.

Why

I’m deeply aware that I’m participating in a tradition of craftsmanship that goes back well over 600 years. There’s no point, however, in re-making what others have done, so the core of the thing is to respect the craft while expressing my own self. The balance between those goals is endlessly engaging.

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Recovery

You may have noticed that this site has been down for more than a week. I won’t bore you with the details—suffice it to say that the database got messed up to the point where my meager technical skills were inadequate to correct the problem. I got some professional help from the excellent Neil Matthews, aka WP Dude. Thanks to his expertise, the site is now back up, although not all functions are restored yet. I am hopeful that this will never happen again, and I apologize for any inconvenience.

If you ever need someone to set up, migrate, fix, or otherwise work on a WordPress site, I strongly suggest you check with Neil first.

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SNAFU

I thought I had it all worked out, but apparently not. I created a new install of WordPress, for various technical reasons, and redirected to that site. Unfortunately, the migration of data to the new version just didn’t work the way it was supposed to. Missing features, missing images, messed up database…bleh.

So for now we are back at the old version of the site, which seems to be working just like it always was. I apologize for any problems you may have had here in the last few days. I will test much more extensively before I try anything like that again.

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New Gallery

I now have a new gallery, independent of this blog, to display my work. It’s not entirely finished, but close enough to check out. Please let me know what you think—especially if there’s anything there that’s confusing, ugly, or could be improved in any way. If it displays poorly in your browser, please drop me an email.

I made it myself, using my mad coding skillz, such as they are. In case you’re interested in geeky stuff, it’s running on the Joomla content management system, using the Hivemind template from Rockettheme.com and the excellent Phoca gallery extenstion.

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Last year, a friend of ours and her two children (ages 7 and 8, if I recall correctly) visited. They wanted to look in the studio and my wife let them in (after cautioning them not to touch anything). I had a couple of nudes hanging against the wall, which my wife immediately turned around to keep them from being seen.

I’ve been thinking about that lately. Why was that necessary? These paintings were not pornographic or even explicit. They were of a man and a woman posing in the nude.

I’m not criticizing my wife, of course. She responded appropriately, especially since their mother hadn’t been warned about the possibility of them seeing paintings of naked people. I think it kind of disturbs me that this was necessary, however. We didn’t discuss the issue with our friend—we just assumed that she would never allow her children to see that kind of art.

This is especially interesting when we compare modern attitudes to those of the Victorians. We think of Victorians as absurdly prudish, even to the point of considering it proper to do things like put books by male and female authors on different shelves and cover up the “limbs” of roast poultry with paper covers. We can laugh at that, yet I’ve read that Victorian children were routinely exposed to nude art. It was considered educational and uplifting. Obviously, not all people in the Victorian era had the same values, and I’m sure some found the idea of children looking at nudes to be inappropriate. Yet I’ve seen images of museums from the period, with throngs of both adults and school-age children looking at nude paintings and sculpture.

Are we more prudish about art than the Victorians, for all that advertising and other media are filled with sex? Is it inappropriate for children to see nude art?

I’m not entirely sure how I feel about this topic, but I do know that if there were a nude in my living room, some uncomfortable situations would occur from time to time.

Comments?

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