Vera Originals - dba: Vera Dennen

Ellie Sethman Kaleidoscope Paintings Make Wonderful Needlepoint . . .

2012-02-14T09:17:00.000-06:00

Looky, looky, how could any stitcher resist . . .

Opening Ellie love to a whole new client here, and these ladies take their Needlepoint very seriously too! Do you know they have Teaching Cruises for Needlepoint, where the ladies learn new stitches and stitch together on deck?

New, new, new . . . Stitch Your Own Canvas . . . Needlepoint or Cross Stitch!

2012-02-06T09:36:00.000-06:00

Needlepoint and Cross Stitch Patterns from Original Paintings . . .
Most of these Paintings will sell, or have already sold to Individual Collectors for very nice price tags! And needless to say, they are all bear copyrights by each artist as well. But we ave been busy turning many more Original pieces into not only Needlepoint Canvas, but Cross Stitch Patterns as well. Most of the Cross Stitch is available in pdf file form for easy transport to individual buyers. Take a look at how beautifully these pieces turn out!

To be specific:

http://shop.ebay.com/designsbyvera/m.html and http://www.etsy.com/shop/veraoriginals?ref=si_shop

Vera

OMG, OMG, OMG!! Seems like I've said that before!

2011-07-11T12:31:00.002-05:00

I am now doing Needlepoint Canvas, and not just of my own Paintings any longer! Have started to incorporate some work by artist friends into my creative Needlepoint mix as well! Lots of work to get ready, and then to produce, but such fun!!!! Anyway, if some of you have wondered what hole I happened to fall into, clear back from way last Thanksgiving, that of Needlepoint Canvas creating, producing, and selling is it.

To be specific:

http://shop.ebay.com/designsbyvera/m.html and http://www.etsy.com/shop/veraoriginals?ref=si_shop

--BRING MOTHER NATURE INDOORS!-

Our, "Oh no Charley Brown," Thanksgiving moment!

2010-11-26T11:15:00.002-06:00

We had invited some foreign students from University campus to our home for "A Traditional American Dinner," right? 2 from China and 1 from Rwanda. These are not exchange students in usual sense, as they do not have a sponsoring American family already, so unless they have made some friends, are mostly alone on campus during a holiday. Well, we had already had our own family Thanksgiving dinner earlier in day, with table full of people for that one for sure, but plenty of food, as we had roasted 2 turkeys, and had all of the trimmings! Right? The only hitch was that we had already carved them both as well. Carved in the kitchen, and for expedience sake more than anything else!

Well, loan and behold, the first thing our lovely little Chinese girl said after she arrived was, "Oh wow, can't wait to see that Turkey! Have heard so much about them!"

You can just imagine our faces as we had to explain that the "Traditional American Turkey" had already been carved!

Saga Of The Red Chair Affair:

2010-09-27T13:15:00.021-05:00

"The Red Chair Affair" 24"x36" Framed
I first learned of The Red Chair Project when a local friend emailed to ask me how I mounted my Watercolors to Canvas. He told me he had one he was getting ready for this local project, to benefit the Orpheum Theater downtown. "LIGHTING UP BROADWAY SINCE 1922" is their tab line. Anyway, I wanted to participate as well and began work on my "Red Chair Affair" 24x36 Watercolor, even while knowing it would be a close call to get painting finished in time. My good friends on FaceBook cheered me on at every step, which is literally what pushed me forward!

But when beginning the painting I simply jumped in, as I tend to do fairly often. Not much of a planner! Anyway, had just purchased a lovely group of Oriental Lilies earlier that day, so decided to start there. Then, knew I needed at least one red chair in the grouping, so added two, just to be safe!

Was fairly well satisfied with this first draft, however, the first thing I noticed was that height of the square container was dwarfing main object of painting . . . namely, the red chair. In setting out to correct this problem at least one means of correction came to mind. Chair legs could be lengthened and run off bottom of painting, thereby giving front chair more height, which would have been fairly easy to accomplish. But I decided instead to add a table top to that particular surface, while cutting down proportions of container itself.

I felt like adding table top worked nicely for entire piece (which was painted with coffee, btw).

So far so good, now for a suitable background. Wanted to start dark, so of course black popped to mind! What else? So, maybe think about giving a slight oriental feeling to the area as well. Red, right, already begun in color format and needing to be carried into other parts of painting as well. So ok, red lines, red markings went in, made with red oil pastel crayons, that my black watercolor would leave in place without running off!

But I did not want to be going too dark too quickly with my black, so only a first wash was applied.

Everything from there was mostly pulling facets of the painting together. I added an upright plate sitting behind lamp base in order to carry some key colors up from the rug, added a brown edging to black area to suggest edge of an Oriental Screen, deepened shading on scarf, lampshade, etc., and gave suggestion of crack in a stucco wall background.

After that was a matter of signing it, mounting onto hardboard, and selecting a frame.

"Last Blossoms Of Summer": 24" x 30"

2010-08-23T14:45:00.003-05:00

Original Watercolor on 140 lb. Cold Press Arches Paper. Varnished and Mounted on 7/8" deep Stretcher Bars w/ Canvas, with black Floater-Frame .

This combinations makes a solid, stable Original Painting, which is protected against UV Fading & Moisture, making the painting itself stronger than either oil or acrylic. With this method of mounting, the beauty of Watercolor can more than compete with other media.

WITH BLACK FLOATER FRAME:

Part 2: Finished Painting--Lessons Learned The Hard Way

2010-07-15T11:27:00.004-05:00

"Sunflower Morning" 12" x 36" Watercolor mounted on Gallery Wrapped Canvas.

Finished...Notice how I camouflaged the area where the Butterfly had been removed. The difference here between saving a painting and needing to start totally over lies in being fast with ingenuity, and the ability to camouflage. For a successful camouflage, placement within overall painting is key. Because this work is long and narrow, the placement was a natural for adding a spot of dense background into offending area. However, had it been that same size area, say, closer to the bottom, my problem would have been a great deal more complicated.

Adding another Sunflower in the spot would have been out, as it most certainly was here! Why? Well because the bruised and firmly washed paper would not have taken paint in the same way, and with the same precision of placement already applied in Sunflower blossoms. Therefore something totally different applied here was being called for... Had offending area actually been lower, I probably would have place the stone wall much lower in composition, and gone from there.

This is both the value and the pitfalls of following your muse while Painting, rather than going through all of the steps of planning, sketching, using a layout, etc. as one approaches every new piece.

Part 1: Lessons Learned The Hard Way

2010-07-10T10:43:00.008-05:00

Part 1:
Ok ladies and germs, as a used to was stand-up often said, I mounted my paper before painting this time. On a 12" x 36" gallery wrap no less! And yes, predictably, half way through the composition, I do not like the painting! Ok, again, because of an earlier 'experiment', which is detail in a previous blog, all is not lost, I can soak and remount with paper in order to start fresh. But, also predictable...IT WOULD HAVE BEEN SOOOOO MUCH EASIER IF I HAD NOT MOUNTED IT BEFORE I STARTED PAINTING!!!!!!

And that is my 'rant' for the day. Aren't you glad you were able to join me in this?

So, lesson learned here, paint before mounting onto gallery wrapped canvas, thus saving your valuable and limited time that is allotted for painting, money, and temper!

Here is the painting in progress run-a-muck. Have already washed out offending butterfly that just did not fit in. Am not really sure that I like where any of it is going, but will invest a little more time, and paint while longer before using Gesso over the whole painting and giving up!

Texas Girl Paints Her Texas Sunflower's:

2010-07-05T15:27:00.003-05:00

"Texas Sunflower plein air painting in my yard today!"

Just had to share this one with everyone, as most of you know that I paint lots of Sunflower's as well. This is a Texas girl's idea of plein air painting, can you believe it? Her name is Nancy Medina, and for the nor-artists among you, plein air painting means painting outside, or right on site, as in landscapes. But this is taking it to the um-tee-nth degree, I'd say for sure!

Way to go Nancy! Hat's off to plein air!

My First 9"×12" Watercolor Mounted on Canvas:

2010-06-29T14:13:00.000-05:00

Well, my idea was that by painting on a smaller format, I might be able to accomplish a Painting A Day, which I have always admired!

Dream on, right?
First of all, this image is too dark and does not do painting justice. That said, I just cannot say that I really enjoyed the process of painting as I normally would. That right there will stop me from painting further pieces of this size. Of course, to be fair, I had already stretched and mounted the paper here onto Gallery Wrapped Canvas, which made a difference in size right off of the bat! But found that the size made selective glazing more difficult as well, and may have been trying to make up for lack of size by adding way too much information.

So, it does seem that 12"×12" will be as small as I go. Now, need to work on being able to paint one of these in the space of one day. Will not included mounting time in there however, which will help.

BLOSSOM TIME
9"×12" Watercolor on Paper Mounted onto Canvas.

Finished Watercolor Mounted On Canvas: "Lillies & Cups"

2010-06-14T12:57:00.006-05:00

This Still Life has been a great deal of fun to complete, actually much to my own surprise! This is not where I had intended to go at all! Just shows you where the Painting itself can lead if you are alert enough to follow.

I had intended a clear vase, with lots more foliage going on in negative painting. This background was intended as the first layer for more glazes to follow. However, with a little help from my friends, the Painting spoke to me, leading in a very different direction. Have to admit, I was almost too stubborn to listen.

Am simply not used to so few areas focus competing for attention in one of my pieces, with so much quiet space overall. But also must admit that I do like this work quite a lot.

"LILLIE'S & CUPS" Watercolor
18"X24"X3/4" Gallery Wrapped Canvas

CLICK HERE TO BID

Watercolor on Art Board Work In Progress: "Tiger Lillie's"

2010-06-09T21:13:00.001-05:00

"Tiger Lillie's" in progress. This is as far as I had gotten before leaving my studio to visit with some friends. Then ended up taking a nap, and getting table ready for dinner. When I did walk back into my studio, faced with this still in place on my work table, it struck me as really cool. Even hesitated for a while, thinking that perhaps the piece was, in fact, finished!

But no, have come to my senses and realize that my original direction was correct, and the painting really needed more. Guess I was temporarily blinded by the yellow halo! LOL!

Another New Method To Mount Watercolors: "Lillies & Blocks"

2010-06-03T12:24:00.029-05:00

This is an 20x30 Archers Art Board. This art board is Arches paper on rigid, archival backing. The paper is mounted on white, acid-free, archival conservation board, making the board durable, rigid, and easy to work with.

Now, I am going to mount this archival board onto an 18x24 Gallery Wrapped Canvas, which I am using strictly because this is the size I have on hand! In other words, yes, I will lose some of the painting, which I hate! However, I would hate waiting a week or so for delivery on the proper sized canvas, not to mention additional cost. Since 20x30 is not a standard size traditionally offered in Canvas, I would have to pay extra, and wait longer, for special order delivery.

The initial mounting will be the same as with mounting of paper. However, additional steps will be much different, and will take photo's as I go. Suffice it to say that this is a work in progress, which will be posted over a period of 3 to 4 subsequent days.
_____________________________________________________________________________________________

STEP 1: FULLY MOUNTED WITH A NICE TIGHT WELD.
This means being very sure to have your weights extending well over edge of Canvas below in order to make sure paper welds tightly clear to all corners and edges.

I used the same Golden's Soft Gel, straight from the jar, that I use for mounting watercolor paper. The main difference is that I do not flood this back board as I do the straight paper. One reason to not use as much water is because this board will not soak water up as does the paper. The board would only get over wet, and perhaps even soggy rather than saturated.

STEP 2: CHECKING THE WELD
This is the time to find and fix any edges needing help. It small areas along outside edges are not tightly welded to canvas simply add a touch more Golden's Gel, pushing it into cavity with a paint brush. Flip painting back onto clean solid surface, face down, and add some weights along affected edge. The weld will mend in 4 to 5 hrs. I usually give it plenty of time to dry, just in case.

_____________________________________________________________________________________________
STEP 3: GETTING A CLEAN CUT
Box cutter, fresh sharp blade . . . this will not be as easy as a one stroke cut here, but should not take more than 3 good, firm passes either. If any edges simply refuse to get close enough for a clean finish, use rough sand paper to smooth down until all edges are even.

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STEP 4: PAINT OUTSIDE EDGE. . .& FINISHED

The mounting went wonderfully fine, no problems to report to watch out for. I did have find painting the very outside edge of the Art Board. The slowdown was in painting this was, however, due to my own oversight. I had let myself run out of artists tape and could therefore not place it over outside of my painting, right along on top of cut, before attempting to apply paint. The Art Board leaves a narrow strip of white where it has been trimmed, and without the artists tape to protect the painting, it becomes a slow task of applying Acrylic to outside edge of canvas. But I did it!!! Just would have been much easier with tape.

How Strong Is It? No Really . . .

2010-05-27T09:29:00.001-05:00

Just for my own information I soaked one of my mounted watercolor paintings in a bathtub of water, and left it floating on top overnight. Not even a smidgen of paint soak off into the water, nor did any of the paper loosen from the canvas.

So, I then drowned it totally with water, filling the back side with water as well. The entire canvas was weighted down and under water, again leaving it overnight. This time, paper did begin to bubble up from off of canvas backing where it was beginning to loosen. But it took the water actually penetrating through the canvas, back to front, for paper to move.

This photo is what was left of the original watercolor paper, which had been mounted onto Gallery Wrapped Canvas, after I worked at stripping paper off. And believe me, it did take work . . .

P.S. Painting I used for this test had already been ruined during process of painting. Just decided to mount and test for the purpose of seeing how strong these Watercolor's mounted onto Canvas actually are.

Newest Mounted Watercolor: "LILLIES & LILAC'S"

2010-05-24T14:32:00.009-05:00

This is an Original Watercolor Painting on 140 lb Arches Watercolor Paper mounted on 1.5" deep Gallery Wrapped Canvas, which is the latest custom method Watercolor presentation.

"Lillies & LiLac's" 12"x12"x1.5" Watercolor
CLICK ON TO PLACE BID

Save The Dals: Letter Of Thanks

2010-05-12T09:15:00.008-05:00

We are pleased and honored to have received this letter of thanks from Save The Dals organization, which relates to donated funds received from sale of Painting, shown here as well. This is a heartwarming story of a man and his dog. . .

Years ago I had Painted this Dalmatian, named "Fiasco", but immediately lost contact with his owner, Mr. Bradly Kathol, who was known by my neighbor at the time, but neither of us at that time knew his name. And then we moved . . . and though from time to time I would use the Painting in shows, it never sold. Then the economy turned bad, and I was ready to place the Framed Dalmatian up for sale once more, at a much reduced price. However, something in the back of my head kept nagging . . . find his owner! I had even talked with my prior neighbor, who still lived on our old street, but no longer saw the same man walking his dog on our old block!

So I turned to our local newspaper for help. They placed an image of my Painting in that next Sundays newspaper, along with the story of the lost Dalmatian owner. It did not take long and I received an email. Mr. Kathol's brother had seen the Sunday paper and recognized not only the dog, but the carpet on which Fiasco was laying in the painting!

Local artist seeks owner of dog in painting
Does this dog look familiar?

Wichita artist Vera Dennen is looking for the dog's owner, whom she met in 2004 or 2005.

Dennen said she met the man while he was walking his dog in the 4100 block of English.

"I had seen him walking his dog several times by our house," Dennen said. "It was such a beautiful, striking dog, I asked him for a picture and asked would he mind if I painted it."

The man gave her a photo of the dog and his contact information, which she lost, Dennen said. She has since moved to another part of Wichita.

Dennen would like to find the dog's owner so she could share the painting with him and provide him a print.

"This work was not solicited by the man walking his dog, so am not concerned with a possible sale here at all," she said. "If it was my dog, I think I would like to see it."

If you think you recognize the dog in the painting, e-mail Dennen at vera@veradennenstudio.com.

—Diane McCartney
Read more: Click Here To Read Paper
Anyway, it tuned out that Fiasco had passed away two years before, and the very grateful owner insisted on paying for the already framed painting! I was just sooooooo very happy that my beloved Dalmatian Painting had finally found the home where it belonged, that nothing would make any sense but to place a full price donation in the hands of Save The Dals, for their wonderful and extensive work in behalf of this breed.

And here is their letter of thanks, which I shared with Mr. Kathol.

Collaboration between V & V: "Red Moon Rising"

2010-05-09T20:57:00.003-05:00

"Red Moon Rising" 3 canvas 18"x 24" each

CLICK HERE TO BID

The very first collaboration between the two V's! What fun this has been. I had painted the blossom's and tree, but the painting seemed to lack 'punch! On a whim I passed it on to my daughter, Veronica, saying ". . . try your hand at saving it!" Which she did! And quite beautifully as well, I might add.

Not too bad having realism in painting and a flare for the abstract living under one roof. Plus, Veronica's husband, Cory, has become quite the one for coming up with innovative names!

Veronica Strikes Again: BLOCK PARTY

2010-05-05T11:54:00.007-05:00

"BLOCK PARTY"
2 Canvas Acrylic: 36"x24"x3/4" & 18"x24"3/4"

CLICK HERE TO PLACE BID

When this girl of mine paints a winner it really comes across strong. I am loving these coming from Veronica's Pool House Studio . . . maybe it's the sound of lapping water that so inspires her! LOL! I know that I still miss the sound of lapping waves in early morning. Got so spoiled living on either coast (and I do mean 'right on' either coast), nothing like the sounds of surf when just waking up.

Anyway, we are placing this one on eBay as well, and really do not expect it to be there very long at all. Unless I really, really miss my guess, it should be gone in first 10 days of offering! Will be interesting to watch anyway . . .

Veronica's Newest: Along Memory Lane

2010-04-30T09:50:00.006-05:00

"ALONG MEMORY LANE"
2 Canvas Acrylic: 36"x24"x3/4" & 18"x24"3/4"
CLICK HERE TO PLACE BID

For someone who has not been painting on a regular basis for a period of time, Veronica is has been quite prolific of late. Am excited to see new Paintings turning out from her own private studio! She has turned our pool house into a studio where she can even throw paint without worry of what she might hit besides the canvas! Must admit that I find myself with a slight touch of envy!

Veronica Is Joining Me on eBay

2010-04-21T15:28:00.009-05:00

"SUMMER RAIN"
SOLD
3 Canvas each 12"x12"x3/4"

The most recent addition to my ongoing work in progress is my daughter Veronica Laflin, now adding her artistic offerings to my own on eBay. I must say, she paints in Pastel, which is very different from my own, as well as being quite Abstract. A welcome change of pace I must say, and something fairly exciting as well.

Here is her beautiful face smiling back:

Spring Is Here, So Of Course I'm Painting Fall Leaves:

2010-04-08T09:13:00.008-05:00

IMAGE AND TEXT ARE BOTH COPYRIGHT PROTECTED

"Drifting Leaves"
CLICK TO PLACE BID:

Thank You To EBSQ: Blogger Of The Week

2010-04-07T09:36:00.002-05:00

EBSQ Blogger of the Week: Vera Dennen

Wish to thank Amanda Makepeace of EBSQ for nice words and for making me their BLOGGER OF THE WEEK. Love this Artists Group for their open arms to art and artists of every media, diverse subject matter, and willingness to show outlets where art being shown might be purchased. They allow links to an artists own web site, ebay stores, imagekind, etsy, etc., which is very unusual for most sites to promote. Their Artists Blogs are also fun reads, as well as full of unique and interesting art work.

So thanks againg to EBSQ and Editor Amanda Makepeace for picking me:

Another Watercolor Painting on Canvas:

2010-03-21T15:00:00.007-05:00

IMAGE AND TEXT ARE BOTH COPYRIGHT PROTECTED

"OLD ROCKY LEDGE ROAD" 18" x 24" x 3/4" Deep--ORIGINAL WATERCOLOR
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This one is a personal favorite. As many know, the longer one keeps a Painting the more fold of it you grow. . . which is exactly the case here. This Painting was never framed, and has never been displayed as for sale in a show, therefore each time I have thumbed through raw Paintings through the years, I would pause and look. Have grown very fond of this special piece, which is now mounted onto Gallery Wrap Canvas, and ready for sale. Good luck to any bidders on this truly special piece of my heart.

New Mounted Watercolor:

2010-03-18T21:43:00.008-05:00

IMAGE AND TEXT ARE BOTH COPYRIGHT PROTECTED

"DUSTY FLORAL" 12" x 12" x 3/4" Deep--ORIGINAL WATERCOLOR
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I'm still having a great deal of fun painting these 12"x12" squares, not making any money however! The last one I shipped to a Canadian Buyer cost me $20 something to ship, and was only paid $9.95 for the painting. LOL! And that isn't even discussing materials involved to create and pack, let alone labor! But hey, I'm not complaining because I enjoy doing these, and in this economy, with even health care in question, Art is the last thing on any one's mind.

WATERCOLOR: Commissioned

2010-02-26T13:15:00.018-06:00

IMAGE AND TEXT ARE BOTH COPYRIGHT PROTECTED

"Good Friends" 16" x 20" Watercolor
This painting will be mounted onto Gallery Wrapped Canvas 3/4" deep, and may or may not received a Floating Frame after that. Have yet to discuss Floating Frame with Paintings Patron. Will post again when totally finished either way.

MY FIRST FLOATER FRAME:

2010-02-16T09:27:00.005-06:00

IMAGE AND TEXT ARE BOTH COPYRIGHT PROTECTED

Saw a Painting in a floater-frame not long ago on wall in Dr.'s office and loved the look. Soooooo, this is my very first Watercolor, mounted on Canvas, Varnished, and mounted in Floater Frame. Love the simplicity and very contemporary look.

"Beside Our Front Walk" 17" x 21" x 1.5" Deep, solid black wooden frame.
CLICK TO PLACE BID

BACK AND SIDES OF STRETCHED WATERCOLOR ON CANVAS:

2010-02-11T17:37:00.006-06:00

Here is back and side image of what my stretched Watercolors look like over Canvas. A second reason why I stretch over canvas, besides strength, is neat clean lines: no staples, no folded corner. Just the way I like them.

Currently I am stretching some of my older Paintings that have never been framed, and therefore, never shown. So they are almost all on 140 lbs. Arches Cold Press. But am going to try stretching some raw 156 lb. and raw 300 lb. very soon, so that I'll know what I'll face prior to stretching this weight Of Painting. Will let you know further how these come out once they are finished.

ANOTHER USE FOR MY MOUNTED 12X12'S . . .

2010-02-02T11:28:00.008-06:00

IMAGE AND TEXT ARE BOTH COPYRIGHT PROTECTED

I had scaned a few of my Original Watercolors mounted onto 12x12's Canvas before shipping them as they sold, and decided to do a Giclee print onto Cavas and see how well it turned out. The results were great. Love it! The Giclee even shows the wonderful texture of the watercolor paper, which I love, and since this is Pigmented Ink, it will not fade from UV or run from Moisture either.

"Tin Pitcher" 12" x 12" x 3/4" Deep
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Another Size Watercolor Mounted on Canvas --

2010-01-19T11:52:00.023-06:00

IMAGE AND TEXT ARE BOTH COPYRIGHT PROTECTED

As with many of my older Watercolor Paintings, this one has never been shown. Because they have not been never been matted and framed, and gotten ready for showings, they've remained in a stack rarely seen accept by myself. Now, with this new mounting method, they are ready to show and to see the light of day.

"Spring Panel" 12" x 24" x 3/4" Deep
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Going Larger w/ Stretched Watercolor Paiintings. . .

2010-01-13T13:10:00.009-06:00

Going larger with my mounting of Watercolors on Paper. Love the look of my 12" so much, I've expanded out into including more sizes. They look great, are easy to hang, easy to ship, and require no glass. Nothing between oneself and their favorite Watercolor Painting. And perhaps best of all, I'm able to dig out some of my paintings that are somewhat older (this one from '98) and get them ready to show.

"Growing Season" 18" x 24" x 3/4" Deep
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Watercolor Zoo Painting with Walunt Finished Wooden edges. . .

2010-01-12T18:23:00.011-06:00

This Watercolor is on 140 lb. Arches cold press, then mounted onto Ampersand Clayboard panel with 2" deep solid wood edges. The wooden sides have been hand finished in Walnut and are beautiful all on their own. But when combined with the rich color within the Painting itself, it's a head turner at shows.

"Feeding Time" -- 21.5" x 28.5" x 2" deep.

Ohhhhh, having so much FUN can hardly stand it. . . .

2010-01-03T17:37:00.023-06:00

Am totally enjoying myself with these painting . . . best of both worlds, IMHO! I get to play with my watercolors and look at it with no glass between too! Hey!!!! Just ordered 12 more 12"x12" canvas . . . guess I'll be doing these for awhile!

One Equine coming up, and have a few dogs possibly running around in my head now as well. Maybe a couple more 'endangered species', and will decide what else as I go.

"Tulips & Pears" 12"x2"x1.5" Watercolor Paper Mounted on Canvas

CLICK HERE TO PLACE BID

Christmas Angel At Work. . .

2009-12-27T14:12:00.005-06:00

As many of you already know, I have a rather special Painting that was created in 2005 of a Dalmatian laying on an a rather lovely looking area rug. I had not remembered who had given me the photo from which I had taken this painting, having moved since that time, and having lost the contact name and information during that move.

Anyway, the painting, while wildly admired by all who viewed it, had never sold even though 100% of proceeds from such a sale were to be donated to Save The Dalmatian's organization in order to help their on-going efforts. So I contacted our local newspaper, who assigned a staff writer to my problem. She wrote an article about the painting, posting an image as well for dog owner to recognize.

The owner did contact me, came by my studio to see the painting, and did ask to purchase it in the process. It seems his dog, which I then found out had been named "Fiasco", had passed away in 2007, and he had daily thought about this painting, wondering if it had been finished, and wishing he knew how to contact me as well.

What a wonderful spirit of Christmas this story provided for myself, my family, and his, and I cannot thank my Christmas Angel (in the form of a Newspaper staff member) enough for providing the means for contacting this very appreciative dog owner on my behalf.

Newest 12x12 inches mounted on canvas

2009-12-04T09:10:00.005-06:00

Click Etsy Badge On Right To Order
This one makes me very happy while looking at it here in my Studio. Don't know what else to say about it, other than it was satisfying to work on!

Relisted On Ebay -- Love This Painting --

2009-11-11T16:07:00.005-06:00

Have had so many comments on this Painting, folks seem to really like it, especially when they have seen it in person. However, it has not sold as yet, in spite of a low, low Auction price on eBay. No Reserve Auction, no less!

Why Art?

2009-11-11T10:12:00.004-06:00

Art is not an extravagance or an indulgence. Art is an expression of mankind, and therefore a necessity. It can be spectacular or commonplace - from the earliest markings on cave walls by ancient cultures to the glorifying forms of the Italian renaissance - even the so-called "graffiti" defiantly left for public vie...w. All is based on man's driving need to create and leave a record of being....... anonymous

New Painting Venture --

2009-11-09T11:49:00.015-06:00

My daughter, Veronica, has been talking about joining me on Painting venture for awhile now, and has taken her first step.

This is so cool, "Collage" over executed oil painting! Add's totally new sense of depth. This group will be branded as "by V&V".

And a couple of close-ups (click to enlarge). SOLD

Stretching A Watercolor Painting -- Part 1

2009-10-31T12:47:00.022-05:00

This set of Instructions for Stretching a Watercolor Painting onto Gallery Wrapped Canvas has been moved to my website: www.veradennenstudio.com

Please look under: WatercolorInstructions-2

24"x30" Watercolor Stretched like Oil. . .

2009-10-27T20:32:00.009-05:00

This Watercolor is painted on 140 lb. Cold Press Archers Watercolor Paper stretched in normal way, i.e. flat, stapled around edges to a flat board. I have left at least 1.5" around each side of planned painting size in order to compensate for the 7/8" deep sides after mounting. I Paint first, especially in these larger size paintings for two reasons, as mentioned in yesterdays entry: to prevent buckling later, and to mount only finished paintings that I like.

"Last Blossoms Of Summer"
24" x 30" Varnished Watercolor -- Ready to Hang.

Here are two side photos of the painting showing how edge wraps around all sides. Their are no staples in the Watercolor Paper itself.
The staples showing on very back of stretcher frame are actually in canvas, which has been stretched over stretcher bars first, and now lends strength and stability to the Watercolor Painting itself.

Next I will post step by step mounting process of paper over canvas for precision stretching each time.

Further progress on one 12"x12" . . . .

2009-10-26T15:31:00.004-05:00

Almost finished on this 12"x12" sample and will be ready to mount for hanging. Two reasons I painted prior to mounting onto stretcher bars: one-can stretch paper this way so there will not be any buckling later on. And two, in case the painting is not one which I would consider successful enough to mount for hanging. In fact, if this particular painting were not being completed for this purpose as a sample, I would not finish it now. Am just not that crazy about this effort.

One Day Left To Bid . . .

2009-10-24T10:50:00.002-05:00

Last day to bid on this 24x30, NO RESERVE Original Painting for $45.00!!!! Believe me, this is a steal!!! Free Shipping to boot. . .

Going Harder . . .

2009-10-24T09:46:00.007-05:00

Work on large stretched Watercolor going harder than 12x12. This one is 24x30, and is going to look so beautiful stretched and color so vivid, I can't wait myself to see finished work. But will be couple days yet before it is finshed, longer sides more difficult to work with.

Unfinished #1
Have two more 12x12 almost finished being painted and ready for stretching. I have never ever, ever worked this small before, but am having a ball doing these for 12x12finished size. Maybe shoot for even smaller before long, just to give it a try. Now, that was a maybe, so don't hold me to it!!!

Unfinished #2 Morning sun streaking across my old beat-up stretching boards is kind-of neat. At least this morning is brighter than it has been of late.

Stretch Watercolor Paper? Yep, The Real Thing!

2009-10-20T14:10:00.005-05:00

Oh, I know there are ways to paint with Watercolor on Canvas that already out there, and some is very nice to work with indeed. However, just have not been able to use Watercolor as I can by painting on paper! Was never quite satisfied with the end product as a result. So, have been working on being able to stretch Watercolor Paper like canvas for quite some time: this is my very first totally successful Watercolor Canvas!!!!!

Yep, 140 lb. Arches Cold Pressed Watercolor Paper stretched like canvas. Will be interested in what you think.

I had not painted my painting quite wide enough for this 12"x12" stretched, which left the thin white edge on each side. Will have a large Painting finished in a few days. Will post it after stretching as well.

2009-10-09T11:05:00.001-05:00

Love this Painting over-all, even though I spent far too much time working on it for what was involved. Was not the paintings fault, however, had taken on too many tasks for working time allowed! So, now it's on eBay for low, lower, lowest Auction! Large, really great Original Painting . . . worth taking a look.

go to eBay: check auctions

Low, Lower, Lowest!!!

2009-10-09T10:38:00.005-05:00

Really getting carried away with prices on eBay, trying to clean out some of growing stock of Paintings. Problem is, I continue to paint, even in this lagging economy when Paintings have not been moving out. Low prices on starting bids, with NO RESERVE auctions! Worth checking out. FREE shipping as well . . .

go to eBay: check auctions

Two Day Single Artist Showing: Sept 18th & 19th

2009-09-16T15:41:00.003-05:00

Don't miss stopping by Best Frame Source, 1219 E. Douglas, Wichita, Kansas 67211 for a two day showing some of my work. Quite a few of my Prints are being shown there as well, where Mike and Brian do absolutely beautiful framing! A nice plus for this particular venue.

Have also set up something a little different than for most of my show, which is the "Make Me An Offer" situation. Mike and Brain have been authorized to wheel and deal in my behalf, so don't miss out of this "twist Vera's arm" situation!!! Lol!

Fun New Painting--Water Soluble Oils

2009-09-03T13:14:00.013-05:00

This Painting was great fun to accomplish, although it took me quite awhile to finish. Had no idea where I was going with this when I began laying it out, so felt my way along gradually, adding areas that seemed to fit together, one at a time.

"Time Won't Let Me"

2009-08-01T09:39:00.056-05:00

The really fun thing about Water Soluble Oil is the complete freedom one feels, while still ending up with a strong final finish. I am using traditional 2 parts Liquin Original by Winsor&Newton/1 part Odorless Paint Thinner for use over this Oil. a very important step!! Cannot stress this enough, for without the use of this Liquin mixture, Water Soluble Oil will lift the very next time it is glazed over. However, once applied, this finish brings out the beauty of oil applications, as well as aiding in deep, quick drying overall. Let each glaze dry overnight, apply Liquin mixture before giving it 2 to 3 days to set, and one can feel assured that your painting is totally dry.

First I sketch my Center of Interest onto
plain white bond ink jet paper, in this
case a sitting nude. This will be placed
printed side down onto prepared canvas, so
remember that you will end up with a mirror
image once applied. Sketch in graphite,
print, and then go over your printed image
with rich charcoal pencil, bring out highlights
as you go.

Next, apply a layer of Matte Medium to
area where your sketch will be applied. I use
Liquitex brand, but any brand of Medium will work. (This is another place I find Water Soluble Oil especially helpful. The water
soluble nature of this Oil, inter-changes well
with acrylic and acrylic medium if desired.) Place
sketch printed side down so it adheres to Matte Medium. . . gently smooth out wrinkles, leave until totally dry.

Once dry, begin a gentle re-wetting of entire printed sketch. I use a soft brush, but some use a wet cotton cloth for this purpose. As paper becomes soaked it will begin to ball-up and lift off, leaving a combination of print & charcoal behind.

Here you can see remaining white of bond paper, along with the transferred sketch. At this point you can evaluate for yourself whether additional sketching w/ charcoal is needed, or whether imprint remains strong as transferred without further touching up. Before I begin the process of skin tones, background coloring, etc, using Water Soluble Oil, I give a quick spray of fixative so charcoal won't smear.

At the same time I have begun to develop remainder of my triptych, adding pressed on leaves coated with Gold Gesso, and a random pattern of 'numbers' where my melting clock will be placed. For this is use the same print/charcoal/apply method I had used on the nude, remembering, of course, that 'numbers' will also be applied in mirror image. I have used computer graphics for my printed image this time rather than a sketch.

I continuing to develop my triptych leaf by leaf, clock by clock, but you may use whatever motif you choose to depict. The smaller Burnt Sienna leaves are stamped on using Water Soluble Oil, while 'numbers' of second clock have been printed in Burnt Sienna, and applied in same method as before.

The tree had been mapped out using a layer of thick basic gesso prior to overall
application of Buff Titanium Gesso, by Daniel Smith. Love working with these colored Gesso in combination with the Water Soluble Oil!!!! After everything is well dried, rubbing a piece of charcoal was used to indicate flow of tree trunks and branches.

And finally, blue marbling is accomplished by dropping Acrylic Flow Releaser,
also by Daniel Smith, into a layer of Cerulean Blue Water Soluble Oil. The paint will pull away from Flow Releaser, disrupting the surface to create a random pattern of rings and disrupted paint. Frilled edges around circle are stamped out as well, with assorted spots of black and white Oil Paint, or even black and white Gesso, being randomly added.

For more wonderful ideas and tips to help explore your own potential creative genius see THE CREATIVE EDGE by Mary Todd Beam. In this wonderful, informative book Mary covers exciting techniques from fifty-some contributing artists, while including works of her own, along with helpful hints and instructions.

Water Soluable Oil --- Abstract/Pop Art

2009-07-22T20:51:00.012-05:00

(click image to enlarge)

"Time Won't Let Me"---water soluble Oil---place bid
I have been doing a fair amount of working with this radical new medium, and have to say that I like it. Now, admittedly I am a Watercolor Artist first and foremost, and have limited work experience in traditional oil. Perhaps this fact alone serves to make me more adaptable to this medium that most. For whatever reason I am finding it versatile, easy to work with, and love being able to produce some Watercolor feeling while working on Canvas.

Water Soluble Oils . . .can you believe it????

2009-05-22T14:32:00.010-05:00

Why so long between posts? Good question, have been asking myself that very question for quite some time. Is it that I don't 'like' to share? Nope, not at all. In fact, when it comes to my art most are hard pressed to keep me from it. Lol! Is it that I just don't have the time? Probably closer to the truth, although, if I weren't so long winded that would help too.

Anyway, I will pledge here and now to do better. Try to do better maybe? No, diffinitely to do better, for sure. . . Promise!

So, what I have been up to is still Oils, more specifically the Water Soluble Oils to be exact. Yep, finally realized that what was holding me back with Oils was not the chemical fumes, length of drying time, or need to stretch canvas. What was holding me back from advancing further and enjoying my work more while working with Oil boils down to one simple fact; I am a Water-colorist, pure and simple. And along with this realization, logic would then dictate that I try Water Soluble Oils, right?

Well, I am here to tell you that this took some doing. #1, I have not been working in Oil long enough just yet to know all of the in's and out's of Traditional Oil, let alone a medium so seemingly contradictory all by itself as "Water" and "Oil" naturally are. So, there goes my time right there. . . right? Experiment, play, experiment some more. . . get the picture. Finally I got smart and asked an artist friend who regularly works in oil for some advice.

Now here I go, getting long winded again. Let me just show you a couple of Paintings I am proudest of at the moment-- One is at the top of this post, named "Sunflower Pot". What else? The second is Sunflowers as well--

So there you go. . . two Oil Paintings, and both done with Water Soluble Oil. And I totally enjoyed painting both.

Both of these Paintings have Sold.

"Red Moon Rising" Triptych

2008-07-14T17:17:00.005-05:00

Another very much fun Acrylic to Paint, "Red Moon Raising," after an old song that keeps going around in my head. These sprawling Dogwood trees are so much fun to work with, feel more of this ancient tree rattling around in my soul. This one consists of 3 18"x24" Panels of Gallery Wrapped Canvas. As always, the sides have been painted as well, and this set, as is my preference, is staple free. This painting of a knotted and twisted trunk measures 24"x58", which includes two inches between each panel so that sides may be viewed.

"Red Moon Rising"

Triptych In Acrylic

2008-06-16T13:13:00.007-05:00

: SOLD

This will be the first of a Dogwood Series on Canvas. "Dogwood Spring" consists of 3 16"x20" Panels of Gallery Wrapped Canvas. The sides are painted as well, and on this one there are staples on the back. I really enjoy creating the knotted and twisted trunks of this ancient tree. Total painting measures 20"x52", which includes two inches between each panel so that sides may be viewed.

"Dogwood Spring"

Lily Pool: In Oil

2008-03-16T14:28:00.010-05:00

: Click on Thumbnail image to bid

Here I used Masonite hard board, a pressed board commonly used for various art, including acrylic, and oil, and even as a rigid backing for dry-mounted watercolor paper. This 24"x 30" board was gessoed several times prior to applying a very dark Indigo Blue & Payne's Gray mixture of oil, while leaving areas of light streaks for adding reflections.

World Of Color

2008-03-04T12:59:00.013-06:00

Latest offering on eBay, two canvas piece, 18"x18" each of 3/4" deep gallery wrapped panel. "World Of Color" has an antiqued gold metallic background. I love the city theme, especially in abstract, and this oil painting fills a great many places in my artists heart, including that of a warm over-all glow.

Things Are Going Well!!

2008-01-16T16:36:00.002-06:00

Guess I may have 'sold out', that is according to some artists! But, quite frankly I got very tired of the expense, time, etc. associated with the 'usual', 'accepted', rounds of shows, mailing off paintings, etc., it would take to be an 'accepted' artist. Do you have any idea how expensive it is to ship a large painting? Especially a Watercolor framed behind glass?? Not cheap I can tell you, plus they weight a ton. Than, even if they win an award, if they don't sell as well, you have return shipping to pay all over again . . .

Enough . . .

Ebay is there, you do not have to ship until the painting has sold!!! Every painting seen right now through-out this blog has SOLD on eBay. Not for the money I could have made through a Gallery, or through a Nationally known Art Show, but, it did not cost me fortune to personally attend such a show either, nor trust a Gallery to actually sell pieces entrusted into their care, then end up having to ship it back anyway!

OK, I have blathered on long enough. On to the fun stuff . . .

These thumbnails are how I am linking prints to one another on eBay.

Each is a link to their own page. Now, these are prints from full sized paintings, which I handle myself (up to and including the printing) I am very proud of the quality I have been able to supply with my wide-format Epson Printer. But printing your own is not for the faint of heart either. One cartridge of Pigmented Ink costs right at $102.00, and eight are needed for the full set.

So, any way one turns, as an artist life is not easy, nor inexpensive. It take lots of work and financial outlay to become and stay established in the field. It's a matter of 'pick your poison' and forge your own path, and then hope your efforts are appreciated my those for whom you paint.

Hey, I'm having fun, so sue me . . . I've been a bad, bad, artist. LOL!!

Fun New Painting

2007-12-23T19:57:00.002-06:00

Still busy, busy as always, but these days I have so many different medium to choose from, hardly know what to work with each day. Sometimes I have several paintings going in several mediums at once.

This is one of the newest. It is actually in Acrylic (the other Watercolor) on canvas, but painted in Watercolor stylings. Check this out:

"Wild Lilac" 18"x27" Acrylic on 3/4 deep Gallery Wrapped Canvas.

I love the wild, wind swept feeling of this Painting, especially within the Sunflowers.

Busy, Busy, Busy!

2007-12-08T20:25:00.000-06:00

Man, has it been that long since I've written a Blog? Better get with the program . . . wouldn't you say?
How about an update on some of the things that have kept me so busy . . . Have added Needlepoint to my offerings, both on my web site http://www.veradennenstudio.com/ , and as a contributing designer for http://www.needleartworks.com/ . Check out either or both and pass information along to any Needle Art people in your lives, women and men both. Being a Stitcher is no longer only for women . . .

And there is still my Ebay store, only with a new name. http://stores.ebay.com/Dennen-Original-Art_W0QQsspagenameZMEQ3aFQ3aSTQQtZkm under the ID of veraoriginals, and then there is veraoriginals2. Not a store, but some place I can sell small interesting paintings, as well as non-paintings, etc. that I've been wanting to sell. There's a bolt of Shrink Wrap placed there at the moment, and several books on art instruction.

CITY OF CLOUDS: Only 12"x24" but full of interesting texture and passages I have come to really love. This piece is a Christmas gift for a close friend.

New Wall Art Design

2007-03-18T12:30:00.002-05:00

In keeping with my direction of Abstract Oil Paintings, as well as following my heart, which has been calling me back to my roots, may I present a new round in Wall Art Designs:

"SAFARI" SOLD
24"X30" Gallery Wrap Canvas 3/4" w/ Edges Painted as well.

NOW OPEN . . .

2007-03-04T13:05:00.000-06:00

View my Other Auctions

Navigate to my Ebay store location by clicking links

Vera's Ebay Store

Wow, How Time Flies . . .

2007-03-03T10:48:00.000-06:00

Guess it's time I add another entry! I am so very sorry (again) but I do get so busy, and time does fly when you're having fun.

Have increased number of my Abstract Paintings since last being here. In fact, this is a great deal of what I've been having fun at . . . LOL! Also moved, which gave me increased studio space so I could tackle greater numbers of Abstracts to begin with. Six and up canvas panels are not easy to deal with in cramped studio space, believe me. So, for now am only going to show a few of my newest works (in Abstract of course), a couple of which have already sold.

Have also purchased a Wide Format Printer, because I now have the space. It is an Epson with Pigmented Ink. An artists dream . . . easy to use, almost fool proof in fact if one has any background in graphics at all, which of course I do have. Am getting geared up to produce Giclee Prints of my Oils too, not just Watercolor and Acrylic Paintings. Really exciting! This means I will be able to produce extremely high quality Limited Edition prints for less, passing that savings on to my collectors. So, here are a few Abstracts, two of which I dearly love.

This first one I had named "GLOBAL WARMING," then sat and wondered why the painting did not sell. Soon an artist friend was kind enough to tell me that the name was far too depressing . . . Name was changed to "CITY LIGHTS," and sure enough, the painting then sold straight away! I so much love this painting, but am sad to report that I let it get away without proper scanning for Giclee reproduction.

This original truly is one of a kind.

"City Lights"

Far Left is named: "SANTA FE" for the southwestern colors and stark feeling of foliage. This is another of my favorites.

Closest is named: "ASIAN FERN".

Both originals have sold.

I must also tell you that these paintings are selling on Ebay. And no, I do not feel Ebay to be a sell-out or come down for an artist, but rather the future of art as we know it. I have spent have earned money enough on travel to art shows, packing up paintings and shipping them to shows and sales, as well as spending entry fees after entry fee with not always a sale being won. The Internet (and Ebay for sure) offers an international viewership, with limited fees and no travel involved. I for one am more than willing to drop prices all across the board in exchange for more time to devote to my work. Because I live to paint (not live to sell) this works out nicely, as far as I am concerned, for myself and my collectors alike. Beside, by the time one sold only a few paintings a year for much increased prices, and then deducted all of the expense of selling, very little was actually left. Nor does Ebay demand 40% to 50% of my sales, as does a Galley. Plus I am having a great deal of fun!!!!

Talk to you sooner than same time next year . . .

Installment#9: MY SECOND ACRYLIC

2006-03-21T19:44:00.000-06:00

HOME AT LAST! 22"x 28" 2006

No, I am not planning to laboriously show each and every painting as it's produced. In fact you may correctly deduce that, since this post is dated in March, and the previous one had been in January, there may have been one or two, or three (okay, probably more like four) paintings developed and completed between. However, there are some areas pertaining to this watercolor-style-acrylic painting I would like to point out.

First of all, notice how nicely the flowers on pillows tuck neatly behind the cat bodies. No big deal right . . . Right. No, I really am serious; there is no trick to that part at all! But, the wonderfully transparent blue-grey glazing applied over the flowers is what I want you to see. Until experimenting for myself, I would never have believed such a sheer luminous passage (easy with transparent watercolor), could be accomplished with acrylic as well. Looking further over the painting, I hope you will notice many more places where this type of glazing and shading were used; usually in areas of shadow.

In this second image, besides getting a good look at my favorite cat friend, I hope you can see the grainy surface in the upper left hand corner. The paper grain has been enlarged here as well. The use of watercolor paper, in this case Arches Cold Press 140 lbs., is largely the reason for any ease of handling. When being used over a gesso, I have not found that same willingness to glaze and blend that acrylics have when used with paper.

I hope by showing these paintings some of you will want to give acrylics a try. They truly have several advantages over watercolor not readily apparent. One is the ability to freely use mask without disturbing any color below. For instance, I found mask very handy when moving from light colored pillow fabric into the much darker background, still keeping a clean line. Something I would not have done if using watercolor for fear of leaving a pale line where mask was removed. Yet, to the busy artist, this ease of movement can offer a significant advantage.

And acrylics do not have the correction limitations of traditional watercolors. In the previous post I mentioned the many tries needed to repaint one specific area of "PLEASE" before finding the right look. Well, there wasn't anything quite as drastic with this painting, but there were a few areas of fur in need of corrections on the black and white cat. We all know what removing black paint would have involved if working with watercolor. All of the carefully dampened areas and repeated brushing of the dark painted paper until the entire top layer comes up. . . Sounds brutal even to type!

Acrylic requires only a few brushes full of white gesso to hide the offending black paint. . . Let the fresh gesso dry, then finish your corrections where needed.

Installment#8: My First Acrylic

2006-01-16T17:16:00.000-06:00

PLEASE!

No, I have not fallen over a cliff, although almost! Was ill during time of my lapse in posting, and did spend some time in the hospital. However, am feeling fine and fit now, so . . . no more excuses!

While I have never been a fan of acrylics one thing turning my decision toward giving them a try was seeing wonderful luminous work pouring from an artist friend of mine on a regular basis. I was stunned! His were not flat and lifeless as I had always seen from Acrylic paintings. His even possessing depth and luminosity, possible only when the most transparent of pigments have been employed.

I began to get excited.

One of my early frustrations with acrylic once I made the decision to try was the difficulty in figuring out how to fade and to blend. In other words, I had been led to believe acrylics could be used much as watercolor. After some trial and error (and a fair amount of hair pulling) it all worked out as I had hoped. When I began to think of Acrylic as a heavier bodied watercolor it helped.

The truth is it took me several tries to get the portion of rug lit by sunlight looking natural, i.e. more faded in color where sun was hitting the fiber. Had to cover that area with gesso not once, but twice, and completely start over!! Each start-over took at least three coats of gesso to cover-up the color beneath. However. . . the nice thing about acrylics is that I could!

Although it is more obvious on one side than the other, and hard to see in a small image, there is definition between Dalmatian's head and the dark background. Hope this close-up helps somewhat.

Would you believe that except for the Titanium Buff used in the rug, which is obvious, all other shades were produced exclusively with mixes of Ultramarine Blue & Burnt Sienna, both of which are transparent. Four color palette: U.Blue, B.Sienna, T.Buff, & Ivory Black. A touch gesso was used for toning a small amount of black into grey, plus white of the paper. However, there are at least six to seven totally different shade mixes of U.Blue & B.Sienna.

This artist further discovered that, for me, it was the final medium glaze which actually made the colors so rich, giving the painting more depth than I could ever have hoped.

I am excited a-new!!!!

Installment#7: LEARNING OIL PAINTING

2005-08-15T10:40:00.000-05:00

This is a continuation page from postings on artcafe.com my favorite place for artist-to-artist chat,
(where you can read all of the questions and answers, as well as follow my progress of learning to paint in Oils)

Answering a Question from Jane Freeman:
Q: Do you have Jane Jones book?

A: Yes Ma'am I do, as does Doris, which is why she asked me to post these progressive steps as I go. Plus there is a wonderful story that goes along with the purchase of this book, if anyone would care to read it. Had just picked up any old book off of the bookrack to begin with that had Oil on the cover, in order to page through for what type of supplies I would need. Only wanted to begin trying Oils for myself. I just had not found any example of what I was hoping to do, so thought I would try figuring my way through. Anyway, as I read a paragraph or two, she was talking about luminous colors, transparent and opaque, building by layers and all of the things that I had always loved watercolor for! I could not put it down.

So I bought the book rather then any supplies and just went home where I read that book cover to cover, twice! By that time I was so excited and impressed with what I had just read, I emailed her to tell her that not since Arleta Pech had a book touched me so deeply. And you know what? She emailed me right back to ask if I had known that Arleta Pech, whom Jane Jones calls the Godmother of her book project, had not only talked her into writing the book to begin with but guided her all the way through!!! Can you believe that? I was bowled over!

Since then I have asked her a question of two, but her book is so complete that before she can answer me back I have dug out the answer for myself, and email to tell her that I had it! She says, "but I just got your first email! A really wonderfully nice ladydy, who I try not to bother too much because I know she is terribly busy.

Anyway, that is my story and I'm sticking to it!! As far as I am concerned it was the hand of the Lord that placed my hand on that book and caused me to begin reading . . .

Oop's! Just wrote another blog!

Vera

Installment#6: INFORMAL PORTRAITS

2005-06-08T11:51:00.000-05:00

image and text are both coypright protected

"A PLAYFUL CHRISTMAS" private collection(commissioned 21"x27")

I have bitten off into a very large subject here, but will try to narrow it down. There are several kinds of portrait commissions an artist can take on, the ones for the customer, which means that the artist will mostly allow the client to dictate how they (the customer) want their finished painting to appear, feel, and of what elements it will consist (their vision---not mine). Personally, I find this type of commission too taxing and truly applaud those artists who can pull it off time after time, while retaining a list of contented clientele.

Then there are the commissions earned strictly through photos. The client, usually living at a distance, mails or emails a photo they would like duplicated into a painting. These I turn down, and for very much the same reason as above (their vision---not my own); the exception being if the subject or subjects have since passed away where photos are all that remain. I have so far experienced this only once, and must say that found the whole process a true joy.

While my subjects, a beloved pair of cats, who both reside in separate boxes of ashes placed on a mantel, with but faded and worn photos remaining, their owner was very much alive and very willing to provide not only a series of photos, but any bits of information she could think of that would help breath life into her pets. As the painting was a Christmas surprise for her Mother, to which we were adding a tree, she dug around in the basement on the sly, finding precious ornaments from her own childhood: she worked as a master thief, smuggling the ornaments around and taking photos for my use in the painting.

This was a labor of love, an emotion she managed to pass on to me as I worked on a layout and planned my approach. From one photo I pulled the divan, a familiar blue blanket from another, and each cat subject from a couple of more. Then I added the tree, decorated as nearly as I could glean from my clients childhood, complete with very old, recognizable tree ornaments . . .

and familiar blue blanket.

We came up with a winner, and come Christmas morning her Mother was indeed thrilled to tears. But mostly, for myself anyway, this opportunity to create magic from someone else’s photos does not happen a lot. For me it is important to know something more of my subjects; their personal spirit, if you will, their own inner glow, or inner peace/unrest, whichever may apply. This need usually causes me to paint only from reference photos taken myself.

The third way is obviously a live sitting subject! Yeah right! Now mind you that I do not know of painting in this way first hand, but during my years as a graphic artist we had a photo studio as well where I worked . . . Have you ever tried taking a formal posed portrait of a pet or a child? Enough said?

Installment#5: THE WONDER OF BEING

2005-05-23T11:08:00.000-05:00

IMAGE AND TEXT ARE BOTH COPYRIGHT PROTECTED

"TUCO"--ENDANGERED SPECIES SERIES 22"x33" original Watercolor by Vera Dennen on display at EIGHTEENTH INTERNATIONAL EXHIBITION ON ANIMALS IN ART, Baton Rouge, LA, March 19 thru April 17, 2005.

I met a newfound friend last evening who was both thrilling and refreshingly calming at the same time. Not only was his ability to converse far above any standards I have found recently available face to face, but also with a depth and sheer variety of wisdom always difficult to find in any one person. During the course of the evening he mentioned his favorite quotation, which happened to be made by the late Abraham Heschel (1945 to 1972), Rabbi, Professor of Ethics and Mysticism, author (A Passion for Truth written during the last few months of his life, among many other books), peace Activists (marching with Dr. Martin Luther King), co-chairman of Clergy who spearheaded opposition to the Vietnam war, and voice of the times.
“Indifference to the wonder of being is the root of all sin.”

Oh that Heschel were alive today! I wonder what his reaction to the Terri Schiavo case would have been, or what he would have said to the fact that man is rapidly forcing half of our planets animal species into extinction. Heschel would not have sat quietly by just letting this happen.

True, Abraham Heschel had the ear of Presidents, Senators, and people of power, while we, the masses have only ourselves and maybe the ear of one or two friends willing to put up with our soap box. Well I for one have realized that Art has been my Calling for a reason, and that reason is as a small voice, hopefully loudly spoken about the “richness and beauty of something outside of ourselves.” In other words, “the wonder of being.”

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Installment#4:THE COLOR OF GRAY-Set 2

2005-05-13T19:21:00.000-05:00

IMAGE AND TEXT ARE BOTH COPYRIGHT PROTECTED

"WHITE TAILED DEER"--20"x28" original Watercolor Painting by Vera Dennen

So almost a week has flown away, and with it my determination to blog at least three times a week. Have to admit right here and now that it never will happen!!!

But I do want to continue my look into gray. An artist friend of mine, after recently reading Set 1 on gray, had this to say . . .
“...I find I use grey more and more as I understand it better and I too used to avoid it! Ha! Maybe now with grey hair and everything else happening, we have made friends with the color!” I think she may have a point. And what is really so strange is that gray is no big mystery at all: mix any variation or intensity of the three primary colors and you will have produced some shade of gray. What took it so long to sink in?

The nonstaining triad is one of my favorites. Aureolin, rose madder genuine, and cobalt blue can be combined in equal amounts of altering proportions of each. Grays made with these pigments will have a great transparent, luminous quality, perfect for glazes. You can create wonderful atmospheric effects in your paintings without creating a heavy background, or modify the intensity of an underlying color. Try adding a small amount of any fourth pigment with this transparent blend. For example, make your fourth addition a small amount of brighter pigment you plan to use in the painting--the mixture that would normally be discarded as muddy can now be used to accentuate that much brighter hue.

Predictably, the mixing of the staining triad will work in reverse; Winsor yellow, Winsor red, and Winsor blue can also be mixed to make gray (along with any other combination of staining primary’s). These neutrals dry lighter and with less intensity than they would appear to have as wet pigment, so be careful when first becoming acquainted. They are wonderful for use as middle values, but tend to take over completely if used as a glaze. You can mix your own version of Payne’s Gray, Sepia, etc. with the staining triad, so be aware and do not plan to use this gray in any way you would not use a deeper toned premix.

And finally, we come to opaque. Yellow, Indian Red, Cerulean Blue are some examples of the opaque triad that you might use, although there are certainly others. An opaque neutral, although being made-up of pigments I normally do not find beneficial, takes on a richness and consistency that is especially useful while a broad assortment of darks can be produced. I find myself mixing a batch of opaque gray for use in landscapes, animal fur, and places I will be adding short, quick brush stokes such as building rocks or rocky terrain. However, large areas of this triad can quickly be overdone, appearing muddy, or boring in scope.

So there you go! Neutrals can be a lifesaver if you become aware of individual properties and where they are weak. In the painting above, “White Tailed Deer”, I have extensively used several triad mixtures to my advantage: an opaque triad in the trees, with non-staining pigments on the ground as a glaze, and another neutral for highlighting fur. There may be a fourth combination mixed in there somewhere as well, I don’t quite remember, but I do remember having fun . . .

* Artist's, if you would like to receive a list of pigment properties for mixing a varity of triad's, please contact me through my web site. I will happy to sent one in return.

Installment#4:THE COLOR OF GRAY-Set 1

2005-05-07T12:42:00.000-05:00

TEXT IS COPYRIGHT PROTECTED

When in the very early stages of painting, certain revelations about color begin to gel in ones brain. Of course you hear painting terms being kicked around by your peers that at first have little meaning. For instance, it took me the longest time to realize what glaze meant, and how it would affect the over-all composition. While many terms are fairly straightforward, such as a wash, wet-into-wet, even hard and soft lines, others seem truly elusive, at least for me . . . another of these mysterious words was the term muddy.

At last I realized that wash and glaze were almost the same thing, except that a wash went down first as it “washed” across the paper, adding color. While a glaze went on second, over the wash, in order to “glaze” select areas only, changing top and bottom colors together into a third. Wow, what a concept, simple, easy to grasp, and all connected with adding an attractive and varied assortment of shades, tints, and hue!

The same can be said for hard and soft lines, fairly uncomplicated, easily recognized on paper, and enormously helpful when mastered. Much simpler than color!

As an example, did you know that there are blue-blacks, and red-blacks, just as there are blue-reds and orange-reds, and that’s just for starters! Confused the heck out of me! And to make matters worse, any combination of red, yellow, and blue (called a Triad) happening to meet on your paper will produce an off-shade of gray known as muddy. Since this is to be avoided at all costs, somehow it was much further down the road before the benefits of mixing useable shades of gray, or an assortment of neutral hues, came to light.

This was a real breakthrough in my development, and gray began to make sense.

Off Subject: BLACK MOOD!

2005-05-04T23:45:00.000-05:00

IMAGE AND TEXT ARE BOTH COPYRIGHT PROTECTED

"TWO'S A CROWD"--18"x22" Original Watercolor Painting by Vera Dennen

Oh my gosh, I feel as if I am being pushed and pulled by my Art, with all kinds of tuggings trying to force more directions than I want to go.

Gracious! In case you have not discovered this for yourselves just yet, other artists can be such ninny’s sometimes. Apparently there is only so much of the "pie" to go around . . . meaning of course sales. Kind of like the Porcelain Crabs in above imaged painting . . . each fighting for a small stretch of beach.

Oh well, this too shall pass. And it is almost a new day!!!

Installment#3:THE ROLE OF YOUR MUSE

2005-05-02T21:30:00.000-05:00

IMAGE AND TEXT ARE BOTH COPYRIGHT PROTECTED

"TOWN & COUNTRY"--lithograph w/ graphic border (original watercolor 14"x21"--SOLD)

According to Webster the definition for muse is: a source of inspiration, which is any of the nine sister Goddesses of learning and the arts in Greek Mythology. Webster seems very sure the number is indeed nine! Well, I have never read that particular Greek Myth, but I would swear there truly were only three. Heckle, Jackal, and Hide, not necessarily in that order.

Oh? I see, you thought your Muse would be the tender hand holding type, having a never ending supply of solutions designed to keep you encouraged, and your career moving forward. Yeah, right! No. No, but please don’t get me wrong! The fact that your Muse is much more likely to be a slave-driving wretch, who will make you bleed for every step forward you gain, is not entirely their fault. In fact, the fault does not belong to the Muse Sisterhood at all, but is rather embedded in the true nature of man (or woman, whichever applies). You see, owing to our own highly competitive nature, humans do not respond as well to kind the word of advice as one would suppose.

Think about it. Does a toddler refrain from climbing just because loving parents have repeated some seventy million times that their angel will fall and go boom? No, of course not! The toddler will continue to climb. And, until they have experienced a really good goose egg on their own terms, words will be totally wasted. Even then, just to make sure that the “boom” really had been as bad as they’d thought, the toddler will do it again.

Next Installment: CAN YOU EVEN SEE?

2005-04-30T16:40:00.000-05:00

IMAGE AND TEXT ARE BOTH COPYRIGHT PROTECTED

"EVIE AT EASTER"--lithograph print w/ graphic border (commissioned watercolor 24"x27")

Oh yeah, I know, everyone thinks of art as something one just throws together, while staying as far away from any “real” work as they can! Right. The truth is that in order to paint you first have to draw . . . and in order to draw you must learn to see. But that is all presupposed by the hope that you have any innate talent at all somewhere rolling around in your genes. And do you know the real kicker? “Art” picks you first . . .not the other way around! In other words, you don’t just “decide” one fine day that you’ll be an artist . . . then off you go to magically draw, paint, and/or sculpt!

It’s just not that simple.

First you must meet a Muse, or at least be introduced, and in some cases (mine, for instance), your Muse may even have to chase you down and beat you up pretty good before some of the thicker skulls among us begin getting the message. And that message is simple, all it really consists of is the total knowledge that Art has now picked you, Mr. or Ms. or even Mrs. so-and-so to become its latest victim . . . uh, I mean target . . . ohhhh, you know what I mean!!! From that point on the future is out of your hands, Art has gotten into your blood, now you must create it to live.

First Of More: ART

2005-04-29T12:12:00.000-05:00

IMAGE AND TEXT ARE BOTH COPYRIGHT PROTECTED

"BLUE TAKES A STROLL"--18"x24" Original, SOLD (Private Collection, Austin, Texas)

Art is hard. You can run away and join a circus easier than you can become an artist. At least with the circus you get to go somewhere, see other places and meet other people. With art you are pretty much stuck in one room. Unless you are a Plein Air artist, then you get out of the house.

And with the circus you get a paycheck. Okay, maybe not much of one to be sure, but something!!! Which is ninety-nine point nine % more than the average artist will see in their lifetime. Did you know that Van Gogh never sold one painting? Or was that Cézanne? No, it was Van Gogh, hence the whacking off of one ear. Or was that Lautrec? And let’s not even mention that back then an artist was pretty well forced to find a “sponsor” who would support himself and his work. Okay, we’ll at least “mention” it. Michelangelo, for instance, can you imagine having to find a wealthy family to pay your bills today so you could paint? . . . let alone footing the bill to haul several tons of marble cross country and into a studio just so you could build a high scaffold and carve out The David?