2012-10-10T03:09:00-04:00 lifetype-1.2.10_r6971 http://denisejhowardart.com/blog/rss.php?blogId=2001&profile=atom Copyright (c) tag:blogs.artspan.com,2012-10-10:37568 2012-10-10T03:09:00-04:00

I learned this week that my piece "Better Days Behind" has been awarded Highly Commended at the UKCPS International Exhibition, going on right now in Nuneaton, England.  My first award at an ...

Techniques and discoveries I learned this week that my piece "Better Days Behind" has been awarded Highly Commended at the UKCPS International Exhibition, going on right now in Nuneaton, England.  My first award at an international level! The thrill is especially sweet because 1. It depicts my Dad's old truck on the farm where I grew up, and 2. It was my first-ever attempt at using UArt sanded paper and oil-based colored pencils, with a completely different technique than I had ever used before. The technique involves applying a whole bunch of oil-based colored pencil onto the paper without regard for details, then gently working the pigment and powdery crumbs of pigment into the gritty surface with a stiff-bristled brush.  This also takes care of most of the blending.  Then you blow or vacuum away the excess and go back in with the pencils for the details.  The result is complete coverage with no speckles of paper showing through, and looks more like a painting than a drawing. I learned the technique in a workshop by Bonnie Auten.  I was way out of my comfort zone when trying it there, but I could see it had potential and I liked the idea of being able to cover the surface much faster.  When I got home with a new set of Lyra Polycolors (a brand of oil-based colored pencils) and several sheets of UArt 800 paper, I decided I'd better try it fast before I lost my nerve.  It's shocking how fast the paper (it's really a fine sandpaper) and the technique eats up pencils.  But I was pretty happy with the outcome! If I hadn't been willing to step outside my comfort zone and take that workshop, and then take the next step and try the new tools and techniques "for real", I wouldn't be receiving this recognition now! Sometimes you have to shake things up a little bit to get the results you want.  This is true not just in art but in exercise, software engineering, social networking, job-hunting, you name it.  As Nike says, "Just Do It." tag:blogs.artspan.com,2012-09-25:37278 2012-09-25T03:00:06-04:00

I'm occasionally asked why, since many art competitions offer prize money, I don't enter more of them.  The implication seems to be that it must be like playing the lottery, where the more ...

General I'm occasionally asked why, since many art competitions offer prize money, I don't enter more of them.  The implication seems to be that it must be like playing the lottery, where the more one enters, the greater one's chances of winning something.  So I'd like to answer by way of illustration with real personal examples from this year.  It's worth raising awareness about the realities of art competitions and sales, for the benefit of artists who are just starting to think about entering more in hopes of selling their work. First example:  I submitted six pieces in one nationwide competition sponsored by a well-known art magazine.  That cost $150, and not a single one of them was accepted. Second example:  I submitted two pieces for the CPSA International Exhibition.  The entry fee was $25.  I was fortunate that one was selected.  I had already paid $90 to frame it with museum glass, so I had to have it re-framed with plexiglass ($98) to meet the exhibition requirements.  I also had to buy an Airfloat shipping box ($80), and pay for shipping via UPS round-trip to the gallery ($55).  That all sums to $348.  I had priced the piece at $750.  I was fortunate again that it sold at the gallery.  The gallery took a 35% commission, so I actually received $487.50.  My net:  $139.50.  The piece took about 40 hours to complete, so that comes to $3.48 per hour for my studio time--that's not counting the cost of the materials or the time involved preparing the entry, going to the frame shop, preparing the shipment, and going to the UPS store, just for this one exhibit. You can start to see that the more shows a particular piece is entered in, the further in the hole it goes, especially since different venues have different framing requirements.  You have to accept that you might not make any money at all from a piece and will be doing good just to break even.  At least until your work commands thousands of dollars per piece. So if the financial aspect of exhibiting is really that bad, why do it?  Because I love creating the art and sharing my vision.  I'm fortunate to also have a full-time job that subsidizes my art.  For many, the old cliche of the starving artist is as relevant and real now as it was a hundred years ago.  Perhaps even more so, since the cost of everything…except original art…has skyrocketed. tag:blogs.artspan.com,2012-08-11:36320 2012-08-11T00:45:05-04:00

I just returned from the Colored Pencil Society of America national convention in Covington, KY (right across the river from Cincinnati, OH), July 31-August 4.  I thought I'd share some ...

General I just returned from the Colored Pencil Society of America national convention in Covington, KY (right across the river from Cincinnati, OH), July 31-August 4.  I thought I'd share some highlights.... It is so invigorating to be surrounded for a week by fellow colored pencil artists!  I got to hang out with Arlene Steinberg (author of Masterful Color ), Elizabeth Patterson (who had a solo show in Paris earlier this year), Jeff George (multi-year CPSA award winner, including the CIPPY), and many others whose work I admire greatly. I took a one-day workshop with John Ursillo and learned about using colored pencils on canvas.  The last time I used canvasboard for anything was about 30 years ago, so I was surprised to learn there are multiple grades of it now, including one with a very fine texture suitable for use with watercolors.  This is what he uses, along with any kind of colored pencils (wax- or oil-based) and watercolor pencils with and without solvents, along with liberal applications of workable fixative and final coating at the end to yield work that needs no matting or framing.  In fact he walked up to his own entry in the International Exhibition and raked his fingernails across it to demonstrate how durable the surface is!  That drew gasps, let me tell ya. Speaking of the International Exhibition, it is fabulous!  There are 121 total pieces in the show.  The venue is the Carnegie Center for the Visual and Performing Arts, and the gallery director has been thrilled with the response from the local community.  If I remember correctly, four of the 19 award winners were first-time entrants!  This is an important fact to note, for anyone who is afraid to enter their work in a show.  You just never know!  The gallery of 2012 award winners is viewable online here . I came home fired up to draw!  I'm already thinking about next year's convention and International Exhibition in Brea, California, and what I might enter to try to get accepted into it for a third time and thereby earn CPSA "signature status". Whatever your favorite medium, I encourage you to find out what organizations exist to support it and join.  There's nothing like meeting fellow artists who share your love of the medium and who teach, encourage and challenge each other, to rekindle your creative energies and make you a better artist. Me with Arlene Steinberg , author of Masterful Color Me with Elizabeth Patterson The reception gets underway Me and my International Exhibition piece Their Origin (above) with Deborah Friedman and her piece Beach Stones in Lapis Light tag:blogs.artspan.com,2012-07-31:36318 2012-07-31T23:44:57-04:00

I'm delighted that my Monarch #7 was chosen for the August 2012 issue of CP Magazine !  Not only that but my Chorus of the Tulips is included in the monthly "Gallery" section ...

General I'm delighted that my Monarch #7 was chosen for the August 2012 issue of CP Magazine !  Not only that but my Chorus of the Tulips is included in the monthly "Gallery" section inside.  Publisher Ann Kullberg contacted me a few weeks prior, so it was hard for me to stay quiet about it until the publication date while doing a "happy dance" on the inside.  I was a little concerned about the fact that the original drawing is only 5"x7" and it was going to be blown up to almost 8.5" x 11"--would the details hold up?  But you have to trust the publisher's judgement--after all that's what they do for a living.  And it turned out just great!  Click on the above image to go to the ordering site to preview the rest of the issue. tag:blogs.artspan.com,2012-02-10:31788 2012-02-10T22:23:34-05:00

On a Facebook group I belong to that's devoted to colored pencil artists (yes, there is such a thing), a member recently commented that although she'd like to get more exposure for her art, she ...

Techniques and discoveries On a Facebook group I belong to that's devoted to colored pencil artists (yes, there is such a thing), a member recently commented that although she'd like to get more exposure for her art, she doesn't like talking about it because it feels like "bragging".  Of course several of us assured her that it's not bragging, it's marketing!  If someone is asking you about your art, like what media you work with and why, or what the story is behind a piece they like, they are taking an interest, and you never know where it might lead. For example: Two weeks ago I finished "Angangueo Kitchen", and part of my completion ritual includes having my artwork scanned so I can upload it to my website and produce giclee prints and cards.  I had go to a different copy shop than usual because my customary one was already closed for the day.  The gentleman who did the scanning asked during the process "So who's the artist?"  I chuckled and admitted it was me.  The next thing I knew he was inquiring about whether I do commissions, how much I charge, do I have a website, etc.  It turned out he'd been trying to figure out what to give his wife for their anniversary this year and when he saw my drawing he got the idea to give her a piece of artwork done just for her.  Fortunately, I have business cards and always keep a few in my wallet.  I gave him one before I left. Now most of the time after I give someone one of my business cards, I hear nothing further.  And that's fine--cards are cheap.  But a few days later, my phone rang and it was the gentleman from the copy shop, ready to hire me after viewing my website.  I completed his portrait commission, and when I presented it to him he said "We'll be showing this to our families so you might get some business from them, too!" Granted, I don't have worldwide name recognition (yet!), but I can still point out how three things worked for me, here:  I was ready with answers to the most common questions about my work, I have a website that showcases my work, and I carry business cards to steer new acquaintances to my website.  You just never know where your next commission or sale might originate! tag:blogs.artspan.com,2012-01-31:31486 2012-01-31T20:12:41-05:00

I just learned that my work is included in a beautiful new book being published this spring, CP Treasures - Colored Pencil Masterworks from Around the Globe , edited by Ann Kullberg.  It's ...

General I just learned that my work is included in a beautiful new book being published this spring, CP Treasures - Colored Pencil Masterworks from Around the Globe , edited by Ann Kullberg.  It's a collection of colored pencil art along with tips, insights and more.  My "Monarch #5" is page 53.  I can't wait to get my hands on a copy of the book--there is some absollutely incredible art in it!  I'm so honored to be included among these terrific artists.  Here's the link to preview the book (and pre-order it if you care to):  CP Treasures   tag:blogs.artspan.com,2011-12-21:30768 2011-12-21T14:50:11-05:00

Recently, a client emailed me three photos and asked if it would be possible for me to composite them together in a drawing.  I'm sure glad I took that Photoshop class last year!  I've ...

Techniques and discoveries Recently, a client emailed me three photos and asked if it would be possible for me to composite them together in a drawing.  I'm sure glad I took that Photoshop class last year!  I've done composites before, but none as complex as this one.  I was able to digitally snip them apart, put them together, flip, scale and rearrange the pieces, mail the resulting mockup back to my client and ask "is this like what you have in mind?" before ever touching a pencil to paper.  We went through three iterations before it was just right.  The great thing about this was that it eliminated most of the worry on both our parts about how the final drawing would turn out and whether he would like it. I'd encourage every artist who does commissions to learn some basic Photoshp skills, because sooner or later you will be asked to do some kind of composite, and you don't want to spend a lot of hours working on it only to learn that your client's vision was different. The heads of the circled boy and girl The donkey with the kids' bodies The building The composite of the pieces The final drawing, "A Visit to the Old School" tag:blogs.artspan.com,2011-11-20:28961 2011-11-20T01:06:09-05:00

I can finally announce: one of my graphite portraits, "Elena Myers" is published in Amazing Pencil Portraits 3 ! The book is published by Platte Publishing and is available from Blurb.com and ...

General I can finally announce: one of my graphite portraits, "Elena Myers" is published in Amazing Pencil Portraits 3 ! The book is published by Platte Publishing and is available from Blurb.com and (soon) Amazon.com. If you've read my previous blog posts you know the story of this portrait, how upon completion I sought out Elena and presented it to her as a gift.  I guess it must've been "good karma".  When I first saw Amazing Pencil Portraits 2 I was blown away and told my husband I'd have to improve quite a bit to be on par with the work in it.  Now here I am in the third installment!  There are some incredible artists in it, "52 artists from 29 countries" according to the publisher, so I feel very honored to have been included. tag:blogs.artspan.com,2011-11-04:27701 2011-11-04T23:05:30-04:00

Less than two weeks ago as I write this, I up and decided to go to Florence, Italy for a week.  I'd never been, and of course it is a must-see for any artist.  On Monday, Oct. 24 I ...

General Less than two weeks ago as I write this, I up and decided to go to Florence, Italy for a week.  I'd never been, and of course it is a must-see for any artist.  On Monday, Oct. 24 I bought a plane ticket and made a hotel reservation, and on Thursday, Oct. 27 I went.  It doesn't take much lead time for me to prepare for a big trip but that was short even for me!  I got the 2011 Rick Steves Guide to Florence and Tuscany from our local library and pored over it in en route.  I spent four full days in Florence and one in Siena. The guide book suggested allowing two hours at the Uffizi Gallery, but it took twice that for me work my way through. It was wonderful to spend quality time with so much pre-Reniassance and Renaissance art that I'd only ever seen in books.  Books are a must, but what you can't ever get from them is the richness and depth of the colors, the delicacy of the details, the feeling of being there with the artist and understanding better why the piece was special in its day and still. There were three artworks that stood out for me during my trip.  The first was a marble Roman bust from a thousand years before the Renaissance, at the Uffizi.  Most Roman sculpture doesn't impress me much, because so many are copies of Greek originals.  This one was different; it was a portrait of an average-looking 40-something man, complete with whisker stubble and irises and reflections carved in the eyes.  I'd never seen it before; I so wanted to take a photo of it, but photography is not allowed in the Uffizi.  As I stood directly in front of it, my nose six inches from "his", I kept freaking myself out thinking he was going to blink or move or smile--it was that lifelike. The second artwork that stood out for me was Fra Angelico's "Annunciation" , painted on an interior wall of the Museum of San Marco, which was a monastery when he was there.  I've always liked the angel's wings, but what I never knew before was that they sparkle!  Fra Angelico actually mixed gold "glitter" into the paint he used on the angel's wings to heighten the sense of specialness of the angel and his message to Mary.  I could've stood before this big fresco for hours. The third artwork that stood out was one everyone knows:  Michelangelo's David , at the Accademia.  I really didn't expect much of it, because of its familiarity: "Yeah, okay, it's David."  But it surprised me and I ended up spending 45 minutes with it.  What you don't get from books is how the subtle blue veins in the marble add to his realism, and the ability to walk all the way around it, up close, appreciating its perfection from so many angles.  It's a composition in 3D, and Michelangelo missed no details at all in the forms of human bone, muscle and skin.  That he was only 26 when he made it, out of a block of marble that had been rejected by several other sculptors, only makes it more remarkable. If you've never studied art history, or did but only because you had to, you might think of the Renaissance as simply "the time when artists finally figured out how to paint and sculpt."  What really prompted it was the Florentines' growing objection to the political power of the Pope and Church.  This in turn caused their collective attention to turn away from purely bibilcal/liturgical subject matter and seek to understand and interpret the real world with real human figures.  The sciences were similarly affected.  There was  a lot of political friction as a result, and in fact Michelangelo was afraid for his life for awhile! I could write so much more about my trip, but I'll just leave off with the confirmation that yes, Florence really is all that!  Absolutely brimming with stunning art and architecture, worth several days of exploration. The Duomo and me Closeup of an illuminated manuscript.  The details seem infinite. tag:blogs.artspan.com,2011-10-13:26101 2011-10-13T01:33:07-04:00

Folks who have known me for at least a few years know that I raced motorcycles for 7 seasons in the AFM.  I started too late in life (age 38) to have hope of ever doing very well at it, but ...

General Folks who have known me for at least a few years know that I raced motorcycles for 7 seasons in the AFM.  I started too late in life (age 38) to have hope of ever doing very well at it, but I did finish 9th in my "class" a couple of times and learned an awful lot about motorcycles, racing, and "the nut between the handlebars" that keeps you from going as fast as you think you should be able to.  Anyone who's ever tried racing, not simply spectated, knows how incredibly hard it is, and respects and admires those who figure out how to go really fast and pass everyone. It may seem odd for a middle-aged woman to be somewhat in awe of a 17-year-old woman, but Elena Myers is no ordinary 17-year-old.  She is one of those people who can go really fast and pass everyone.  She was the first woman ever to win an AMA Pro Supersport race, in 2010 at age 16.  At the rate she's improving, she may be racing in the World Superbike or MotoGP series in just a few more years, and she would be the first woman ever to do so.  In a word: amazing. So what would you expect a young woman like this to be like, off the track?  On the handful of occasions that I've met her, at a track day, a race event or a motorcycle show, she has always been professional, soft-spoken, articulate and gracious, with composure and confidence well beyond her years.  (What were you like at 17?)  She's very petite, and California beautiful. I decided I'd like to do a portrait of her, and give it to her and her family as a token of admiration.  Not a racing shot--those are available by the hundreds, all copyrighted and not very interesting from a human perspective.  I wanted to show her personality, to show her just being Elena.  I asked race photographer and friend Gary Rather if he could snap a few photos of her in the paddock for me at the next AMA event.  He was happy to help, and came back with exactly the kind of shot I'd described. Last week I drew her portrait.  When I was finished I posted it to Facebook, and right away my racing friends started commenting.  They knew who it was!  For most, this was the first time they could see the quality of likeness I can achieve; after all, my other portraits have been of people they don't know, so they couldn't tell whether one looked right or not. Amid the flurry of comments, I learned that one of my friends knows the Myers family.  He put me in direct contact with Elena, and earlier this week I met her with her mother and sister and presented her with the portrait.  We had a nice visit over lunch, and as we parted they were off to a frame shop to have it framed.  Elena not only thanked me several times for the portrait, she linked to it on my website from her own Facebook fan page.  Of course I was thrilled to get the extra visits to my website! I'm hoping that Elena and her family enjoy the portrait for decades, long after she's stopped racing in the distant future.  I'm glad I was able to use my talent to give something to one of my heroes, to make a personal connection, to make a difference in her life.   Click here to go to Elena's website