October 2017 Ornament Issue 10 Painting World Magazine

Decorative Painting, Mixed Media, Fine Art & More!

October 2017

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October 2017 Issue

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October 2017 Issue

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Contents Painting World Magazine

10 Jingle All the Way by Featured Cover Artist: Sherry C. Nelson, MDA

23

Bell Snowman by Debbie Cole, CDA

October 2017 Issue

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Star Angels by Barbara Nielsen, CDA

38

Magnolia & Poinsettia

by Marlene Fudge

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Painting World Magazine

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Christmas Blessings

by Chris Haughey

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Merry Beach-mas! by Tracy Moreau

58

Night Before Christmas

by Phyllis Spaw

70

Circle of Friends

by Sonja Richardson

76

Snow Buddies

by Karen Wisner-Dyar

86

Snow Ladies

by Deb Antonick

MORE GREAT ARTICLES! Corner: 19 Innovative Creating With Clay

Not Just For 77 Ornaments: Christmas Anymore

by Debbie Cole, CDA & Reviews! The Hottest 33 News New Products On the Market

by Thelma Hamilton Wood 86 Inspirational Ornaments

by Kathi Hanson Word From Our Sponsors: 50 AAnniversaries & New Books!

by Tracy Weinzapfel of Artists, 93 Directory Advertisers & Suppliers

by Laura Rucker Download all line drawings ready to print here: http://bit.ly/2xyvuXl

October 2017 Issue

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Jingle All The Way

by Sherry C. Nelson, MDA, TDA

Painting World Magazine

The days of horse-drawn sleighs are a charming bit of our history. Recreate a vintage holiday feeling in your home with this delightful ornament featuring a miniature horse named Bogey – with braided mane and jingle bells to bring back the heartwarming sights and sounds of Christmas past.

This is one of twelve designs in my Wildlife at Christmas Ornament Collection. I created the cutouts especially for use on large wreaths, for a unique display on a door or wall during the holiday season.

seminars in 46 states, Bolivia, Canada, Argentina, Taiwan, Japan, and Australia. She also teaches field seminars. Sherry lives, paints, and teaches on 37 acres of spectacular wilderness in the Chiricahua Mountains of southeastern Arizona.

Sherry has been an active member of the Society of Decorative Painters since its founding in 1972, and is a pastpresident of the organization.

SDP has awarded her with the Master Decorative Artist certification and the Silver Palette Award. Sherry has created 26 instruction books and hundreds of packets featuring the more than 500 bird, butterfly, and animal species she has painted.

Surface: • Hand Cut Birch Ornament, ~51/4” x 6-1/2”, from The Magic Brush, Inc., (Optional: 10” x 8” hardboard panel for framing)

Winsor & Newton™ Artists’ Oils: (Palette colors are listed in order of placement on palette. See photo.)

About Sherry Sherry’s life outside painting revolves, as much as possible, around traveling the world to see and photograph exciting wildlife and flowers. Extensive fieldwork gives her subjects correct “form and feeling.” Creating realistic birds in their natural habitats holds a special appeal for Sherry.

She’s been painting and teaching her wildlife art for more than 47 years. Sherry has taught

• Ivory Black 331 • Titanium White 644 • Raw Sienna 552 • Raw Umber 554 • Sap Green 599 • Cadmium Yellow Pale 118 • Winsor Red 726

Delta Ceramcoat® Acrylics: (for background prep)

• Eucalyptus 02569

Sherry C. Nelson® Brushes: • #0, #2, #4, #6, & #8 Pure Red Sable Brights, Series 303 • #0 Red Sable Mix Round (liner), Series 312

Supplies for Background Prep & Trim: • Quick Dry Wood Sealer • Sponge Roller (to apply background acrylic color) • #220 Wet/Dry Sandpaper (for sanding between coats of acrylic) • Krylon® Matte Finish #1311 (to spray the prepared background before applying the design) • Krylon Spray Varnish #7002 (for the final finish on the entire piece) • Silicone Glue or Goop®

Miscellaneous Supplies for Painting: • Tracing Paper • Dark, Oil-Soluble Artist’s Graphite Paper • Fine-Point Ballpoint Pen • Odorless Thinner • Cobalt Siccative (optional) • Palette Pad for Oils • Palette Knife • Viva® Paper Towels • Old Toothbrush • Red Ribbon My work always begins with photography, since creatures such as this little miniature horse are complexly patterned and impossible to remember in perfect detail without a good reference. So a good camera and hours spent learning about the creature marked the beginning of this design, as it does for so many others.

When painting animals, it’s our job to create realistic, hair-like texture and pattern – not a simple challenge. For suggestions, see

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remain workable on the palette for at least eight hours, you are simply using too much.

Helpful Hints: I always paint in oils because they are such a forgiving medium and allow me to help my students, even entrylevel folks, to achieve a finished work in which they can take great pride.

Important to the finished piece here is that I used very sparse amounts of excellent artists’ oil colors to achieve the level of detail required for the hairlike texture and the other elements to turn out as realistically as possible.

the sidebar, Painting Animal Hair & Fur, which I wrote in the August 2017 Autumn Issue for my project “Baby Lop” to give you some encouragement and tips for making it easier.

Tips for Wet-on-Wet Acrylic Backgrounds: Remove the lids of new bottles of acrylic, and fill them to the bottom of the neck with water.

Replace the lids, and shake well.

This will reconstitute paint to the original consistency. Add enough water to bring partially used bottles to the same consistency.

Using a Drier: You may add Cobalt Siccative, a drying agent, in fractions of a drop to each patty of oil paint on your palette to speed drying time. I use it EVERY time I paint. If a color does not October 2017 Issue

Dip the palette knife into the drier, bleed off the excess against the side of the bottle, and then touch the knife tip NEXT to each patty of paint. If too much comes off the knife, do not mix the entire amount into the paint.

Mix each tiny “freckle” into the paint patty using a clean palette knife. Drying time is six hours to overnight, depending on the particular pigment and relative humidity.

Brush Loading & Blending Basics: You should load color onto the brights from a loading zone, a strip of sparse paint pulled from a patty of paint down on the palette. Make mixtures by moving from one loading zone to another, working back and forth to achieve a mix of two or more colors. Wipe the brush on a paper towel after applying paint to the surface but before beginning to blend.

as a guide along with the written instructions.

Read the written instructions carefully, and then work in the given sequence, referring to the multiple step sequence shown in the photos to determine actual color placement, amount of blending to do, and so forth.

I wrote the instructions in the sequence in which I painted the piece; work in that order, and finish each element before going on to another.

The initial step for each element shows how the basecoat areas should appear, while later steps normally indicate the first blends, as well as the application of additional darks and lights.

The final steps usually include the finished painting, as well as steps leading up to it.

Figure 1 – Palette: I’ve listed the colors in order and laid them out with the most frequently-used hues in the bottom row and those less-used in the top row.

Blend colors WHERE THEY MEET using a dry brush and short strokes. Don’t blend randomly over the entire area; just blend ON THE LINE where colors come together, creating a new value and hue with the process of blending. To blend overall will cause loss of values & clarity.

Bottom row, starting from the left: Ivory Black, Titanium White, Raw Sienna, and Raw Umber. Top row, starting from the left: Sap Green, Cadmium Yellow Pale, and Winsor Red.

Understanding the Painting Process:

The ornament is cut from a thin birch plywood. Seal both sides of the ornament prior to painting it using a quick dry wood sealer. Allow the ornament

The painted step-by-step photos are for you to use

Figure 2 – Background: Preparation:

© 2017 Painting World Magazine Digital Edition. All rights reserved. Not for distribution, resale or reproduction. You agree to follow all international copyright laws as well as the terms and conditions outlined at paintingworldmag. com. You may NOT reprint or make copies, even for non profit uses. Any violation of these terms will result in a nonrefundable cancellation of your subscription and possible prosecution with fines up to $150,000 USD. http:// www.copyright.gov/title17/ Please contact info@paintingworldmag.com if you have received this PDF illegally.

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Figure 1

to dry, and sand both of the sides and the edges smooth.

Using a sponge roller, base the ornament with Ceramcoat Eucalyptus on the front, back, and edges. Let it dry.

Sand again with #220 wet/dry sandpaper. Recoat the ornament, let it dry, and sand it again.

Spray the ornament with Krylon Matte Finish 1311 to seal it before applying the design.

Transferring the Design: Next, you’ll transfer the inked design to the painting surface.

Use artist’s graphite for oils, not the papers created for acrylics that are water-soluble.

Lay dark gray graphite paper over the prepared painting surface. Place the inked design on top of the graphite paper.

Lay a piece of tracing paper on top of the design to protect the original during transfer. Tape the stack into position. (Note the use of the all-important tracing

paper overlay so that you can tell how precisely you are duplicating the pattern and what parts you still haven’t done.)

Transfer the design completely and carefully with a finepoint ballpoint pen. Retain the details of the hair and eyes and the exact shapes of the bells and ribbons, and transfer all the little hair zigzags. Make the transfer as accurate as possible.

Figure 2

Figure 3

Check during the process to make sure the design is coming off onto the surface clearly. If it’s too faint, change to a newer piece of graphite paper.

When you’re finished, remove all layers of materials from the surface. Put the dark graphite paper away, tuck the original pattern out of the way, and keep the tracing paper overlay sheet handy for steps shown below.

Remember – a perfect transfer goes a long way toward a perfect finished painting.

Painting Instructions: Brush Sizes: Use the smaller brush sizes, #0, #2, and #4, for most of the design’s elements. But within that range, choose the largest

size that is comfortable to achieve the detail necessary.

In addition, I always keep my #8 bright handy. While I don’t often paint with that size, I use it dampened with odorless thinner for cleanup; I find the larger bristle base gives better pressure for removing any messy paint or graphite lines around the edges of the design.

Once the instructions list a brush, stay with that size until I say to change to a different size.

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Figure 4

Figure 5

Figure 6

Figure 7

Figure 8

Figure 9

Figure 3 – Around the Eyes, Nostrils, & Muzzle: Base with Raw Umber + a tad of Titanium White using the #0 bright for around the eyes and nostrils and the #2 bright on the other areas shown.

Note the variations of value, and adjust the amount of Titanium White in the mix to achieve the warm gray values close to those shown.

October 2017 Issue

Figure 4: Shade with Ivory Black + Raw Umber to slightly deepen the darker values around the eyes.

Highlight where indicated with your dirty brush + Titanium White. Base the eyes with Ivory Black using a clean #0 bright.

Base the dark areas on the muzzle with Ivory Black + Raw Umber. Base the dark area on the lower neck with Raw Umber.

Base the medium value on the neck with Raw Umber + a bit of Titanium White.

Figure 5: Base the remaining area of the lower neck with Raw Sienna + Raw Umber using the # 4 bright, and then blend where the values meet, with growth direction as shown.

Š 2017 Painting World Magazine Digital Edition. All rights reserved. Not for distribution, resale or reproduction. You agree to follow all international copyright laws as well as the terms and conditions outlined at paintingworldmag. com. You may NOT reprint or make copies, even for non profit uses. Any violation of these terms will result in a nonrefundable cancellation of your subscription and possible prosecution with fines up to $150,000 USD. http:// www.copyright.gov/title17/ Please contact info@paintingworldmag.com if you have received this PDF illegally.

Painting World Magazine

Using a #2 bright, blend the edges of the nostrils into the muzzle where dark and medium values meet, following the natural growth direction of the skin and the hair texture.

Figure 7:

Base the lightest values above the nostrils and on the chin with Titanium White + Raw Umber.

Figure 8:

Figure 10:

Blend where the values meet, using the chisel edge to leave hair-like strokes in the wet paint.

Soften any of the highlighted areas on the head and ears that appear too strong by blending over them just a bit. Base the rest of the dark areas of the mane using Raw Umber.

Figure 6: Blend the edges of the lightest values on the muzzle to connect them to the darker values.

Leave a little texture showing, and work the brush with the natural growth direction.

Highlight with a bit of Titanium White, and re-blend.

Highlight the chest with your dirty brush + Titanium White.

Add the dark values in the ears with Raw Umber.

Add the dark values on the head and in the shadows of the mane and forelock (as shown) using Raw Umber + Raw Sienna (3:1).

Figure 10

Base the remainder of the ears with Raw Sienna + Titanium White. Base the rest of the face and head with Raw Sienna.

Blend the light values on the edges of the ears to connect to the dark interiors, using short strokes of a #2 bright to indicate growth direction. Shade inside the ears in the darkest areas with a bit of Ivory Black.

Figure 9: Highlight the edges of the ears with Raw Sienna + Titanium White using a #2, laying the paint on perpendicular to the edge of the ear. Blend with short strokes to soften it a bit.

Add the eyelashes with Raw Sienna + Titanium White thinned with odorless thinner using a #0 round brush. Highlight the facial Figure 11

areas that need lights using short chisel strokes of a #2 or #4 bright; use the chisel edge to indicate hair and growth direction. Add chin hairs with very thin Titanium White using the #0 round.

Figure 11: Roughly base in the rest of the mane with Titanium White + Cadmium Yellow Pale + Raw Sienna (3:1:1), and blend just a bit where the dark and light values meet. Do not over blend.

Figure 12: When you’ve based and blended all of the mane as above, thin a puddle of Titanium White, and overlay long strokes with the #0 round to give the fine, hair-like texture typical of the mane.

Figure 12

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Figure 13

Figure 14

Figure 15

Figure 16

Figure 13 – Braids:

Figure 14:

Base the light value hairs within the braids using Titanium White + Cadmium Yellow Pale + Raw Sienna (3:1:1).

Shade the ribbons with Raw Umber. Highlight with a few streaks of Titanium White for shine, but do not blend.

Base the red ribbons with Winsor Red + a tad of Raw Umber.

Base the bells with Raw Sienna + Cadmium Yellow Pale + Titanium White, as shown on

October 2017 Issue

the left bell. Base the pine cluster with Ivory Black + Sap Green.

Figure 15: Shade the bells with Ivory Black + Sap Green to indicate reflection from the surrounding greenery. Add a bit of Raw Sienna for an accent color at

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the top of the bells. Highlight with Titanium White.

Base the cut out shapes within the bell with Raw Umber + Ivory Black. Add the rings at the tops with slightly thinned Raw Umber + Titanium White using a round brush.

Lift out pine needle shapes into the wet basecoat of paint using a dampened #4 bright. Wipe the brush, touch it into thinner, blot it on a paper towel, and then lift out a few needles.

Repeat until all are finished.

Figure 17

Figure 16 – Snowflakes: Thin Titanium White with odorless thinner until it’s ink-like in consistency. Tip the front bristles of an old toothbrush into the paint.

Then, using your palette knife, scrape gently across the brush, spattering a fine pattern of “snowflakes” across the surface.

Remove any dots that are too big, or any that get in the horse’s eyes, using odorless thinner on the #8 bright.

Figure 17: When the piece is dry, use satin Krylon Spray Varnish #7002 as a final finish.

Tie a length of red ribbon into a small, flat bow, and attach it with a bit of silicone glue or “Goop” to the hanger area of the bells.

Merry Christmas! May you celebrate the season with a sleigh ride through the snow… Sherry © 2017 Painting World Magazine Digital Edition. All rights reserved. Not for distribution, resale or reproduction. You agree to follow all international copyright laws as well as the terms and conditions outlined at paintingworldmag. com. You may NOT reprint or make copies, even for non profit uses. Any violation of these terms will result in a nonrefundable cancellation of your subscription and possible prosecution with fines up to $150,000 USD. http:// www.copyright.gov/title17/ Please contact info@paintingworldmag.com if you have received this PDF illegally.

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Painting World Magazine

October 2017 Issue

Download all line drawings ready to print here: http://bit.ly/2xyvuXl

Painting World Magazine

Innovative Corner

with Debbie Cole, CDA

Creating With Clay Working with clay is one of my favorite ways to add interest and dimension to painted projects. It can be sculpted alone or added to other substrates, such as wood, porcelain, ceramic, or glass to create unique one of a kind projects.

Polymer clay, paper clay, and two part epoxy clay are the three different types of clay that are popular to use for sculpting. All three are soft clays and are known for their versatility, pliability, and ease to work with when sculpting.

Polymer clay is sold under several brand names, such as SCULPEY®, FIMO®, and PREMO®!

It is not a natural clay and is made from a plastic polyvinyl chloride base. The clay is safe to work with but is not food safe. Therefore, it should only be used for decorative projects.

What is wonderful about this clay is it will stay soft until it is baked in an oven.

The benefit is that it gives an artist a long working time for creating a project.

Also, it comes in a large palette of colors, which could save time during the painting process. It is better to use a toaster oven that is dedicated for baking the polymer clay, because the fumes within the plastic are released during the baking process.

These are not safe for consumption and should never be released in an oven that is being used for food preparation.

Before working with polymer clay, it needs to be conditioned. This simply means you need to make the clay very soft, pliable, and easy to work with. Unconditioned clay may break easily.

To condition the clay, place it in a plastic bag and then put it someplace warm for a few minutes. A great place to warm it is in your pocket or some warm water.

Once it is warm, begin to knead it. This will make it soft and pliable unless it is fairly old. Older clay will need to be put through a pasta machine on the largest setting. It will be conditioned properly when it does not crack or crumble.

There are products that can be added to the old clay to help bring it back to life, but I find it easier to simply buy fresh clay rather than investing in the conditioner.

Paper clay is an air-hardening clay that is clean, lightweight, and easy to use.

It is odorless and made from non-toxic materials. This clay can be sculpted and molded in the same manner as polymer clay while it is moist and pliable. However, it does not need to be conditioned.

Simply knead it with your hands and the clay is ready to be used. If it seems a little dried out, simply add a few drops of distilled water to the clay before kneading it.

All of the tools that are available for polymer clay can be used with Creative Paperclay®. Do keep in mind that since it air dries, it is important to remove all excess clay from the tools before it hardens.

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The benefit of paper clay is that it is lightweight making it perfect for creating ornaments for your tree. Also, it does not need to be baked, so a dedicated oven will not be needed.

It does take a long time to dry, so do not use this clay unless you have days to allow it to dry. The instructions state that it can be oven cured, but the clay tends to crack easily when baked.

Also, when storing the unused clay, it is important to add a few drops of distilled water in a plastic bag to keep it from drying out.

QuikwoodÂŽ is an epoxy putty that comes in a plastic roll and stays soft until the two parts are mixed together.

This putty is toxic and should be used with gloves, a mask, and protective eye gear. It was originally created to repair October 2017 Issue

wood furniture and, therefore, bonds to wood easily. It also bonds to metal, glass, masonry and many plastics.

It comes in a tube with both the putty and the curing agent making it a two part resin clay.

The Quikwood sets up within 15 minutes so one has to work fast with this putty. Remember it is very strong and almost never cracks. Also, it is fairly lightweight making it perfect for ornaments.

This should not be used to make jewelry that would lay against the skin, because the toxins can be absorbed. It should only be used for decorative projects as it is not food safe. While it can be sculpted and molded in the same manner as polymer clay and because of its fast drying time, it is not wise to use this with an extruder as it bonds to metal and could ruin the tool. Only use tools that can be wiped quickly after use.

When working with polymer or paper clay, it is helpful to work on a glass plate, ceramic tile or piece of cardstock. This allows you to work on the sculpture and then easily place it in an oven to bake or to the side to air cure.

All three clays can be pressed into molds to make ornaments, jewelry, or other gifts.

There are numerous types of molds, but I find that the flexible push molds are the best for removing the clay.

Use a paintbrush to very thinly spread cornstarch or baby powder into the mold. Roll the conditioned clay into a ball that is a size that will fit into the mold without overflowing it. Press the clay into the mold firmly, and then gently remove by bending the push mold.

Follow the instructions on the clay for curing the molded form.

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To keep fingerprints under control, you might want to wear tight fitting disposable latex gloves while working with polymer clay.

Before completing the project, look for fingerprints and smooth them out of the polymer clay or Quikwood.

A tip to use with Quikwood is to spread DecoArt® Extender and Blending Medium over the putty to smooth it out.

With the paper clay one can use a wet filbert brush to smooth the sculpture before allowing it to air cure.

If there are fingerprints in the sculpture after it hardens, simply use a fine grit sand paper to smooth out the surface before painting.

While there are many tools in the kitchen that can be used to create clay

sculptures, such as a rolling pins, pasta machine, cookie cutters, garlic press, and knives, always dedicate these tools to just clay use once that have touched the clay.

There are some wonderful manufactured tools specifically created for use with clay.

A must have for polymer clay is an inexpensive machine that works similar to a pasta machine. This can be used to create very thin sheets of clay or for conditioning polymer clay.

Sculpting tools are much sharper than household items and help create shapes within the clay, textures, and cut the

clay to form shapes. Be sure to buy the sculpting tools that are made from wood and metal. The plastic tools do not work well and break easily.

An acrylic roller is wonderful for rolling out the clay, which is helpful because the clay does not stick to it.

One-sided clay blades are an essential tool because it cuts the clay so easily, are safer to use than a razor blade, and are longer than an X-ACTO® knife.

They may come with a protective plastic shield, which goes over the sharp side when not in use.

If you want to make easy ornaments, there are many shape cutters on the market which can cut out basic shapes or very intricate shapes depending on the cutter.

Specialty Sculpting Tools are much sharper than household items...

Since these are made for cutting clay, the cutting edge is much sharper than a cookie cutter, and the top is dull so that you will not get cut.

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The rubber stamps work well with all three types of clay, but when using Quikwood, it is best to dust the rubber stamp with cornstarch in the same manner as using a mold.

Walnut Hollow® makes a variety of unique tools for clay.

The extruder has a variety of tips. It works by placing the clay inside the extruder and then it is pushed through creating unique shapes as they are pushed through the specialty tips.

One of the tips has small little circles in it. As the clay comes out, it looks like hairs, thus it can be used for Santa beards, animal fur, hair, or to create a furry texture. There are other tips that can be used to create vines or stems, lattice, ribbon, and bows.

Found objects can also be impressed into the clay to make patterns or add interest. Keys, buttons, and coins are some good examples of found items that work well for impressing.

In the photo below, I simply rolled out the clay, impressed it multiple times with a snowflake stamp, and then used a circle cutter to form the ornament.

Once it was cured, I simply washed over it with thinned acrylic paint so the darker paint would settle in the impressed areas. I sealed it with varnish and then attached a ribbon. Quick and easy!

If making jewelry or ornaments, be sure to add the eye hooks or other hardware into the clay or add any necessary holes before curing it.

Once the items are cured they are ready to be painted. All three clays work well with acrylic paints. Always seal the finished pieces with a non-yellowing varnish of your choice. This will protect the paint and give it the sheen of your choice.

Thanks for joining me for this Innovative Corner, and I hope you will join me in the December issue for Painting On Glass!

The other tools that you can see in the photo are embossing letters. These allow you to place each individual letter onto a holder to form words. They can be impressed into the clay.

This is how the word “JOY” was impressed into the star on the Bell Snowman project.

Another fast and fun way to create ornaments or other gifts is to use rubber stamps to impress images into the clay.

October 2017 Issue

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Bell Snowman

by Debbie Cole, CDA

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Painting World Magazine

We all have so many painted ornaments, I thought it would be different to sculpt some details onto an ornament using clay, which is the theme of my Innovative Corner article.

You can create this fun ornament using the bell ornament as the base or using any glass ornament that you have in your stash. Get creative: make place card holders just using clay or create the snowman on an upsidedown wine glass to make a candle holder.

While Debbie loves traditional decorative painting, she also loves stamping, mixed media, and jewelry design.

Silver Brush Ltd® Brushes:

No matter what her medium, Debbie’s main source of inspiration comes from her faith in God. She knows that her creative talent is a gift and feels blessed to be able to share it with others.

• #12 Monza Short Filbert, 2632S

Her mission is to be able to reflect her joy onto others through her artwork.

Surface: • Large Wooden Jingle Bell #2128 from Bear With Us

DecoArt Americana® Acrylic Paints: • Coral Blush DA292 • Grey Sky DA111 • Indian Turquoise DAO87 • Lamp (Ebony) Black DAO67 • Moon Yellow DAO7 • Snow (Titanium) White DAO1 • Whispering Turquoise DA305 • Wild Orchid DA233

Miscellaneous DecoArt® Supplies: About Debbie Debbie Cole, CDA is an award-winning artist that is widely recognized as one of the leading contemporary decorative painters of the 21st century. Author of numerous books and pattern packets, Debbie has been a soughtafter instructor who has taught throughout the United States, Japan, Argentina, and Canada.

October 2017 Issue

• DecoArt® Extreme Sheen® – Pearl DPM01 • DecoArt® Glamour Dust™ Glitter Paint – Ice Crystal DGD09 • DecoArt® Glamour Dust™ Glitter Paint – Lemon Drop DGD15 • DecoArt® DuraClear® Satin Varnish DS21 • DecoArt® MultiPurpose™ Sealer DS17

• #2 Monza® Round from the Debbie Cole Creative Blending Set DC-2624S • 1/2” and 3/4” Golden Natural™ Square Wash 2008S • #6 Golden Natural Bright (shader) 2002S • #3 Golden Natural Round 2000S • #00 Script Liner 2007S

Clay Tools: • Walnut Hollow® Clay Embossing Stamps (from Clay Embossing Set 29414 or Clay Text Embossing Set – Calligraphy 29821) • One-Sided Blade • Stylus or Clay Tool (for pulling fur) • Acrylic Roller or Rolling Pin • Small Star Shape Cutter • Miscellaneous Supplies: • Large Package of Paper Clay • Craft Mat • Ribbon • Container (to hold the bell while working) • Cheesecloth

Helpful Hints: Use a large, wet filbert brush to apply and smooth one piece of paper clay onto another.

The rounded edges of the brush hairs smooth out the clay without creating ridges.

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Painting World Magazine Figure 1

Preparation: Remove the eye hook in the top of the bell and set it to the side to use once you have formed the snowman. Seal the bell with Multi-Purpose Sealer and allow it to dry.

Lightly sand off the wood grain when it is dry. Kneed half of the clay in your hands for about five minutes to make it pliable.

Instructions: Forming the Snowman: Begin forming a ball approximately 1-1/2” in diameter to form the head.

Use a finger to make a small indent in the bottom, slightly dampen the top of the bell, and place the clay onto the top.

Figure 2

Push the one end together forming more of a cone shape.

Enhance the cone shape further by pulling the other end out wider than the circumference of the snowman’s head. (Figure 2) Once the overall hat shape is complete, use your thumb to push in the underside of the wide end. It should look like a bowl that will easily fit over the snowman’s head.

Roll a small ball about 1/2” in circumference, dampen it, and place it on the top of the hat.

Dampen the underside of the hat and place it firmly onto the snowman’s head.

Push the bottom of the head securely onto the bell.

Use a wet filbert brush to smooth out any indentations in the head. (Figure 1)

Create a small band to go around the hat in a similar manner as the scarf only smaller. Place the band around the bottom of the hat.

Use one of the pointed clay tools to pull on the band to create fur texture. (Figure 3)

To form the hat, create a cylinder approximately 2” x 3”.

In a similar manner as for the hat, create a smaller cone shape

Figure 3

to make the carrot nose. It should be approximately 1” long and 1/4” in diameter. Apply it to the face referring to the close-up photo for placement. (next page) Using your hand, roll a long cylinder with the clay approximately 10” long. Roll over the top of it to flatten it using the acrylic roller. It should be approximately 1/8” thick.

Use the blade to cut it 1/2” wide by approximately 10” long.

Place the center of the clay strip to the back of the snowman’s head and press firmly so that it curves with the head.

Wrap one side around the snowman, pressing firmly against the head and bell and then wrap the other side.

Trim the length with the blade if it is too long. Using one of the pointed clay tools, pull along the ends to make it look like it has fringe.

To create the star, roll out some of the clay with the acrylic roller

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Use a clay tool to create texture in the cylinders in the same manner as you did for the hatband.

Figure 4

to approximately 1/8” thick.

Place the letters “JOY” onto the holder and sprinkle them lightly with some type of powder, like cornstarch. Press them into the clay to impress it. (Figure 4)

To make the feet, form an egg shaped ball approximately 1-1/4” long by 3/4” in circumference. Use a blade to slice it in half with the flat parts being the bottom of the feet.

Select the star cutter that is large enough to cover the word and center it over the clay.

Make a small cylinder approximately 3/4” wide by 1/2” long and slice it in half to create two small circles.

Press down to cut out the clay. Dampen the bell and press the star onto it, referring to the picture of the snowman for placement.

To form the arms, create a cylinder approximately 5” long by 1/2” in diameter.

Use a blade to slice it in half so that the arms will be the same size but half cylinders.

Round each end of one arm and place the top of it next to the scarf on the side of the bell. Then push it into position, curving it toward the front, and finish with the end slightly over or next to the star.

Repeat with the other arm.

Add small bands over the ends of the arms approximately 3/4” to 1” from the end. This forms the mittens. Pull texture in the same manner as you did for the hatband for both mittens.

October 2017 Issue

Dampen the bottom of the bell and press these small cylinder shapes into place covering the slats of the bell.

Place the eye hook into the top of the snowman’s hat.

Set the snowman in a safe area where it will not be damaged while it is drying. If possible, place a light pressure on the feet while it is drying.

The paper clay air-dries.

Figure 5

Use two small wires long enough to go through the cylinders with approximately 1/8” of wire sticking out.

Place the tops of the feet underneath the cylinders using the wires to help hold them in place.

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Painting World Magazine

with Indian Turquoise to pull spiraling lines on the hat approximately 1/4” apart and straight lines on the scarf approximately 1/8” apart.

Fill in every other stripe with Indian Turquoise.

Figure 6

Base the yellow stripes with Moon Yellow.

Once this dries, line Wild Orchid where the two colors meet. Use a stylus to create white dots on the blue stripes.

The snowman will need FOUR days to dry because of the thickness of the clay (Drying time depends on the humidity content in the air in your area.).

Do not try to hurry the drying time as this will create cracks in the clay.

Painting the Snowman: Once the snowman is completely dry, sand to remove any unwanted clay

from the bell. If there are any areas of the snowman that are rough, sand to smooth them out. Wipe with a dampened cheesecloth to remove the dust particles from the ornament.

Basecoat the entire ornament with Snow White. This will seal the clay and make the ornament an even color.

Basecoat all of the purple areas with Wild Orchid. Thin Whispering Turquoise and wash over all of the textured bands.

Immediately wipe the tips off for all the white to show through.

Float Grey Sky in the shadow areas of the snowman.

Allow the paint to dry and apply one coat of Extreme Sheen Pearl over the white areas of the snowman.

To create the stripes on the hat and scarf, use a liner brush

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Thin Indian Turquoise and fill in the letters “JOY” on the star. Wipe off any excess from the star itself.

View of the back

Basecoat the entire star with Moon Yellow. Once it is dry, go over it with Lemon Drop Glamour Dust paint. (Figure 5) Refer to the diagram on how to create the face and the close-up photo of the snowman’s face. (Figure 6) Basecoat the nose with Coral Blush. Using thinned Lamp Black, draw lines where the eyes should be with the #00 script liner brush.

Use the thinned Lamp Black and the tip of the #00 script liner brush to create the mouth.

Once that is dry, pull a “U” shaped, thinned Lamp Black line though the dots along with smile lines at the ends.

Still using thinned Lamp Black, fill in the eyes with oval shapes using the lines as guides. Do not let the eyes grow too large.

Dry brush the cheeks with Coral Blush using a #2 Monza round brush. Add highlights to the eyes and mouth with dots of Snow White.

Apply Ice Crystal Glamour Dust paint over the entire ornament.

Finishing: Allow the ornament to cure and apply multiple thin coats of satin varnish to protect it. Add a ribbon to the top of the ornament.

October 2017 Issue

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Star Angels

by Barbara Nielsen, CDA

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Painting World Magazine

These little star angels are fun to paint, and it is so easy to add small details using pen and ink.

You may also enlarge them and paint them on other star shapes or other surfaces.

Have fun painting!

DecoArt Americana® Acrylics: • Burnt Sienna DA063 • Burnt Umber DA064 • Cadmium Red DA015 • Cadmium Yellow DA010 • Deep Midnight Blue DA166 • Holly Green DA048 • Honey Brown DA163 • Moon Yellow DA07 • Napa Red DA165 • Plantation Pine DA113 • Sapphire Blue DA099 • Snow (Titanium) White DA01 • True Blue DA036 • Warm Beige DA078

Mediums:

About Barbara Painting has always been a special joy in my life. By combining acrylics with pen and ink, I can achieve the detail that I love and it is “so easy” to do. I have been teaching this technique for many years at shops, home studio and at national conventions. I have authored three instruction books, as well as many packets and magazine articles. It is fun designing projects, and I encourage my students to have fun painting them.

Surface: • 4” x 4” Wooden Stars, from Creative Woodworks® October 2017 Issue

• DecoArt® Americana MultiPurpose™ Sealer DS17 • DecoArt Americana DuraClear® Satin Varnish DS21 or varnish of your choice • Krylon® Matte Finish 1311 or Crystal Clear Acrylic 1303

Loew-Cornell® La Corneille® Brushes: • #3 & #5 Round, Series 7000 • #0 Liner, Series 7350 • #1/4, #3/8, & #1/2 Angular Shaders, Series 7400

Miscellaneous Supplies: • Old Scruffy Brush • Koh-I-Noor® RapidoSketch™ Pen #.25 3265BX.01EF or Rapidograph® Pen #.25 3165.

ZZZ, or your favorite pen (You

can use a less expensive pen, such as the Sakura® Micron® #.005, but you’ll have to spray with a few light misty coats to seal the ink lines before painting, or paint the project first and then do the inking.

Note: Heavy spraying may puddle up and make the ink lines run.)

• Saral® Blue Transfer Paper • Tracing Paper • Small Tracing Stylus • White Vinyl Eraser • Martin F. Weber® Permalba® Burnt Umber Oil Color (optional, for antiquing) • DecoArt Dazzling Metallics® Glorious Gold DA071 • Cotton Cloths • Cotton Swabs • Fine Sandpaper • Tack Cloth • Paint Thinner (optional)

Preparation: Seal the wooden stars.

When they’re dry, sand them with fine sandpaper.

Stain the backs of the stars using your favorite method or a light wash of Burnt Umber acrylic paint and water. Float Burnt Umber around the edges of the stained backs.

Basecoat all of the stars’ top surfaces with several coats of Snow White. Basecoat the sides of each star with Glorious Gold, carrying this color 1/8” over onto the top surface to form a gold border.

Trace and transfer only the main pattern lines onto the white surfaces using blue Saral transfer paper and a small stylus. Do not transfer the stitch lines, dots, and other small details, since you’ll ink them freehand later using the pattern as a guide.

Ink the design. Do not ink the dots or the background dots; you’ll ink them or apply them with acrylics later. After

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inking, allow the ink to dry for a couple hours, and then lightly erase the transfer lines with a white vinyl eraser.

Helpful Hints: Ink lines may be “misted lightly” with matte acrylic spray to prevent smearing, although I feel acrylic washes are easier to apply and colors are stronger without sealing the lines at this point.

Just be careful not to rub the ink lines. (If you are using a pen that is not waterproof, spray several light coats to seal the ink lines, or paint the design first and ink on top of the painted project.)

Painting Instructions: Apply all basecoats with light washes (very diluted paint).

Float (or side load) all shading.

Leave highlights white or the lightest basecoat color.

Use an old scruffy brush for pouncing. Apply dots with a small stylus.

All Angels: Float Honey Brown next to the gold borders around the stars, fading away toward the centers. Float Deep Midnight Blue around the outside of the angels, fading away from them.

Very lightly wash the background area with very diluted True Blue + White using a swab to

blot so that it does not extend out too far. Note: I like to wet the background area with a little water and blot before applying a wash; this will help keep the background light.

Float Honey Brown shading around all of the angels’ wings; shade a second time with a little bit of very diluted Deep Midnight Blue. Use a swab to blot so that the shading does not extend out too far and the centers of the wings stay white.

Next, float a little Burnt Umber on the ground area underneath each angel.

Wash all faces and hands with Warm Beige; shade with Burnt Sienna. When that’s dry, lightly wash Cadmium Red blush on the cheeks.

Peace Angel: Float a little Honey Brown shading on the top portion of the ruffles.

Line the ribbon on the heart and wash the hair, candle flame, and glow with Moon Yellow; shade with Burnt Sienna.

Wash the holly leaves with Holly Green. Shade them with Plantation Pine.

Next, wash the dress with Sapphire Blue, and shade it with Deep Midnight Blue.

Line a Cadmium Red band on each sleeve and above the ruffles at the bottom of the dress. Dab a little Cadmium Red on the candle flame. Wash Cadmium Red on the candle and heart. Shade all of the red areas with Napa Red.

Apply dots of Cadmium Red on the holly leaves. Using Snow White, apply highlights on the eyes and dots around the heart. You’ll ink the trio dots on the blue dress later, when you ink the other details.

Love Angel: Using Honey Brown, float a little shading on the bottom band of the dress and line the ribbon on the heart. Wash the hair with Burnt Sienna, and shade it with Burnt Umber.

Wash the teddy bear with Burnt Umber; shade with the same color.

Using Cadmium Red, wash the bear’s cheeks, the dress, and the heart. Line the hair bows and band around the bottom of the dress with the same color. Shade with Napa Red. Next, wash the holly leaves and the neck and sleeve bands on the dress with Holly Green; shade with Plantation Pine.

With Cadmium Red, apply three dots on the holly leaves and a row of single dots on the bottom dress band. When those are dry, apply a line of Holly Green between each of the single red dots.

Using Snow White, apply highlights on the eyes and dots around the heart. Apply single Moon Yellow dots on the dress.

Joy Angel: For this angel, wash the hair and apron with Moon Yellow.

Shade with Burnt Sienna.

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Ink the details, and re-ink any lines that the paint covered.

Finishing: Spray the stars with several “very light” coats of Krylon Matte or Crystal Clear Acrylic spray.

If desired, you can antique the entire piece with a thin mixture of Martin F. Weber Permalba Burnt Umber oil paint and thinner, wiping out the center and leaving it darker around the edges. Wipe out the highlights with swabs. Let the stars dry thoroughly.

Varnish with DuraClear Satin or a varnish of your choice. Note: Always lightly seal ink lines with an acrylic spray before applying a water-based varnish, or your ink lines may run. (please see drawings on page 97 and included with the drawing download)

Wash the holly leaves, the sleeves, and every other stripe on the yoke and the bottom of the dress with Holly Green. Then, shade with Plantation Pine.

Line the hair and heart ribbons and the neck and sleeve bands with Cadmium Red. Also, wash the heart and the remaining stripes on the yoke and the bottom of the dress using the same color; shade with Napa Red. Apply a single Cadmium Red dot on each of the bottom scallops of the apron. Apply Snow White dots around the heart.

October 2017 Issue

All Angels: Apply Honey Brown trio dots on the sky area.

After inking a stitch line next to the gold border, apply Cadmium Red trio dots near the points of each star. When that’s dry, apply three strokes of Plantation Pine next to the dots.

Deepen the darkest shadow areas with a touch of Deep Midnight Blue. Add warmth to the lightest highlight areas with a touch of Cadmium Yellow.

Then, add tints of color from your palette throughout the design.

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News Reviews

Painting World Magazine

Kathi Hanson has been teaching workshop across the U.S for the past thirty years and is best known for her “special effect techniques” in multiple mediums. Her audiences include decorative painters, fine artists, school teachers and college students. She is an educator at heart, even when she creates pattern packets (they are full of theory and techniques).

Her pattern packets and Technique DVD’s are available at www.kathihanson.com

One of the benefits of traveling as much as I do is I get to see so many new and interesting products in action.

When I sat down to write this article I had a really hard time deciding what items to share with you since so many cool NEW products were introduced in 2017.

article to great gift ideas for artist friends and products that create amazing greeting cards.

by Kathi Hanson

Pen Blade® Craft & Hobby Knife While walking the new “Creativations” show I came upon this amazing new craft knife.

It has an ergonomic grip for both left and right handed people; contains a stainless steel

surgical blade so you get exact, precise cuts; has a safe trimming groove area (blade is retracted so it can trim thread, yarn, ribbon, etc.); and contains an easy push button to retract the blade for storing/transportation.

Since the holidays are right around the corner, I decided to dedicate this © 2017 Painting World Magazine Digital Edition. All rights reserved. Not for distribution, resale or reproduction. You agree to follow all international copyright laws as well as the terms and conditions outlined at paintingworldmag. com. You may NOT reprint or make copies, even for non profit uses. Any violation of these terms will result in a nonrefundable cancellation of your subscription and possible prosecution with fines up to $150,000 USD. http:// www.copyright.gov/title17/ Please contact info@paintingworldmag.com if you have received this PDF illegally.

As I watched them create precise, cuts through cardboard, canvas, cardstock, balsa wood, tape, leather cord, styrene, vinyl, foam board, and even fondant, I was amazed.

There are three different styles Pen Blade; the October 2017 Issue

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masking fluid that is blue in color so you can see where you have already placed masking fluid. The marker tip, when stroked across a surface area releases a thin uniform line of masking fluid which prevents bubbles or thick areas (which take longer to dry). If you want to cover large areas with masking fluid just lay continuous lines of fluid down next to each other until the desired area is covered.

reason for this is each style blade is designed to cut through certain surfaces better than other shape blades.

A complete list of surfaces each blade cuts can be found on their website.

This unique craft knife can be found in local mom n pop stores, Hobby Lobby®, Amazon®, and the Pen Blades’ website at www.penblade.com

The water base masking fluid in this marker is a great masking agent for Mixed Media art (especially acrylics & alcohol and water base inks) and can be

Factis® BM-2 Pen Style Eraser by General Pencil Anyone who loves pencil art needs to get this amazing product. It is a “pen shape” eraser that creates delicate, thin erase lines within a drawing.

Prior to having a BM-2 eraser in my tool box the thinnest lines I could create were with the corner tip of my ES-20 eraser and these lines weren’t nearly as thin. (Now I use both erasers to create varying width lines which adds depth and interest).

Another great bonus of using a BM-2 is you can fully view the area you want to erase in; traditional square or oval shape erasers partially block your view.

The BM-2 is an “artist quality” eraser which is very important because inferior October 2017 Issue

erasers can be abrasive which will compromise the surface integrity of your drawing paper.

Refill for the BM-2 are also available and come in a three pack. Both items are available at Hobby Lobby, Michaels®, and most local art stores.

Molotow® Masking Marker Wouldn’t it be great if applying masking fluid didn’t have to be such a time-consuming process AND you didn’t have to worry you may ruin a brush in the process? Well my friends, put away the soap and brushes because now you can create thin, crisp, precise, resist lines using a new unique masking marker.

The Molotow Masking Marker contains a traditional latex

© 2017 Painting World Magazine Digital Edition. All rights reserved. Not for distribution, resale or reproduction. You agree to follow all international copyright laws as well as the terms and conditions outlined at paintingworldmag. com. You may NOT reprint or make copies, even for non profit uses. Any violation of these terms will result in a nonrefundable cancellation of your subscription and possible prosecution with fines up to $150,000 USD. http:// www.copyright.gov/title17/ Please contact info@paintingworldmag.com if you have received this PDF illegally.

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applied on multiple surfaces (starched or sized paper, canvas, slick surfaces). It dries quickly, and easily peels off surfaces within 48 hours of application. FYI: If applied on watercolor paper use a rubber cement pickup stick to remove because masking fluid penetrates deeper on this type surface (plus body oils because they are acidic in nature can discolor your paper and turn it yellow.

Molotow Masking Markers come in two tip sizes; 2mm marker (Item# 728.001BC) and 4mm marker (Item# 728.002BC) and are sold through Dick Blick. (Refill Tips and 30ml masking fluid refills available too.)

Pigma® Micron® PN Because I attend so many industry events I’ve gotten to know the Sakura design team very well and they are amazing people. When I was at NAMTA this year Peter was so excited to share with me Sakura’s newest Micron Pen. He said this pen came into being due

to hundreds of loyal Pigma® Micron® pen users requesting they design an additional nib option for their work.

Sakura immediately rose to the challenge and created the Micron PN pen which has a slightly flexible, plastic nib made of polyacetal in it.

This new nib is so durable it will not bend or break under heavy pressure and the nib design also allows users to write at an angle with it without disrupting the ink flow (skip free writing).

The last cool thing about this new marker pen is you only need one pen to create several different width lines. If you apply light pressure while drawing, the lines will be fine/

thin (0.4mm); if additional pressure is applied the lines become a medium width (0.5mm).

The Micron PN comes in 8 archival Pigma ink colors (black, red, blue/black, sepia, rose, burgundy and purple) and the ink is waterproof, ph neutral, and chemical & fade resistant.

The ink dries quickly, and will not bleed which makes it great for sketching, notes, journaling, planners, Zentangle, and Mixed Media accents.

Once you’ve tried a Micron PN I’m sure it will become a staple in your art toolbox. For more information visit https:// sakuraofamerica.com/ Gelli Arts® Gel Printing Plate This last item is a personal favorite of mine. It is the perfect tool for creating

© 2017 Painting World Magazine Digital Edition. All rights reserved. Not for distribution, resale or reproduction. You agree to follow all international copyright laws as well as the terms and conditions outlined at paintingworldmag. com. You may NOT reprint or make copies, even for non profit uses. Any violation of these terms will result in a nonrefundable cancellation of your subscription and possible prosecution with fines up to $150,000 USD. http:// www.copyright.gov/title17/ Please contact info@paintingworldmag.com if you have received this PDF illegally.

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paper over the plate, run fingers (or brayer) over the paper, then lift paper off. You can create a second lighter print of the same design (called a ghost print) by immediately placing a new piece of paper over the left over wet paint, press down/rub over the paper, then lift off.

unique mixed media backgrounds, monoprints, AND beautiful greeting cards Gelli Arts is the original gel printing plate.

It looks and feels like gelatin but is made of a thermoplastic elastomer + mineral oil. Gelli Arts gel printing plates are odor free, durable, reusable, clean easily with soap and water (or baby wipes), and can be stored at room temperature.

The quality of these gel printing plates is superior (guaranteeing you years of use when properly used) and they are made in the U.S.A. No prep is needed, just remove it from the package and let the fun begin. It’s so easy, lay the gel print plate down on a flat piece of paper, apply several dime size dollops of acrylic paint on the plate surface (one or multiple colors), roll pigment out across the entire surface area with a brayer, lay a piece of October 2017 Issue

If you want to create texture within a design here are a few fun techniques you can try… lightly scrape into wet paint (with either a stylus, texture tool), lay string in wet paint (leave it there), take a stamp and stamp into the wet paint. Placing alcohol droplets into areas of wet paint will give you another cool texture look.

Once a designed paper has dried you can print on it again. The final piece will be a combination of the original design PLUS the new wet color design you just created and printed. (FYI: if you do this only put color in partial areas on the plate during the second print stage.) You can also stamp/ ink, draw, spatter, etc. on dried paper designs to add additional interest within a paper design.

Almost any type paper can be used to create your monoprints.

Cardstock is commonly used, printer paper works great if

wanting to print on thin paper, shiny/slick papers produce a slightly different print effect, and tissue paper even works.

You can adhere your finished papers onto canvas, mixed media journal pages, artboards, wood, etc. and they make amazing greeting cards.

Gelli Arts gel printing plates come in 7 sizes and several different shapes. Gelli Arts also has texture tools, parchment paper, stencils, paint sets, and project kits available.

Visit their website for a list of retailers in your area.

Here’s a sneak peek of some cool art designs created on these amazing gel print plates.

For additional information and project ideas visit the below site links.

1. Facebook www.facebook.com/gelliarts 2. Instagram www.instagram.com/gelliarts 3. YouTube Gelli Arts® Channel www.youtube.com/gelliarts 4. Blog – www.gelliarts. blogspot.com 5. Twitter www.twitter.com/gelliarts 6. Website www.gelliarts.com 7. Where to buy Gelli Arts https://www.gelliarts.com/ pages/usa-retailers Well, I’ve run out of space so time to stop. Until we meet again, create often and laugh even more! ~Kathi Hanson

© 2017 Painting World Magazine Digital Edition. All rights reserved. Not for distribution, resale or reproduction. You agree to follow all international copyright laws as well as the terms and conditions outlined at paintingworldmag. com. You may NOT reprint or make copies, even for non profit uses. Any violation of these terms will result in a nonrefundable cancellation of your subscription and possible prosecution with fines up to $150,000 USD. http:// www.copyright.gov/title17/ Please contact info@paintingworldmag.com if you have received this PDF illegally.

Wood Surfaces, Pattern Packets and More...

Large Pizza Paddle with a Raw Hide Hanger

#0417

Finished Pizza Paddle

by Sue Boerman

www.jbwood.com PO Box 3081 • So. Attleboro, MA 02703 • (508) 222-5790

Magnolia & Poinsettia Ornaments

by Marlene Fudge

Painting World Magazine

I have always loved the flowers at Christmastime so I incorporated two of them in this ornament design. With a touch of sparkles added to the petals, they are sure to be a holiday favorite for gifts, craft fairs or a keepsake for your very own tree.

About Marlene I live in scenic Lehigh Valley, Pennsylvania with my wonderful husband of 31 years and all of our kitties. I have two beautiful daughters, who are out in the world doing amazing things.

We are very proud parents!

I have been decorative painting for over 20 years and have enjoyed trying many different mediums, but I always seem to come back to my favorite...acrylics. In the last several years, I have had a lot of fun with the designing side of decorative painting. Some days I have so many ideas in my head that I wish there were more hours in the day to paint!

I am a member of the Society of Decorative Painters as well as two local chapters, the Lehigh Valley Decorative Painters and the Pocono Painters. I am also proud to be a DecoArt Helping Artist. I am so grateful to be able to do what I love and for all the wonderful painting friends I have met along the way!

Surface: • Celebrate It, Handmade Holidays® wooden ornaments (Michaels® Arts and Crafts)

DecoArt® Americana® Paint: • DA172 Black Plum • DA03 Buttermilk • DA330 Chartreuse Yellow • DA050 Forest Green • DA067 Lamp Black • DA084 Midnite Green • DA174 Milk Chocolate • DA199 Primary Red • DA01 Snow (Titanium) White • DA155 Soft Black • DA143 True Ochre © 2017 Painting World Magazine Digital Edition. All rights reserved. Not for distribution, resale or reproduction. You agree to follow all international copyright laws as well as the terms and conditions outlined at paintingworldmag. com. You may NOT reprint or make copies, even for non profit uses. Any violation of these terms will result in a nonrefundable cancellation of your subscription and possible prosecution with fines up to $150,000 USD. http:// www.copyright.gov/title17/ Please contact info@paintingworldmag.com if you have received this PDF illegally.

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Preparation:

DecoArt® Americana Neons • DHS4 Fiery Red

Mediums: • DAS8 DecoArt® Weathered Wood Crackling Medium • DS17 DecoArt® Americana Multi-Purpose™ Sealer • Minwax® Polycrylic Protective Finish-Clear Satin

Loew-Cornell® Brushes: • 7550 Wash 1” • 7000 Round #2 and #4 • 7300 Shader #4, and #10 • 7350 Liner 18/0

Miscellaneous Supplies: • Extra Fine Glitter – Snow White by Recollections and available at Michaels® • Glue for Glittering-White Glue that dries perfectly clear • Container or box to collect excess sparkles • Old #2 Round Brush for glue • 6”-8” Ribbon of choice for hanging • Basic painting supplies

Seal each ornament with Multi-Purpose Sealer and let dry.

Lightly sand off any raised fibers.

Wipe clean.

Base coat the center of each ornament with Milk Chocolate using the #1Wash brush. Let dry.

(We will paint the outer scrolls later.)

Apply a coat of crackling medium following the manufacturer’s instructions.

Let dry for approximately one hour. Using the Wash brush, apply a top coat of Buttermilk.

Be careful not to overstroke too much or it will lift the paint off of the crackling medium. Let dry completely and transfer the pattern.

Painting Instructions: Holly: Base coat all of the holly leaves with Forest Green using the #2 Round brush. Note: All of the base coats will need two coats of paint to make it opaque.

Let dry. Using the #4 shader, October 2017 Issue

shade the center area of each holly petal with Midnite Green.

Outline the outer edges of the leaves with Chartreuse Yellow with the liner brush. Add the vein lines in the same manner.

© 2017 Painting World Magazine Digital Edition. All rights reserved. Not for distribution, resale or reproduction. You agree to follow all international copyright laws as well as the terms and conditions outlined at paintingworldmag. com. You may NOT reprint or make copies, even for non profit uses. Any violation of these terms will result in a nonrefundable cancellation of your subscription and possible prosecution with fines up to $150,000 USD. http:// www.copyright.gov/title17/ Please contact info@paintingworldmag.com if you have received this PDF illegally.

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Berries: The berries are Primary Red using the #2 Round brush. Shade each berry at the bottom with Black Plum using the #4 Shader.

When dry, use the same brush to add a highlight of Fiery Red. Dry brush a tiny Snow White sparkle at the top of each berry.

Poinsettia and Magnolia leaves The leaves are all base coated with Forest Green using the #4 Round. Using the #10 Shader, shade the leaves where they tuck under the flowers with Midnite Green.

Shade the center of the leaves by pulling the color out from the flower. Do not pull this shadow all the way to the tip.

When this is dry, use the #4 Shader to add floats of Midnite Green on each side of the vein line. Add the highlights with Chartreuse Yellow using the #4 Shader.

Highlight the sections of the leaves above the shaded area and also highlight the top edge of the leaves. The center vein is Chartreuse Yellow with the liner brush.

Add a light wash of Primary Red randomly to some of the leaves.

Poinsettia: Starting with the lower petals, basecoat with Primary Red using the #4 Round. These petals are shaded out from the center and where it will tuck underneath the upper petals with Black Plum and the #10 Shader.

Add a back-to-back float on the center of each petal. Do not pull this float all the way to the tip.

Add the upper layer of petals the same way as the lower petals.

Add a float of Fiery Red onto some of the petals to highlight, keeping the brightest highlights on the top right of the flower.

Deepen the shading where needed with Soft Black, especially toward the center and bottom of the flower. Thin Soft Black with a touch of water, and using the liner, add the vein lines on each petal.

The center of the flower is dots of Milk Chocolate using the stylus.

Go back and add a few more smaller dots with True Ochre.

Magnolia: Base coat the petals with Buttermilk using the #4 Round.

Using the #4 Shader, float a light wash of True Ochre onto the center of the petals.

Shade the petals with Milk Chocolate where it tucks under

Š 2017 Painting World Magazine Digital Edition. All rights reserved. Not for distribution, resale or reproduction. You agree to follow all international copyright laws as well as the terms and conditions outlined at paintingworldmag. com. You may NOT reprint or make copies, even for non profit uses. Any violation of these terms will result in a nonrefundable cancellation of your subscription and possible prosecution with fines up to $150,000 USD. http:// www.copyright.gov/title17/ Please contact info@paintingworldmag.com if you have received this PDF illegally.

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the upper petals, towards the center, and under the areas where the petal folds.

Highlight the petals with Snow White. The center of the magnolia is based in with Milk Chocolate using the #2 Round.

With the liner brush, add some little strokes with True Ochre.

(I like to turn the ornament upside down to add these.

It is easier to control the strokes when you pull them downward.) Add just a few Snow White strokes to highlight.

Helpful Hints: I like to use an old #2 round brush to add the glue. I also like to sprinkle the sparkles onto the ornaments over top of a container or box and save the leftover sparkles.

October 2017 Issue

Outer edges of the ornament:

sparkles and let dry completely before wiping off the excess.

Base coat the outer edges and the back with Lamp Black.

Add a ribbon of your choice for the hanger.

Finishing: Erase any remaining graphite lines. Varnish the ornaments with at least two coats of Minwax Polycrylic and allowing to dry between coats.

Add some sparkles: Working in small sections at a time, add some glue around the edges of the holly leaves, tops of the berries, top edges of the upper right poinsettia petals, center of the poinsettia, and the white areas of the magnolia.

Sprinkle on the

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TRUAX PRINTING

Graphic Design and All Things Print

GREAT CUSTOMER SERVICE PROFESSIONAL DESIGN FAST TURN-AROUND Contact us today!

(419) 994-4166

www.truaxprinting.com (FSC Certified Papers Available)

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Painting World Magazine

Christmas Blessing Jar Ornies by Chris Haughey These colors are the hot trends for 2017 home decor. Using them for ornaments creates a fresh, chic, farmhouse look.

About Chris The Andy Griffith Show and Bewitched are the two TV shows I recall from my childhood. With only three stations to select on our October 2017 Issue

black and white TV, I spent most of my time playing with crafts.

My older sister was an oil painter and I drooled over her supplies and talents. In college I majored in Fine Art (Oil Painting), but soon found out that making a living by selling oil paintings was not all fun and games.

After the pitter patter of little feet went to school (BTW, oil and kids

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Supplies: Available at Cupboard Distributing®

• 31-L532 Squatty Jar Ornaments 4-3/8” x 3-3/8” • 09-05261 Mini Layering Stencil Set 20 “Christmas Words” • 09-285 Snow Piles Stencil • 46-04975 Vintage Platinum Glitter • 24-CX4 Holly Berries • 46-SM09 Ivory Thin Jute Twine • Misc Christmas Foliage

DecoArt® Americana® Acrylics: • Dusty Rose DA025 • Mississippi Mud DA094 • Oyster Beige DA286 • Pebble DA303 • Snow White DA01 • Winter Blue DA190 do not mix for me), I discovered the wonderful world of acrylic. I have been an addict ever since!

My background in art continually encourages me to try new and exciting paints, mediums and techniques.

I absolutely love what I do and feel very blessed that I am able to design and share my wonderful world of art.

DecoArt® Mediums: • Americana Matte Sealer/ Finish Spray 41370 • Crystal Glamour Dust 41530 • Multi Purpose Sealer 07930 • StarLite Varnish 01120

Sure Touch® Brushes

by Jo Sonja®: • Angle 1345-1/4, – 1/2 • Filbert 1385-8

• Oval Drybrush 2010-8 • Oval Wash 1318-3/4 • Round 1350-4 • Script Liner 1365-5/0

Other Brushes: • Royal & Langnickel® Moderna® Comb (Rake) Brush Series M77C 1/2” • Loew-Cornell® Stencil Brush Series 205 #4

Miscellaneous Supplies: • Loew-Cornell® Black Graphite Paper 28-31011 • Canary Tracing Paper 28-03838 • Double-Ended Stylus • Extra Fine Sanding Pad • Hot Glue • Tombow® Mono Zero® Eraser • Scotch® Painter’s Tape • Specialty Sponge Set of 2 29-32227

Preparation: Using the small specialty sponge, seal surface with Multi Purpose Sealer. Lightly sand and wipe clean. With same sponge, basecoat surfaces with Pebble.

Trace pattern onto tracing paper.

After background has been created, transfer the main pattern lines using the transfer paper and stylus. Transfer details as needed.

Painting Instructions: Sky: Load oval wash with thinned Oyster Beige and slip slap onto background, blending softly, but not covering. Brushstrokes should be visible but not spotty.

Using the same technique and Winter Blue, slip slap over middle area, blending into the sides.

© 2017 Painting World Magazine Digital Edition. All rights reserved. Not for distribution, resale or reproduction. You agree to follow all international copyright laws as well as the terms and conditions outlined at paintingworldmag. com. You may NOT reprint or make copies, even for non profit uses. Any violation of these terms will result in a nonrefundable cancellation of your subscription and possible prosecution with fines up to $150,000 USD. http:// www.copyright.gov/title17/ Please contact info@paintingworldmag.com if you have received this PDF illegally.

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Painting World Magazine Figure 2

Figure 1

This background coverage will be very subtle, just hints of color.

Snowman Jar: Snowman: Load toe of angle with Oyster Beige to float around top and left sides. With filbert and Winter Blue, tint middle sections, blending into both sides. (Figure 1)

Darken shaded areas with Mississippi Mud and brighten highlights with Snow White.

Scarf and Hat: With script liner and thinned Snow White, line stripes on scarf and brim of hat. Add tiny Snow White dip dots on hat. Load script liner with Winter Blue to line pom-pom on top of hat and repeat with Snow White.

Dip dot eyes and line mouth with Mississippi Mud. October 2017 Issue

Figure 4

Arms and Buttons:

Using large angle and Pebble, shade around right and bottom sides of each section of the hat, head, scarf and body.

Face:

Nose is Dusty Rose. Deepen bottom side of nose with Mississippi Mud and highlight top with Snow White. Add tiny Snow White dip dots on top left of each eye.

Figure 3

Line arms and paint buttons Mississippi Mud. Highlight top of arms and add a dip dot on top left of buttons with Snow White. (Figure 2)

Snow: Load toe of 1/2 angle with Winter Blue to float show along horizon, around snowman, fading towards bottom of jar.

Using same brush and Snow White, highlight along tops of snow drifts to brighten.

Reindeer Jar: Reindeer: Load toe of 1/4 angle with Pebble to shade along the bottom and right sides of ears, head, chest, front leg, tummy and left sides of back legs and tail. Highlight

opposite sides of all with Oyster Beige. Tint center areas with Winter Blue, blending softly.

Brighten highlights with Snow White and deepen shading with Mississippi Mud.

Birch Trees: Undercoat birch trees with Oyster Beige. Load comb with Mississippi Mud to pull horizontal birch lines across trees.

Shade outer sides of trees with same color and highlight inner sides with Snow White. (Figure 3)

Š 2017 Painting World Magazine Digital Edition. All rights reserved. Not for distribution, resale or reproduction. You agree to follow all international copyright laws as well as the terms and conditions outlined at paintingworldmag. com. You may NOT reprint or make copies, even for non profit uses. Any violation of these terms will result in a nonrefundable cancellation of your subscription and possible prosecution with fines up to $150,000 USD. http:// www.copyright.gov/title17/ Please contact info@paintingworldmag.com if you have received this PDF illegally.

Painting World Magazine

Snow:

Jar:

Follow instructions above to create snow. (Figure 4)

Shade around outer edges of jar with Mississippi Mud, darker along the sides and bottoms.

With same color.shade above and below top rim. Highlight middle of this rim with Oyster Beige and brighten with Snow White.

Holly and Berries: Holly Leaves: Following color photo, float along bottoms and right side of leaves with Mississippi Mud. Highlight opposite sides with Oyster Beige. Tint center areas with Winter Blue. (Figure 5) Deepen shading and line veins with Mississippi Mud. Brighten highlights with Snow White.

Load toe of 1/4 angle with thinned Dusty Rose to add a hint of color on some of the highlighted tips. Keep this very soft and subtle. (Figure 6)

Berries: Undercoat berries Oyster Beige and topcoat with Dusty Rose.

Shade bottoms with Mississippi Mud. Add a strong Snow White comma stroke highlight on the top left of each. (Figure 7)

Figure 5

Load oval drybrush with Snow White to highlight down both sides of jars. Repeat to strengthen adding a lighter drybrush across bottoms.

Jar Lid: Load 1/4 angle with Oyster Beige to float across each ridge section of the lid. With same brush and Mississippi Mud, shade valleys between ridges. Using Snow White, highlight top left and middles of each of the ridges.

Snow Drips: With 1/4 angle, float snow drips at top of jar Oyster Beige. Using same brush and Snow White, highlight tops and left sides of drips. Repeat to brighten.

Figure 6

Helpful Hints: The Mono Zero Eraser is an excellent tool for removing small graphite lines. However, when dampened, it will also remove dry paint.

This is a wonderful tool for easily straightening lines, removing smudges or small errors.

Lettering: Select desired words and mask to isolate with painter’s tape.

This will ensure only the words selected will be stenciled.

Position stencil and secure with tape. Load stencil brush with Pebble, wipe on paper towel to remove excess paint and stencil words. (Figure 8-9-10)

Snowflakes and Snow: Position snowflake stencil and secure with painter’s tape. Load stencil brush with Snow White to create snowflakes. Repeat with dry. With stylus and Snow White, dip dot falling snow.

Figure 7

© 2017 Painting World Magazine Digital Edition. All rights reserved. Not for distribution, resale or reproduction. You agree to follow all international copyright laws as well as the terms and conditions outlined at paintingworldmag. com. You may NOT reprint or make copies, even for non profit uses. Any violation of these terms will result in a nonrefundable cancellation of your subscription and possible prosecution with fines up to $150,000 USD. http:// www.copyright.gov/title17/ Please contact info@paintingworldmag.com if you have received this PDF illegally.

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Figure 9

Figure 8

Finishing:

Figure 10

When dry, brush foliage with StarLite Varnish and sprinkle heavily with Vintage Platinum Glitter.

Spray seal with several light coats of Matte Spray Varnish, allowing appropriate drying time between coats.

When dry, reposition snowflake stencil and stencil white snowflakes with StarLite Varnish.

Immediately coat with Crystal Glamour Dust. Repeat using stylus to dip dot varnish on falling snow. When dry, tap and gently brush to remove excess glitter.

Reposition word stencil and topcoat selected words with StarLite Varnish. Coat with Vintage Platinum Glitter Dust.

When dry, remove excess glitter as instructed above.

Undercoat holly berries with Dusty Rose.

Topcoat with varnish and sprinkle with Crystal Glamour Dust.

When dry, attach berries and foliage with hot glue. Cut a length of jute and tie around jar to secure.

Foliage: The glittered leaves can be purchased, however, if unavailable, they can easily be re-created. Select any small leaf greenery and paint with Pebble or spray paint with similar color.

October 2017 Issue

Š 2017 Painting World Magazine Digital Edition. All rights reserved. Not for distribution, resale or reproduction. You agree to follow all international copyright laws as well as the terms and conditions outlined at paintingworldmag. com. You may NOT reprint or make copies, even for non profit uses. Any violation of these terms will result in a nonrefundable cancellation of your subscription and possible prosecution with fines up to $150,000 USD. http:// www.copyright.gov/title17/ Please contact info@paintingworldmag.com if you have received this PDF illegally.

Painting World Magazine

Download all line drawings ready to print here: http://bit.ly/2xyvuXl

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A Word From Our Sponsors which has now become the NET Convention which is held in October. After attending that show things took off.

JBWood’s second factory

Over the course of my history in this wonderful decorative arts world here in the United States, I’ve gotten to know the owners of many very wonderful, special companies! We’ll occasionally feature these little tidbits just so you know what’s going on with our friends who make all the great products you love so much! ~Laura Rucker

Happy 40th Anniversary to JBWood!

“In 1977, we started working out of our home, raising four small children. It all came about when we met two artist friends, Elaine & Brenda, who suggested we go to a local New England tole and decorative painting convention, October 2017 Issue

Two years later we bought an old 3,500 square foot building which we refurbished, adding 6 more employees. We outgrew the building in three years. We then built a brand new state-of-the-art 10,000 square foot building on an acre of land in the Attleboro Industrial Park.

Over the years we added 15 full time employees. We attended all Hobby Industry of America trade conventions and sold to small shops and major craft chains. At that point, we started to add the Tole Painting Conventions to our list of shows. We really enjoyed the laid back atmosphere and the friendly people of the painting shows.

home where we started. We have come full circle. We’re now in semi retirement mode, but still making our products & attending shows, enjoying the travels to different locations.”

Mary & Joe Billington, JB Wood Products www.jbwood.com

Happy 30th Anniversary to Cupboard Distributing!

This year, Cupboard Distributing is celebrating 30 years in business and we’re so happy for them! They’ve been celebrating all year long with contests and huge giveaways (some of them valued over $400!! don’t miss out on that!)

Here’s a little history about this very cool company...

Just two years ago we got an offer on our building and at this time, the price was just to good to pass up. So we sold off everything and moved back

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#BeInspired by Sandy McTier Viking Woodcrafts Code: 87-20089 www.vikingwoodcrafts.com We always love Sandy’s work and she’s been featured in Painting World several times!

Now you can get #Inspired with an entire book packed with her fresh, vibrant style! Pick it up today and get busy learning all those fantastic techniques.

“Nestled in the heart of Ohio, Cupboard Distributing is a very unique business. It all started back in 1986 when a family accident spurred the owners, Chris and John Haughey, to open up a small business to cover some expenses. To their surprise and delight, people loved their line of wood shapes and craft supplies that they sold through mail order from their home, and the company took off.

After hundreds of requests and a few surprise visitors to their home, they decided to open up a storefront in historic Urbana, Ohio. Beginning in a tiny shop in the charming downtown square in 1987, the business has since moved to larger and larger stores around Urbana until finally settling into the 8,000+ square foot warehouse it now occupies just outside the south end of the city in 2003.

Ever since then, the company has grown by leaps and bounds, continuing the expansion into other lines of products. Now, customers can find everything from woodworking items, craft supplies, scrapbooking and fine art supplies.”

Chris & John Haughey, Cupboard Distributing www.cdwood.com

New for Your Library!

There are so many wonderful books that come out each year!

Here are three hot new titles that you’re going to LOVE!

Upcycled Glass Doodling

by Christy Hartman Viking Woodcrafts Code: 87-20090 www.vikingwoodcrafts.com

Learn some really wonderful glass doodling and designs in bold, beautiful patterns you’re going to love making!

Just perfect for craft fairs, gifts and parties, you’ll find thousands of ways to make these a feature this season!

Ornamania 2 by Chris Haughey Get it from Cupboard Distributing at www.cdwood.com Code: 08-06601

Since this is the Ornament Issue, we wanted to show you this wonderful new book by Chris Haughey. It’s PACKED with ornaments and we just know you’re going to have a blast painting them! You can even buy the whole bundle of surfaces at www.cdwood.com!

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Merry Beach-mas!

by Tracy Moreau

October 2017 Issue

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Creating a Christmas project with a Beach theme is not all that easy… I had to channel my Inner snowbird!

Nothing better on a Hot sunny day on the beach, than a nice refreshing beverage, and I thought that this would be a fun mixed media project to help create a little Holiday Cheer.

About Tracy: Tracy Moreau is a classically trained artist, with 35 years of experience. Educated in Europe, Canada and the US, her work has a great many influences.

Her combination of Fine Art, Faux Finishing and the Decorative Arts makes her work unique. Tracy’s design work is varied , from Home decor to Mixed media, she is versatile and creative and is generous with her knowledge and experience.

Her sense of humour and © 2017 Painting World Magazine Digital Edition. All rights reserved. Not for distribution, resale or reproduction. You agree to follow all international copyright laws as well as the terms and conditions outlined at paintingworldmag. com. You may NOT reprint or make copies, even for non profit uses. Any violation of these terms will result in a nonrefundable cancellation of your subscription and possible prosecution with fines up to $150,000 USD. http:// www.copyright.gov/title17/ Please contact info@paintingworldmag.com if you have received this PDF illegally.

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relaxed approach to teaching endears her to her students, creating an atmosphere of fun and unabashed creativity.

• Stazon® Black Stamp pad • Water basin • Sanding sponge • Shop Towels

Surface:

To Begin:

• 3 of 4” x 5” Postage Stamp Ornament Blanks 31-L355 from Cupboard Distributing®

Base coat all ornament blanks with two light coats of Sea Glass. Let each coat dry thoroughly before you apply the second. When the second coat is completely dry, sand lightly. Wipe away any dust using the shop towel.

DecoArt® Americana® Acrylic Paints: • Cadmium Yellow DA010 • Green Tree DA349 • Kelly Green DA055 • Laguna DA350 • Light Lime DA348 • Napa Red DA165 • Scarlett DA345 • Sea Glass DA297 • Sunny Day DA325 • Warm White DA239

Using the Stazon pad, stamp the sea shells randomly over each blank. Feel free to use a different design on each blank or mix it up a bit by mixing the shell designs on each blank.

Make sure that the stamps extend past the edges of the blank so it creates the illusion of continuity.

Let the ink dry completely.

Glazed Background: Thin some Warm White to an inky consistency and vertically

Mediums: • DecoArt® Glamour Dust™ DAS37 • DecoArt® Americana® Decou-Page™ Matt DS106

Dynasty Faux Squirrel Series 1827 Brushes: • 1/2” Angled Shader • 1/4” Angled Shader • #2 Rigger • #8 Flat Shader

Stampendous® Stamps: • Cling Sea Shells Rubber Stamp CRS5090

Miscellaneous Supplies: • Assorted Small Shells or Embellishments (Michaels® Craft Stores) • E6000® Glue • Uniball® Signo Gel Pen (Black) .05mm Or Micron Pen October 2017 Issue

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Add a small comma stroke of Warm White to the upper right side of each bubble for a bright highlight.

Holly and Berries: Base the leaves with Green Tree and shade down the center vein with a float of Kelly Green.

Base the berries with Scarlet and shade them on the lower left side with a float of Napa Red.

“Seas and Greetings” Martini glass: Base the olives with Green Tree.

Shade the olives with a float of Kelly Green on the lower left side. Add a small comma stroke of Warm White to the upper right side of each olive for a final bright highlight.

The swizzle stick is drawn with the gel pen with a dip-dot of Warm White added to the top end.

brush this over the blanks being aggressive. Wipe or blot the brush nearly dry and go over the blank vertically again with this brush to remove some of the glaze. The result should be a slightly streaky look with a semi-opaque finish that mutes the stamped design but doesn’t bury it completely.

The base color should still be visible but subdued.

Let each blank dry completely before tracing and transferring the line drawings to each surface.

Shade around the line drawing of the glass and the outside edge of each ornament with a nice wide float of thinned Laguna. Let it dry completely.

Background Bubbles: Base the bubbles with one coat of Warm White (it does not have to be opaque). Shade the lower left side of each bubble with a float of thinned Laguna being sure to leave a thin narrow space between the edge of the bubble and the darkest edge of the float.

Base the liquid with one coat of Scarlet. Float the top edge of the liquid with Cadmium Yellow. Shade the bottom of the liquid with a nice wide float of Napa Red. Base the bubbles with Cadmium Yellow and then shade each bubble on the lower left side with a float of thinned Scarlet.

Add a dip dot of Warm White to the upper right side of each bubble for a bright highlight.

Base the stem of the glass and outline the rest with thinned Warm White.

Let it dry completely.

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Warm White. Shade the lower left side of the bubbles with a float of thinned Laguna.

Shade the left side of the margarita with a nice wide float of Green Tree.

Base the lime slice with Light Lime. Add a thin line of Green Tree to the outer edge to create the rind of the lime.

Stroke in a few lines inside the lime wedge with Warm White and Green Tree. Use the gel pen to define the segments in the lime wedge.

Finishing: Roughly outline each glass, the leaves, berries, olives, lemon, lime wedges, and bubbles with the gel pen. Keep it loose and not too tight...“it’s just sorta squiggly”!

Cut out the words with the edging scissors and decoupage them onto the ornaments with the decoupage medium.

Let it dry completely.

“Merry Beachmas” Sunrise: Base the lemon wedge with Sunny Day and the cherry with Scarlet. Add a thin line of Cadmium Yellow to the outside edge (rind) of the lemon wedge.

Base the liquid with Scarlet leaving about 1/4 of the the liquid unpainted at the top.

Paint this area with Cadmium Yellow and work the color down and blend it into the Scarlet. (no need to be fully opaque).

Add a few strokes inside the lemon wedge of Warm White and Cadmium Yellow.

Base the bubbles with Warm White and float them with a little Cadmium Yellow.

Next define the segments of the lemon with the gel pen (a rough sketchy line will do).

“Holiday Cheers” Margarita:

October 2017 Issue

Add a line of decoupage along the top edge of each glass and sprinkle liberally with Glamour Dust™, which will be the sugar.

Option: Glue a few small shells, starfish, or sand dollars to the corner and add a string to hang with. I used a bit of butcher’s twine but white ribbon or other twine would do nicely.

Base the liquid with Light Lime. Base the bubbles with © 2017 Painting World Magazine Digital Edition. All rights reserved. Not for distribution, resale or reproduction. You agree to follow all international copyright laws as well as the terms and conditions outlined at paintingworldmag. com. You may NOT reprint or make copies, even for non profit uses. Any violation of these terms will result in a nonrefundable cancellation of your subscription and possible prosecution with fines up to $150,000 USD. http:// www.copyright.gov/title17/ Please contact info@paintingworldmag.com if you have received this PDF illegally.

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Download all line drawings ready to print here: http://bit.ly/2xyvuXl

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‘Twas the Night Before Christmas October 2017 Issue

by Phyllis Spaw

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You will learn how to complete this project using a variety of mediums and techniques, along with tips for painting on spheretype surfaces. Place these ornaments on a shelf with a spray of pine and some artificial snow, and they are sure to become a conversation piece that you can pass down for generations to come.

About Phyllis I am a self-taught artist from a small town in central Wisconsin.

I grew up on a farm just south of where I currently reside.

Most of my paintings are indigenous to where I live and grew up. My most favorite subjects to paint are from some of my best holiday memories as a child. It warms my heart to recreate those fond memories.

I work mainly in acrylics, but have dabbled in several other mediums as well. When I’m not working my full-time job or painting, I enjoy hiking, biking, photography, and candle making.

Surface: • 12” Large Round Ornament (measuring vertically & horizontally), from Menards®

DecoArt Americana® Acrylic Paints: • Burnt Umber DA064 • Honey Brown DA163 • Lamp (Ebony) Black DA067 • Snow (Titanium) White DA01 • Deep Midnight Blue DA166 • Burnt Orange DA016 • Cadmium Yellow DA010 • Evergreen DA082 • Country Red DA018 • Heritage Brick DA219 • Desert Sand DA077 • Leaf Green DA051 • Spiced Pumpkin DA310 • Deep Burgundy DA128 • Warm Beige DA078 • Multi-Surface – Metallic™ Gold DA553 Mediums: • Rust-Oleum® Matte Clear Enamel 285093 • Rust-Oleum® Blue Metallic Spray Paint Faber-Castell® Albrecht Dürer® Artists’ Watercolor Pencils: • White 101 • Black 199 • Warm Grey V 274 Brushes: • 5/8” Laurie Speltz® Stencil Brush (or a similar size), Series ST103, from The Creative Coach® • 1/8” & 5/16” Royal & Langnickel™ Crafter’s Choice® CC Bristle Dome Stencil Brushes (dry brushes), Series R9113, from

Creative Arts Lifestyle® • #6 Nature’s Touch® Golden Taklon Filbert, Series 5000, from Michaels® Craft Stores • #18/0 Papillon Script Liner, Series 20136, from The Artist’s Club®, theartistsclub.com • #1 Plaid® Round from the Mod Podge® Brush Set, Detail 25140 • #8 & #10 Royal & Langnickel Filbert

Miscellaneous Supplies: • DecoArt® Glamour Dust™ Glitter Paint – Sizzling Red DGD03 • DecoArt Dazzling Metallics® – Festive Red DA262 • Laurie Speltz Sleigh Reindeer Stencil #BCS234, from The Creative Coach • Palette Knife • Paint Palette • Blue Transfer Paper • Small Stylus • Tracing Paper • 6” Clear Flexible Ruler • #2 Pencil • White Hi-Polymer® Eraser Caps • Pencil Sharpener • Hand Sanitizer • Wet Rag • Swisspers® Cosmetic Applicators • 1-1/2” Circle Stencil from Michaels Craft Stores • Painter’s Tape • Scissors • Rags and/or Paper Towels • Water Basin • Clothespin & Clothesline, (or some object to hang the ornament while drying) • Large Cup, or something to rest your ornament in • Soft Cloth (to line your

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cup to prevent scratching the ornament) • About 12” Small Piece of Jute (for the hanger) • Brush Cleaner of Your Choice I will note each time there is a change in brush type or size.

Helpful Hints: I always thin my paints a little before I begin my project, unless a technique requires that I do not. If the instructions note to use a thinned paint color, you will need to thin it down a bit more.

It most likely is for some type of outlining, in which case it should be close to an ink-like consistency.

Keep your pencil sharpened for nice crisp, clean lines. After I transferred the house, barn, fence, and mailbox, I retraced the lines with my flexible ruler and a #2 pencil to assure nice crisp, clean lines. This is where the flexible ruler comes in very handy on the spherical surface.

Refer to the color photo and/ or worksheet for shading and highlighting.

I do touch-ups to anything I see necessary as I move through my painting, but you should always double-check when you have finished the painting as well.

These are the tools I keep close by when painting these types of surfaces. Painting on spherical surfaces can be difficult, so I will try to provide October 2017 Issue

you with some tips that I have found work best for me.

• Wet rag – for wiping off any mistakes • Swisspers cosmetic applicators – these work great for removing unwanted paint from very small areas, because one end is pointed.

• 6” flexible ruler – it bends to fit the round surface for making perfect, straight lines • Hand sanitizer – works great for removing dried paint

Preparation – SprayPainting the Ornament: Begin your project by wiping any dust from the ornament with a damp cloth and allowing it to dry completely before spray-painting.

Attach a clothespin to the hanger, and hang it on a clothesline or something similar.

This is the easiest method I have found for spray-painting spherical ornaments, because you can easily spray the bottom and all sides when the ornament is hanging freely.

I usually apply 2-3 light applications. Be sure to allow ample drying time between applications.

You may need to bring the ornament indoors to dry if the temperatures outdoors are too cold or too hot. Also, be cautious of the windy days, as anything that blows around will inevitably stick to the ornament. I have a pegboard with long hooks in my art room, in case I have to dry my ornaments indoors.

Last, but not least, never ever spray-paint in a non-ventilated area. Read the directions on the back of the spray paint can for proper use before beginning this project.

After you apply your last application, allow it to dry overnight before beginning the next step.

Transferring the Pattern: Using your pencil, trace the design onto the tracing paper, and set it aside.

Cut out the traced design, and tape it to the ornament with a small piece of painter’s tape. (It is easier to work with a small piece of tracing paper, rather than have all the excess paper in the way.) Lightly tape the traced pattern onto the ornament, paying careful attention to where the seams are (if applicable) on the sides of the ornament. This is to assure that your design will be straight and centered correctly on the round surface.

Transfer the main outlines of the design only. You’ll transfer the details as you move through the pattern.

I find it easier to transfer the design in sections on these types of surfaces. I always start with the focal point of the design.

On this one, I completed the Santa and reindeer first, and then I transferred the lines for the horizon down to just below the fence line, where the snow ends.

Once I added the snow, I transferred the house and painted it, and then began to add the trees and other

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pieces of the design as I moved through the pattern.

Don’t be afraid to lift the transfer paper and check the design often. I do this several times when I am transferring onto these types of surfaces. If you are not happy with the design, you can just wipe it clean with a damp cloth, and start over.

I normally use the lathe from creativeartslifestyle.com, but this ornament was too large to fit, so I held it between my legs and rested it on a large cup when needed. Hold the ornament firmly between your legs, and keep a steady hand when transferring the design.

Hold the ornament at armslength often to see if the design is straight. I also hung mine on my pegboard to see how it would look when hanging before I began painting it. I have gotten a long way into painting an ornament and realized I transferred the design crooked, so take your time and you should have no problems.

Once you have the main design transferred, move on to the next step.

Moon: Hold the circle stencil in place for the moon, and stencil it in with Titanium White using the 5/8” dry brush. Quickly pick up some

Lamp Black along with Titanium White, and randomly tap that in. That is all there is to doing the moon.

Do not overdo this step. Less is better in this case.

Clean the brush out with the hand sanitizer, wiping it onto a rag or paper towel until it is clean.

Sleigh: Lightly tape the sleigh stencil in place with the painter’s tape, and stencil it in using the 5/8” dry brush and Dazzling Metallics Festive Red. Allow the paint to dry, and apply another coat.

Add the runner in Lamp Black using the 5/16” dry brush.

Allow the surface to dry. Remove the stencil, and connect the runner to the brace using the #1 round and Lamp Black.

Let the paint dry, and lightly brush in some Metallic Gold on top of the whole runner.

Lightly brush on a little snow in Titanium White on top of that.

Allow the ornament to dry, and apply two coats of the Sizzling Red Glamour Dust to the sleigh. Allow ample drying time in between coats.

Santa’s Bag of Toys: Apply 2-3 light coats of Leaf Green to the bag of toys in the sleigh using the #1 round. Add the shading in Evergreen. Paint the tie with some thinned Country Red using the #18/0 script liner.

Santa’s Coat: Add Santa’s coat and hat in 3-4 light coats of Deep Burgundy using the #1 round.

Create a medium gray mix by mixing a bit of Lamp Black with Titanium White, and add his hat’s tassel, the fur on the brim of his hat, and the fur on the opening of his coat and sleeves, along with his hair, beard, and mustache.

Apply 1-2 coats. Shade a little bit of Lamp Black just under the fur on his hat, around his face, and under his mustache.

Add his face with 1-2 coats of Warm Beige. Add a single coat of Leaf Green to his mittens for now, just so that you can see where everything is.

Lightly brush in his cheek by mixing just a small amount of Country Red with some Warm Beige using the #1 round. Dot in his eye with Lamp Black using the small stylus. Add a highlight in Titanium White.

Begin applying the fur and his hair with Titanium White using the 1/8” Royal Crafters

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Choice brush. Tap it in using a dry brush technique.

Add his beard and mustache using some thinned Titanium White and the #18/0 script liner.

Dry brush a little bit of snow on the front part of his hat in Titanium White using the 1/8” Royal Crafters Choice brush.

Outline the top of his sleigh and the top of his right arm with some thinned Lamp Black using the #18/0 script liner. Apply another coat of Leaf Green to his mittens using the #1 round.

Begin to add the reins with some thinned Country Red using the #1 round. You will finish adding them as you work your way through the reindeer. Once you have finished adding the reins, add some snow to the top of them in Titanium White by skipping across the top of them.

Reindeer: Lightly tape the first reindeer in place, and stencil it in with Honey Brown using the 5/8” stencil brush. Allow it to dry, and apply a second coat. You will complete the next three reindeer in the same manner.

Mix just a touch of Lamp Black with some Burnt Umber, and thin it down a bit. Using the #18/0 script liner, go over the antlers in this mix. Allow the paint to dry, and highlight in some thinned Desert Sand.

I dotted in Lamp Black eyes with the small stylus. Allow that to dry, and dot in the highlights using Titanium White.

Let the paint dry, and randomly dry brush in some Burnt Umber all over the reindeer using the 1/8” Royal Crafters Choice brush.

Keep it lighter on the white parts.

Add Rudolph’s nose in Dazzling Metallics Festive Red with the opposite end of the 1/8” Royal Crafters Choice brush.

Add the rest of the reindeer noses in the same manner with Lamp Black. Highlight all of their noses in Titanium White using the #18/0 script liner.

Outline under the front and hindquarters and the split between the back legs in a thinned mix of Burnt Umber + a touch of Lamp Black using the #18/0 script liner.

Add the straps on the reindeer in 2-3 light coats of thinned Dazzling Metallics Festive Red using the #18/0 script liner.

Add the bells in Lamp Black using the small stylus. Allow the paint to dry, and add a dot of Metallic Gold on top of the black in the same manner.

Snow: Basecoat the snow in with two light coats of Titanium White

using a damp #10 filbert. Allow the first coat to dry overnight before applying the second coat.

When you apply the second coat, add just a touch of Deep Midnight Blue to the Titanium White; allow the paint to dry, and move on to the next step.

House: Mix just a tiny bit of Lamp Black with some Titanium White for a very light gray mix, and basecoat the house in 2-3 light coats of this mixture using the #1 round. Keep your brush strokes horizontal.

Apply the basement wall, the access door to the basement, the porch, and the outlines on the roof by adding more Lamp Black as needed to the light gray mix. Refer to the colored photo or worksheet.

Outline the light gray trim with the #2 pencil. Shade the house with the dry gray watercolor pencil. Lay the pencil on the side, and shade the areas per the colored photo or worksheet.

Add the roof in Lamp Black with the #1 round. Add snow with the watercolor pencil to the roof, the top of the basement access door, and the porch entrance. I used a wet #1 round to blend it downward. Dab off the excess water as needed with a rag and/or your finger.

Repeat the process as needed.

Add the white under the tummies, up the back legs, on the chests, inside the ears, and on the tails with some thinned Titanium White using the #18/0 script liner.

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Using the #1 round, outline the porch roof and the left side of the front door with the same mix that you used for the house.

Add the windows in with two coats of Burnt Orange using the #1 round. Add the highlights with three coats of Cadmium Yellow on the left sides of all the windows by dry brushing them in with the same brush.

Add the lattice to the front of the porch with the white watercolor pencil. Use a nice, sharpened pencil to assure nice, crisp lines.

Add the posts to the front porch with Titanium White using the #1 round. Add some Lamp Black to the right sides of the posts while the white is still wet.

Add the lines on the house using the #2 pencil. Spray a light coat of the Rust-Oleum Matte Clear Enamel to protect the lines from smudging.

Allow the surface to dry, and add the light on the ground with the #8 filbert. To add the light, very lightly double load a damp #8 filbert brush with Burnt Orange and Cadmium Yellow, and work the paint into the brush by blending it

back and forth onto your paint palette. Then, brush it across the area where the light will shine.

Pick up more water as needed.

The paint should be fairly transparent when you apply it.

mix along with some of the Titanium White, and add the three trees. Add the shadow by mixing a touch of Deep Midnight Blue with some Titanium White using the #1 round.

Quickly rinse your brush, wipe off the excess water, and then blend the two colors together. Work in one direction only. Work quickly, and use a very light touch.

Pine Trees:

Repeat until you are satisfied with the results. If you think the color is too intense, just wipe it off with a damp cloth, or you can come back with a few light strokes of Titanium White.

Using the #1 round, thin a little bit of Lamp Black, and add a guideline for the placement of the pine tree.

Trees: Begin adding the trees when needed. You will complete all of the trees following these instructions.

Mix just a small amount of Lamp Black with the Burnt Umber, and thin it down to the consistency of ink. Pour a bit of Titanium White onto your palette, and thin that down to the consistency of ink also.

Using the #18/0 script liner, pick up some of the Burnt Umber

Begin adding the pine trees as needed. You will complete all of the pine trees following these instructions.

Palette blend some Evergreen with just a touch of Lamp Black.

Use the #1 round to do the first few branches at the top.

Load the brush, push the bristles flat onto your palette, and tap in the first few branches. Use the #8 filbert to complete the rest of the tree by alternating the taps from side to side.

Add the snow in the same manner using Titanium White.

Add the shadows in a mix of Deep Midnight Blue and some Titanium White using the damp #8 filbert and brushing in a back-and-forth motion.

Using the #18/0 script liner, add the trunk by mixing a little Lamp Black with Burnt Umber and thinning it down. Add the snow in Titanium White on the left side of the trunk.

Pathway: Add the pathway to the right of the house in a mix of Deep Midnight Blue and a little Lamp Black using the #8 filbert.

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the #18/0 script liner. Touch up the snow in front of the barn using the #8 filbert.

Allow the pathway to dry, and add some snow back into it using the #8 filbert and Titanium White. Brush from left to right, bringing some of it back into the pathway.

Using a damp brush, lightly brush some Heritage Brick mixed with a bit of Titanium White in front of the barn. Quickly rinse your brush, wipe off the excess water, and blend it out.

Add some snowdrifts in front of the house using the #6 filbert by brushing a little Titanium White in front of the pine tree and around the house.

Pull some of it down for the appearance of snow drifting.

Barn: Mix a little bit of Lamp Black with some Titanium White for a medium gray mix, and apply it to the entire barn as your basecoat using the #1 round. You will also apply this mix to the door that is in the middle of the stone wall.

Add the basecoat for the stone wall in two light coats of Desert Sand. Allow the paint to dry, and paint the left side of the barn in Heritage Brick and the right side in Country Red, including the door on the stone wall. This will take a couple of coats to get good coverage.

Begin to apply the shaded areas to the barn using the dry black watercolor pencil. I added just a few highlights to the front of the barn using the dry white watercolor pencil. Again, use a wet #1 round to blend it downward, dabbing off the excess water with a rag or your finger. Refer to the colored photo or worksheet for placement.

Randomly dry brush in some Burnt Umber on the stone wall with the #1 round, applying a little more to the right side where October 2017 Issue

Come back with just a touch of Deep Midnight Blue mixed with a bit of Titanium White, and brush it just to the left of where you’ll place the large pine tree, bringing it into the Heritage Brick. See the colored photo or worksheet for placement.

the large pine tree will shade it a bit. Add the stones with the #1 round. Pick up just a touch of the Burnt Umber mixed with a very small amount of Lamp Black, and just lightly touch it in randomly.

Add the right side of the door on the stone wall in with Lamp Black. Add the board across the center of the barn on the right side with Lamp Black.

Outline the top of the stone wall in Lamp Black. Add some snow with Titanium White by skipping it across the black.

I touched up the light next to the pathway just to the left of the mailbox area by adding just a touch of some Cadmium Yellow and Deep Midnight Blue with the #8 filbert. Apply it just like you applied the light in front of the house. It should be fairly transparent when you apply it.

I then came back with some Titanium White. I brushed it back and forth, bringing a little of the white into the pathway.

Add a few snowdrifts in front of the barn using the #8 filbert.

Fence:

Add 1-2 light coats of Lamp Black to the roof. Add the snow on the roof using the white watercolor pencil in the same manner as you did for the house.

Mix some Burnt Umber with a bit of Lamp Black, and add the fence using the #1 round. Allow the paint to dry, and dry brush some Titanium White on the left sides and the tops of the center posts.

Add the windows in using Lamp Black. Outline the left sides of the windows in some thinned Titanium White using

Add the shadows in front of the fence with Deep Midnight Blue mixed with a touch of Titanium White using the #1 round.

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opposite end of the #18/0 script liner: Leaf Green, Deep Midnight Blue, Cadmium Yellow, Spiced Pumpkin, and Primary Red.

Mailbox: Add the mailbox post in the same manner as you did the fence.

Add the mailbox in a mix of Titanium White and just a bit of Lamp Black. I added just a touch more Lamp Black to the front of the mailbox where it is shaded. I added the tab to open the mailbox in the same mix.

Outline the opening and the bottom in some thinned Lamp Black using the #18/0 script liner. Allow the paint to dry.

Allow the lights to dry, and add a highlight on the top half of each light using the #18/0 script liner with some thinned Titanium White. Add some light in front of both trees using a damp #8 filbert with Titanium White.

Load your brush with a little of the Cadmium Yellow, and brush it in front of the tree.

Rinse your brush, pat off the excess water, and then quickly pick up some Spiced Pumpkin, adding it in the same manner.

Again, quickly rinse your brush, pat off the excess water, and then add some Deep Midnight Blue; do the same with Leaf Green and Country Red. Apply it just like you applied the light. Quickly rinse the brush, and blend the colors together, working in one direction.

Come back and add just a few more snowdrifts with Titanium White.

Finishing Touches: Do any touchups you see necessary at this time.

Spray the ornament with two light coats of the Rust-Oleum

Using the #1 round, lightly dry brush in some Titanium White snow on the opening and on top, pulling it downward.

Add the red flag in with Country Red. Lightly outline the left side and top of the flag in Titanium White with the #18/0 script liner.

Weeds in Front of Fence: Add the weeds in front of the fence with a mix of Burnt Umber and Lamp Black using the #1 round. Come back and highlight some of the top sides in Raw Sienna.

Add the snow with Titanium White in a tapping, skipping kind of motion. I wanted the snow to appear more on the heavy side.

Lights on Tree: Add the lights on the tree in the following colors using the Š 2017 Painting World Magazine Digital Edition. All rights reserved. Not for distribution, resale or reproduction. You agree to follow all international copyright laws as well as the terms and conditions outlined at paintingworldmag. com. You may NOT reprint or make copies, even for non profit uses. Any violation of these terms will result in a nonrefundable cancellation of your subscription and possible prosecution with fines up to $150,000 USD. http:// www.copyright.gov/title17/ Please contact info@paintingworldmag.com if you have received this PDF illegally.

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Matte Clear Enamel. Allow ample drying time in between coats.

Hanger: Cut off the old hanger, and cut a piece of jute about 12� in length. I always cut it a bit longer than I actually need. You

October 2017 Issue

can always cut off the excess.

I threaded it through the hole at the top of the ornament, and tied it into a few good knots.

Push the knot back into the hole with the small stylus.

Merry Christmas to all!

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Growing Your Creative Self

by Nanette Rasband Hilton

Nanette Rasband Hilton is an artist and writer based in Las Vegas, NV. Her work can be found licensed and published worldwide and can be seen at www.nanettehilton.com.

When not in her creative studio, you may find her cycling the world. She considers her family her greatest work of art.

While crouched under the morning sun pruning my scorched rose bed, I wondered how the plants had even survived the past week of mid-June.

With 100 degrees the seasonal norm, the ‘Vegas valley had reached 117 degrees—setting a new record. Temperatures like this, combined with the arid conditions of the Mojave Desert, may cause you to wonder how roses can even grow in such a place. But, they do. They thrive— given enough water...

Roses need a minimum of six hours sunlight to produce blooms. Las Vegas has lots of sunshine! Thanks, in part, to this

abundant sunshine, I have roses for both Easter and Thanksgiving table centerpieces—big blooms of rich red, bubblegum pink, sun kissed yellow and romantic lavender creating a full spectrum of color and an intoxicating scent.

We may, at times, feel as desolate as a desert trying to tap into our well of creativity. Those moments can be tempered with hope and perseverance by reflecting on the lesson offered by my roses.

American writer and philosopher, Ralph Waldo Emmerson, was a great student and proponent of nature. He said that “heaven and earth becomes part of [our] daily food….Not the sun or the summer alone, but every hour and season yields its tribute of delight; for every hour and change corresponds to and authorizes a different state of the mind….and thus the endless circulations of the divine charity nourish man.”1

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Our brain is made up of 85% water and its function depends on having plenty of it.

photo ©Kenneth W. Maurer, 1968, Black Water Falls, WV

Depression is often linked to a lack of creativity. In the treatment of depression, sunlight and time outdoors are fundamental medicines.

A Norwegian study proved that patients’ mental health improved when they spent time gardening2 and, similarly, a study done in the United Kingdom proved that “green exercise,” (physical activity done while exposed to nature)3 alleviates depression and stress. Just like roses, we all need sunshine to bloom.

And when things get just too hot to bear—and they will, remember to quench your thirst!

Seriously, water is a pick-me-up.

Next time you’re feeling droopy and wishing for some inspiration, get yourself a drink of water.

WATER. Drinking water and creativity are intricately related.

Water actually provides our brains with energy, better than any other substance, according to Dr. Corinne Allen,

founder of the Advanced Learning and Development Institute.

Dr. Allen says that “When your brain is functioning on a full reserve of water, you will be able to think faster, be more focused, and experience greater clarity and creativity.”4 While sipping, reflect (preferably while sitting outside or looking out a window).

Ask: What makes me feel refreshed? Emerson maintains that “The tradesman, the attorney comes out of the din and craft of the street and sees the sky and the woods, and is a man again. In their eternal calm, he finds himself.”5 Make a date with nature a part of your daily routine.

Our regular routines offer lots of opportunity for moments of creative genius. Just like roses love a shower, so does your creative self. Dr. Alice Flaherty,

a neuroscientist researching creativity, attributes people’s imagination to the level of dopamine in their systems.

Research has proven that activities like taking a shower release dopamine, a.k.a. creative fuel, into our brains.

That’s why so many people get their best ideas in the shower.

Water really does make things bloom, even our creativity.

A relaxed state of mind is essential to being creative.

Activities like showers, listening to music, falling asleep, exercising, driving a familiar route or any other “brainless” activity can be the empty space necessary for cultivating creativity. Albert Einstein reported getting his best ideas while pedaling his bicycle.

Nurture your creative genius with real-life tactics like green-activities, drinking more water and prioritizing time and place for mental relaxation. Then, expect a bountiful harvest.

1. Ralph Waldo Emerson, “Nature,” Nature and Selected Essays, Penguin Classics, p. 33-41.

2. “A Prospective Study of Existential Issues in Therapeutic Horticulture for Clinical Depression,” Issues in Mental Health Nursing, Vol. 32, 2011. p. 73-81.

3. “The Mental and Physical Health Outcomes of Green Exercise,” International Journal of Environmental Research, Vol. 15, 2005. p. 319-337.

4. Waterbenefitshealth.com, http://www.waterbenefitshealth. com/water-and-brain.html 5. Nature and Selected Essays, p. 43.

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A Circle of Christmas Friends

by Sonja Richardson

October 2017 Issue

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a gingerbread boy, and a gingerbread girl dancing to celebrate Christmas.

• Indian Turquoise DA087 • Irish Moss DA312 • Lamp (Ebony) Black DA067 • Marigold DA194 • Peaches And Cream DA23 • Raw Sienna DA093 • Snow (Titanium) White DA01 • Soft Sage DA207 • Tomato Red DA169 • True Blue DA036 • Winter Blue DA190

Mediums: About Sonja I was born and raised in Vienna, Austria. Being the only child, I was encouraged to use my imagination. Both my mother and father were very talented.

When I married and moved to the United States to raise our two sons, I started to miss following my dream to express my imagination. Each original design I paint has a piece of my childhood and young adulthood. I love to share with you. Come paint with me!!

• Decoart Americana® Matte Spray Finish DAS13

Royal® & Langnickel™ Majestic Series Brushes: • R4150 Shader #4 And #10 • R4585 Script Liner #2 • R4999 Mop #0 Or #2/0

Miscellaneous Supplies: • Old Brush For Dry Brushing • Paper Towels • Palette Paper • Tracing Paper • Graphite Paper • Water Basin

Surface: • #207-810 Snowflake Corinne 4” Dia Las From Viking Woodcrafts

This wood surface is a snowflake, but immediately I saw whimsical characters holding hands. I like to take cut out shapes to another level as I did with this snowflake. Santa is in charge with snowmen,

Decoart Americana® Acrylic Paints: • Black Green DA157 • Black Plum DA172 • Burnt Sienna DA63 • Hauser DArk Green DA133 • Hauser Light Green DA131 • Hauser Medium Green DA132

Helpful Hints: Use tracing paper to sand (please do not confuse with graphite paper). It works wonderfully!

Preparation for Round Ornament: Base the entire front in Snow White and the back in Winter Blue.

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Use the brush size to accommodate the area you are painting unless specified differently. Lines and small details are done with the liner brush.

The mop is used to soften and blend colors together unless specified differently.

Refer to photo for shading and highlighting placement.

Add pattern designs in layers working from background to foreground. This is where it is very important to use tracing paper to trace the pattern.

Painting Instructions Round Circle of Friends Ornament: Snowmen:

shade with True Blue.

All the snowmen are painted the same with a few exceptions. Refer to the photo for these difference.

Face:

The background color of Snow White will be the base for each snowman with shading done in True Blue. I use a “pity-pat” motion with my shader brush to achieve a fluffy appearance.

Once this is dry, add more highlight in Snow White along the edges and center. Now let’s do each snowman’s details. #1 Snowman on left side of Santa with peppermint buttons:

Buttons: Base coat each button Snow White and add Tomato Red stripes. Shade along the bottom of each button with Black Plum.

On the outside of each button, October 2017 Issue

Use Lamp Black for the eyes and a mouth line. Dry brush on cheeks with Tomato Red.

The nose is a dot of Peaches and Cream. The rabbit is outlined with broken lines of Snow White. Add a Snow White tail.

The carrot nose is base coated Tomato Red with Black Plum shading and Snow White highlighting.

#2 Snowman with red jacket:

Pocket and carrots: Shade around pocket with True Blue. The pocket has three carrots in it and painted like the carrot nose. The left carrot has some Hauser Dark Green stems.

Rabbit: Paint the rabbit Raw Sienna with a shading mixture (1:1) of Black Plum and Raw Sienna.

Face: Use Lamp Black for the eyes and a mouth line. Nose is a dot of Tomato Red with Black Plum shading along bottom and highlight in Snow White.

Jacket: Paint entire jacket Tomato Red and shade with Black Plum. Add Snow White stars.

The closure is Lamp Black.

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#3 Snowman with candy cane: Face:

sure not to make it too dark. Add a highlight on the arms, legs, and bottom of chin in Marigold.

Use Lamp Black for the eyes and dots for mouth. Paint the carrot nose in same colors as #1 Snowman.

Faces are all the same:

Candy cane over shoulder:

#1 Gingerbread on right side of Santa:

Basecoat candy cane in Snow White and add Tomato Red stripes. Shade along bottom with True Blue and along the left outside. Add a reflection line of Snow White.

Pine branch: The branch is painted Black Green, and the bow is created in Tomato Red. On both the branch and the bow, touch with some Snow White highlight lines.

#4 Snowman with scarf: Face: Use Lamp Black for the eyes and dots for mouth. Paint the carrot nose in same colors as the #1 Snowman.

Scarf: The scarf is base coated Irish Moss with dots of Tomato Red. Add shading with True Blue and highlight in Snow White. Add Irish Moss fringe.

Gingerbread: Each gingerbread character’s body, hands/arms, and head will be painted the same.

Base coat body in Raw Sienna with a shade mixture of Burnt Sienna and Black Plum being

Use Lamp Black dots for the eyes, mouth line,and all the stitching lines. Cheeks are Tomato Red.

Base coat the dress is Indian Turquoise, shade True Blue, andhighlight Snow White. Using Tomato Red, add a heart and a bow.

The snowman bag is painted the same as the head on snowman #1 but Lamp Black dots for the mouth. Add to the snowman bag a Snow White strap with True Blue shading.

Santa: Face: Paint face in Peaches and Cream with Burnt Sienna shading. The eyes are Lamp Black. Highlight the nose in Snow White. His cheeks are Tomato Red.

Jacket:

The heart has an outline of Snow White. Snowballs are painted the same as the snowmen but shading between each snowball to distinguish them. Add Snow White ric-rac on arms and head.

Bringing the jacket up to Santa’s chin, paint entire jacket Tomato Red and shade with Black Plum.

Add some white highlight lines (refer to photo for placement).

Paint the fur Snow White.

#2 Gingerbread with green sweater:

Gloves:

Base coat sweater in Irish Moss and shade with Hauser Dark Green. Add some trimming lines in Hauser Dark Green with Snow White highlights.

The word “J-O-Y”is Tomato Red with Hauser Dark Green shading along the right side of each letter and outlining on the right of the shading in Hauser Dark Green.

Paint both gloves Hauser Dark Green.

Pants: Base coat in Black Plum, shade in Lamp Black, and add highlighting in Marigold.

Beard, mustache, eyebrows, and hair:

#3 Gingerbread with green vest:

With a mix of Snow White and Lamp Black (you will need a light gray) and the liner brush, stroke in the hair and beard.

Paint the vest Soft Sage and shade Hauser Medium Green.

Add Black Plum line work along bottom and along arm holes. Buttons and buttonhole lines are painted Lamp Black.

When dry, over stroke light gray area withSnow White. Add the mustache in Snow White as well as the eyebrows. With the gray mixture, add a bit of shading below the mustache.

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Preparation for Present Ornament:

Hat: Base coat Tomato Red and shade in Black Plum.

Christmas Tree: Using the liner brush and Hauser Dark Green, add in whispie strokes for the tree boughs. Add a variety of layering strokes in Hauser Medium Green and Hauser Light Green.

Center Evergreen Boughs: Base coat the center in Hauser Light Green. “Pity-Pat” some Hauser Medium Green onto the Hauser Light Green, which is difficult to see in the photo.

Dry brush the center with Snow White (the middle of the wreath).

First layer of pine boughs is done in Hauser Dark Medium, second layer is Black Green (try not to cover up the first step).

And lastly, the third layer is Soft Sage.Add Tomato Red dots.

On the backside, add stroke work in Snow White. The wider lines toward the centre are a wash of Snow White.

Finishing: I used DecoArt Americana® Matte Spray Finish.

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This raw wood piece ornament was meant to be a package with a bow. But as always my imagination takes a hold of me and the bow became a umbrella and the rest is my snowman and Rudolph under the umbrella.

Base the entire package part in Soft Sage. Pitty-pat some Hauser Light Green on the dried background.

Bow is basecoated in Tomato Red.

Snowman: Trace the snowman and paint as per instructions. The

snowman is first pitty-patted in with a 3/4” flat brush that is side-loaded with White. Try not to have a totally smooth edge. I am not trying to cover my Soft Sage with the White, there are a few more steps.

When dry, shade the arms, head and center ball with True Blue.

When dry, repeat the white to highlight the outer edges of the snowman. If you feel the White is not strong enough, repeat again.

Face: Eyes and mouth are Black, nose is based in Tomato Red with Black Plum shading and a White highlight dot on the nose.

Hat: Basecoat in White.

The stripes are Tomato Red. Shading is a mix of White and Black to create a light gray. Pom-pom is Tomato Red with a White highlight.

Once all this is dry, trace on the reindeer, umbrella and tree base.

Reindeer: Basecoat with Raw Sienna and shade with Black Plum. Eyebrows and mouth line are also Black Plum. Highlight with Marigold.

Eyes are first shaded in with an upside down “U” using Black Plum. When dry add the White © 2017 Painting World Magazine Digital Edition. All rights reserved. Not for distribution, resale or reproduction. You agree to follow all international copyright laws as well as the terms and conditions outlined at paintingworldmag. com. You may NOT reprint or make copies, even for non profit uses. Any violation of these terms will result in a nonrefundable cancellation of your subscription and possible prosecution with fines up to $150,000 USD. http:// www.copyright.gov/title17/ Please contact info@paintingworldmag.com if you have received this PDF illegally.

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of the eye and then Black. The upper part of the eye has an outline of Black. Nose is created with the same instructions as the snowman above.

Antlers and hoofs are painted with Black. Nose, eyes, chest and legs have a White highlight.

Umbrella (Bow): Basecoat with Tomato Red. Add in some dots here and there with White. Shade along the creases and bottom with Black Plum.

Highlight Marigold on the fat parts of the bow. Trim the bottom edge with White. Handle is also Tomato Red with Black PAlum shading and highlighted with a stroke of White.

Before I add the tree and snowflakes, I’ve added the shading behind with a sideloaded brush in Hauser Green Medium. Use it to shade around the snowman leaving rough edges.

Also pitty-pat some of the Hauser Medium Green behind the tree.

Base of Tree: Basecoat with Marigold.

The trim is Tomato Red, as is the shading. Highlight is floated on with White.

Tree: Use Hauser Dark Green to basecoat add the tree. Stem is a simple straight line and the branches are shaky dots done along each angled stroke with a liner brush. Every branch has a dot of Tomato Red.

Snowflakes: Add the three snowflakes with your liner using White. Use a stylus to add White dots along the ends and where indicated by the pattern.

“MAKING FRIENDS” is written with black Micron pen along the right side of the snowman’s tummy.

Finish the Back: The back of the ornament is based totally in Soft Sage and shaded with Hauser Light Green. The pine branches are Hauser Dark green. Dot in some Tomato Red berries, and use the Tomato Red for the bow.

Highlight on the bow is White.

glitter on. When dry, you can repeat the whole process to add as much sparkle as you like!

Finishing: After you finished painting, varnish the piece using a spray finish.

On the umbrella/bow on the front, I added some glitter for a bit of sparkle.

I just used a piece of paper to cover the ornament except for the umbrella.

I like to use glue glitter spray to keep my glitter on.

Spray the umbrella and sprinkle the

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3.

October 2017 Issue

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Ornaments are Not Just for Christmas Anymore!

Or·na·ment ~ A thing used to make something look more attractive. That may be a glass bulb, a wooden piece of hand-painted memorabilia, an egg, or just about anything you can imagine adding to something to make it look more beautiful.

Fast-forward to today, and you might be surprised to learn that one billion dollars is spent on Easter decorations, two billion on Halloween decorations, and several hundred million on Thanksgiving decorations, as opposed to six billion on Christmas decorations annually, according to fact finding I did on the internet.

by Thelma Hamilton

What are we doing with all these decorations?

And how are ornaments included in this?

Ornaments as we think of them – for Christmas – date back to the early 1800’s, when Germans used them to decorate the first yuletide trees. It all started with apples and nuts. Of course, decorations pre-dated Christmas by thousands of years.

Ornaments are more than something to hang on the Christmas tree. Lately, I have seen 3” mini canvases, each painted with a different scene, used to decorate miniature trees for everyday decoration on tables and sideboards in magazines.

Bars of soap are painted and displayed on hand towel holders in bathrooms, and painted spoons and knives are bent at the handle and used to decorate cabinet door pulls. Painted ornaments adorn wreaths, are

piled in bowls, and are displayed on easels. They have blossomed way past the tree, and now adorn our whole house.

Let’s start with Easter.

We can begin in the front yard…

Front yards have elaborate displays that extend into our homes. There are eggs hanging on trees and scattered across the lawn. There are wreaths for every door. Inside and out, there are Easter egg hunts and elegant decorated eggs as gifts.

When we were children, we colored eggs, and the Easter bunny hid them. With our busy schedules at work, home, school, and extra activities, most families buy the decorated eggs to hide or decorate their homes. There are

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The Fourth of July is known for firecrackers. However, we still spend three billion dollars on decorations each year. Flags are a large part of this budget, but we still need to decorate the front door with a wreath and the picnic table with decorations.

Fabergé chocolate eggs that sell for a whopping $35,000 each.

I also read of a family in Germany that decorates the apple tree in their yard with 10,000 eggs each year. Each egg is painted and adorned with a design, jewels, or a hand-painted scene. They give most of them away to children, and store the rest for next year’s tree. Can you imagine painting, attaching a string, and hanging 10,000 eggs?

Halloween is the second most popular holiday to decorate for.

You may be one of the people that would rather decorate your home for All Ghouls Day than for Christmas.

Ornaments are my business. They have been my livelihood for almost 30 years. I handpaint them all year long.

Painted bats, ghosts, and goblins are everywhere for this holiday. Whether we hang them on wreaths and banners or string them on strings to hang from the ceiling, trick or treaters love to see the decorations in full view when they arrive dressed in holiday costumes looking for candy.

We can’t leave out Thanksgiving when thinking of using ornaments for decorations.

Pumpkins, gourds, and fall leaves, as well as the Pilgrims and the Indians, are all fair game for this holiday’s decorations.

The Thanksgiving table is the most common gathering place for the family this time of

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year. I have painted wooden ornaments with all of these themes for our table in years past.

You may have done this also.

I have several customers that come to my studio to pick up ornaments, so for several years, I have decorated a tree in my entryway with ornaments for each and every month of the year…

January is snowmen and snowwomen. February is hearts and cupids for Valentine’s Day, and March is shamrocks for St. Patrick’s Day. April is Easter themed, with bunnies and bunnies and bunnies… they are multiplying every year.

May is hats and gloves for Mother’s Day. June is a little Father’s Day with hats and toolboxes, but I quickly replace those with caps/tassels and diplomas for graduation day.

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July is red, white, and blue, followed by my birthday week. I celebrate my birthday for a whole week (doesn’t everyone celebrate for a week after a certain age?). So, purple streamers and flowers adorn the tree.

August is beach themed, with buckets and sand and boats on the lake. September is back to school, with pencils and crayons.

Of course, October is Halloween, with tricks and treats, and I change the tree out to a black

one I have just for this month.

November is pumpkins and Pilgrims/Indians.

And December is conventional red and green, with a different design each year.

And what better remembrance than an ornament with a newborn baby’s name, date of birth, weight, length, and time of birth? I have had phone calls from people in the delivery room ordering their heirloom.

This is more than a Christmas memory; it will be on display in the nursery for years.

I hang ornaments on ornamental hangers, hang them off garlands, and drop them in front of windows from strings.

I pile them in bowls, and display them upside-down in candleholders (this requires painting the designs upsidedown). I have stacked suitcases, and displayed them piled high.

I have several families that order ornaments to celebrate what is happening each year in their children/grandchildren’s lives.

They display these ornaments in the children’s rooms on ornament hangers in May/June.

What dance did a child perform this year, and what was the costume? Were they participating in little league, or tae kwon do?

I use ornaments to decorate my table by placing them as name tags at place settings, and have scattered them across the length of my 14-foot table with ribbons and tree branches as a centerpiece at bridal showers in July.

Everyone loves to see their names on the ornaments.

You might be surprised to hear that 90% of my business is for weddings, engagements, and other special events that have nothing to do with Christmas. Yes, ornaments are not just for Christmas anymore, and they are way more than something to hang on a tree in December.

I sell ornaments all year long. People give them as wedding and engagement gifts.

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October 2017 Issue

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Snow Buddies Ornaments

by Karen Wisner-Dyar

Painting World Magazine

You can paint up these little snow friends quickly, as I have used mostly “color floats” instead of basecoating. Paint them to give as last-minute gifts or as hostess gifts.

These designs would also be great to sell finished online or at your local craft fair. Enjoy!

About Karen I have loved art since I was a very young child. I remember getting an art set from Santa when I was 8, that was the beginning. I always wanted to be a cartoonist, so my style of painting is usually whimsical, but I still paint other styles when the mood hits.

I travel teach but have spent most of my teaching time in Italy, which is now my second home with lots of people I love very much. I have authored many books, patterns and magazine articles. Just when I think my creative mind is sucked dry, it starts in again!

I love sharing the love of painting with everyone!

Surface:

Miscellaneous Supplies:

• 2 Puffy Tin Cupcake Ornaments #11-52063, from Cupboard Distributing®

• Micron® 01 Pen 0.25mm – Black XSDK01-49 • Stylus with a Small End • Dark Transfer Paper • Tracing Paper • Q-tips® • 1” Piece of Sea Sponge • Paper Towels • Rusty Wire (for hangers) • Pliers

DecoArt Americana® Acrylics: • Antique Maroon DA160 • Avocado DA052 • Baby Blue DA042 • Burnt Sienna DA063 • Cadmium Yellow DA010 • Dark Chocolate DA065 • Deep Midnight Blue DA166 • Evergreen DA082 • French Grey Blue DA098 • Graphite DA161 • Honey Brown DA163 • Jade Green DA057 • Lamp (Ebony) Black DA067 • Light Buttermilk DA164 • Milk Chocolate DA174 • Moon Yellow DA07 • Raw Sienna DA093 • Shading Flesh DA137 • Snow (Titanium) White DA01 • Tangerine DA012 • Tuscan Red DA265

DecoArt® Mediums: • Americana Matte Spray DAS13 • Acrylic Gesso™ TXFP06

Brushes: • 3/4” Flat Wash • #1, #3, & #5 Rounds • #14 & #20 Shaders • #20/0 & #0 Script Liners (long bristles) • 1/4” Mini Mop • #2 Small Fabric Round • Old #1 Round (to stipple snow) • #1/4 Deerfoot (to stipple snow)

Painting Hints: • Use the brushes for these purposes: • Use the round brushes to basecoat.

• Use the #0 script liner to paint large vines and highlight strokes, and the #20/0 script liner to paint fine detail lines.

• Use the 3/4” flat wash to apply the background base of Light Buttermilk.

• Use the shaders to float color, shade, and highlight.

• Use the fabric round to dry brush highlights.

• Use the mop to blend floated areas, and use the Q-tips as smaller mops.

• Use the old round and deerfoot brushes to stipple snow for the body and snow areas.

• Refer to the pattern for shading (////) and highlights (::::) as you paint.

To float a wash of color, wet the surface, load your brush with more paint than you use for shading, and apply it in the same manner.

Use the mop or a Q-tip to blend the paint, let it dry, and then

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do other parts of the design. I work from top to bottom so I never run into a wet paint area.I clean the mop brush as I use it by lightly scrubbing it on a damp paper towel, and then drying it on my pant leg. This way, it is always clean and dry.

Helpful Hints: I clean the mop brush as I use it by lightly scrubbing it on a damp paper towel, and then drying it on my pant leg. This way, it is always clean and dry.

Apply a coat of Light Buttermilk over the entire surface to be painted, and let it dry. Repeat this process two more times, allowing the paint to dry between coats.

October 2017 Issue

Painting Instructions:

Stipple the hatband using Dark Chocolate, allowing some of the lighter color to show. Deepen the darker shaded areas on the twig arms and pocket using Dark Chocolate. Let that dry, and then paint the stitches on the pocket with Dark Chocolate.

Both Snowman Bodies: Basecoat the noses with Tangerine. Shade the bodies with French Grey Blue and the noses with Burnt Sienna.

Deepen the shaded areas using a light float of French Grey Blue.

Dry brush Shading Flesh cheeks.

If you are painting these designs on the puffy tins, clean the tins, and wipe them dry. Dip the sea sponge into water, and squeeze out any excess water. Then, dip the sponge into a puddle of gesso, and sponge it onto the tin surface to be painted using an up and down motion. Let the surface dry, apply a second coat of gesso, and allow the second coat to dry. (If you are painting on a wood cutout, skip this step – you won’t need to use the gesso.)

Once the prepped surface is dry, transfer the basic design

the paint dry, and then shade the light areas of the hat, hatband, twig arms, hangtag, and pocket with the Milk Chocolate

Using the old paintbrush and Snow White, stipple the “fluffy snow” areas on the snowmen.

Preparation:

Trace the patterns onto tracing paper using the black Micron pen.

lines onto the surfaces using the small end of a stylus and transfer paper. Transfer the detail lines as needed.

Paint Milk Chocolate cracks on the twig arms, let them dry, and then shade with Milk Chocolate; at the darkest areas, shade with Dark Chocolate.

Paint Lamp Black face details.

“Warm Wishes” Snowman: Float Color & Basecoat: Float the red hat areas, the red tree ball, and the ribbon using Tuscan Red, and let the paint dry. Float the coat’s color using Jade Green, the dark areas of the penguin and the tree ball hangers using Graphite, and the penguin scarf and blue tree ball using Baby Blue.

Shade the red areas of the hat using Antique Maroon.

Shade the green jacket using Avocado, and let the paint dry.

Paint the little lines and tear areas on the jacket using Evergreen. Let the jacket dry, and then use Evergreen to deepen the shading at the darkest areas. (See the photo).

Once the jacket is dry, dry brush highlights using Moon Yellow.

Using Lamp Black, paint “Warm Wishes” on the hangtag, or ink the words on using the black Micron pen. Dry brush the hat highlights using Snow White.

Penguin: Dot the scarf using Deep Midnight Blue. Let the paint dry, and then shade the scarf using the same color.

Basecoat the penguin beak and feet using Cadmium Yellow.

Use Burnt Sienna to shade the beak and feet. When that’s dry, paint Burnt Sienna beak holes.

Snowman Hat, Coat, Hangtag, & Twig Arms:

Shade the dark body areas using Lamp Black. Then, shade the light body areas using Honey Brown.

Paint the twig arm and hangtag details and the cracks in the pocket using Milk Chocolate. Let

Let the paint dry, and then deepen the shading above

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and under the scarf using Dark Chocolate. Dry brush the scarf highlights using Snow White. Float the feet highlights with the same color.

Highlight the body using Moon Yellow. Paint Lamp Black eyes.

Red Tree Ball & Ribbon: Dot the tree ball using Snow White. Paint tiny Snow White lines on the hanger.

Shade the tree ball and ribbons using Antique Maroon. Highlight the ribbons using Moon Yellow.

Paint tiny strokes on the ribbons using Snow White (see photo).

Blue Tree Ball:

Vines & Snow:

Use Deep Midnight Blue to dot the tree ball. With Snow White, paint the stripes (not the stars) on the ball and the tiny lines on the hanger, and let the paint dry.

Paint the vines using Dark Chocolate. Paint the pine boughs using Evergreen. Dot Tuscan Red berries using the large and small ends of the stylus.

Shade the ball using Deep Midnight Blue. Paint Snow White stars, and dot the centers with the same color.

Stipple the snow areas using Snow White.

Holly Leaves: Float color onto the holly leaves using Jade Green, and let them dry. Highlight them with Moon Yellow. Shade them using Avocado, and let the paint dry.

Using Evergreen, paint detail lines. Float the edge color using Tuscan Red.

Finish: Cut a 5� piece of rusty wire.

Push one end into the hanger hole, and twist it to attach it.

Bend the upper end around a large brush handle, and use the pliers to curl the ends.

Spray the entire painted surface using the Matte Spray varnish to seal it. Let the varnish dry, and then repeat.

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“Snow” Snowman:

Candy Canes:

Float Color & Basecoat:

Shade the light areas of the canes using Honey Brown, and shade the red areas using Antique Maroon. Once the shading is dry, paint highlight strokes using Snow White (see photo).

• Float using the following colors: • For the blue hat areas and the mittens, use Baby Blue • For the wreath area, use Jade Green • For the large berries and the red bow, use Tuscan Red • For the gingerbread body, use Raw Sienna Basecoat the red candy cane areas using Tuscan Red. Float the dark gingerbread buttons using Lamp Black.

Basecoat the frosting areas on the gingerbread body using Light Buttermilk.

Shade the gingerbread body using Raw Sienna. Deepen the shading at the darkest areas with Dark Chocolate.

Highlight the black buttons using Moon Yellow. Paint Lamp Black eyes. Then, paint a highlight stroke on the upper button using Snow White.

Wreath & Large Berries:

Snowman Hat, Mittens, & Twig Arms: Shade the hatband and twig arms using Milk Chocolate. Let them dry, and then paint their detail lines with the same color.

Dot the blue dots on the hat and mitten using Deep Midnight Blue. Paint Snow White stripes on the mitten.

Deepen the shading on the twig arms using Dark Chocolate.

Shade the blue hat areas and the mittens using Deep Midnight Blue.

Highlight the hatband and the center of the mitten by dry brushing with Snow White; float with Snow White to highlight the edges (see photo).

Paint tiny Deep Midnight Blue lines on the mitten cuffs. Paint a Snow White stroke on the mitten.

October 2017 Issue

Gingerbread:

Shade the bow and the large berries with Antique Maroon.

Shade the wreath using Avocado, let it dry, and then deepen the shading using Evergreen.

Highlight the bow and the large berries using Moon Yellow.

Paint the wreath details with Evergreen, and dot the berries with Tuscan Red. Paint Snow White highlight strokes on the bow.

Highlight them with Moon Yellow. Shade them using Avocado, and let the paint dry.

Using Evergreen, paint detail lines. Float the edge color using Tuscan Red.

Vines & Snow: Paint the vines using Dark Chocolate. Paint the pine boughs using Evergreen. Dot Tuscan Red berries using the large and small ends of the stylus.

Stipple the snow areas using Snow White.

Finish: Cut a 5” piece of rusty wire.

Push one end into the hanger hole, and twist it to attach it.

Bend the upper end around a large brush handle, and use the pliers to curl the ends.

Spray the entire painted surface using the Matte Spray varnish to seal it. Let the varnish dry, and then repeat.

Shade the hangtag using Milk Chocolate. Let the hangtag dry, and then paint its detail cracks and lines with Milk Chocolate.

Paint “Snow” on the hangtag using Lamp Black, or ink it on using the black Micron pen.

Holly Leaves: Float color onto the holly leaves using Jade Green, and let them dry.

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October 2017 Issue

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Inspirational Wood Ornaments

by Tracy Weinzapfel

I am not sure about you but when I am asked to paint or design for the Holidays I go into panic mode. I start to sweat and shiver from the thought of holly, mistletoe and Santa’s.

Now do not get me wrong, I LOVE CHRISTMAS! I love the decorations, putting up Christmas lights in shorts and flip flops (in sunny San Diego) and all that comes with Christmas. Unfortunately, that does not carry over as inspiration in my art studio.

When I am asked to make

ornaments I immediately cringe at the thought that my ornaments just are not going to look all festive like they “should”.

Or should they? I have decided to embrace that fear and make my ornaments totally me.

Why not turn my love for inspirational into ornaments that will inspire at Christmas and all year long.

Here is my take on Inspirational Wood Ornaments!

They are fast, easy and FUN! Here are the materials I used.......

Surface: • Wood Ornaments of Your Choice, roughly 3” or 4” by 5” or 6”

DecoArt® Media® Fluid Acrylics®: • Cobalt Teal Hue • Primary Magenta • Blue Green Light • Pyrrole Red • Titanium White • Quin Violet • Prussian Blue Hue • Hansa Yellow Medium • Vermilon • Carbon Black

Mediums: • DecoArt Media Gesso® (White) • DecoArt Media Tinting Base® • DecoArt Media Varnish® (Ultra Matte) • DecoArt Spray Sealer® (Glossy) October 2017 Issue

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Ink: • StazOn Or Ranger ink pads ®

®

Stamps: • Totally Tracy® / Dare 2b Artzy®

Brushes: • Dynasty® Just a variety of flats and rounds • DecoArt Brush & Stencil Cleaner

It’s EASY: 1. Basecoat with the DecoArt Media Gesso for a perfect painting surface.

Let it dry completely.

2. Paint a fun and easy background with your favorite acrylic paints. Use whatever colors make you happy, streak it,

scrape it or texture it! I mix mine with the Tinting base for easier mixing. Let them dry completely.

3. Using the inks and your favorite stamp, stamp your image and an inspirational saying onto paint.

4. When that’s all dry, varnish and you are done!

Hang them up with pretty wires, ribbons or twines.

They are that simple and fun to look at on your tree and in your own art studio. They can be given as gifts, used to adorn gifts and can be personalized!

I love making them. I think it represents me and my style....

I am happy to announce that the holiday bug has bitten me and stay tuned for Totally Tracy Christmas themed stamps!

After years of being asked I have two sets that will be coming out later this year!

My fear of all things festive is gone and I am ready to make some more ornaments for this year’s ornament exchange.

For more information and inspiration make sure to visit my website at www. tracyweinzapfelstudios. com. Merry Christmas Painting!

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October 2017 Issue

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Snow Ladies

by Deb Antonick

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Painting World Magazine

These charming little snowgals are bright, funky and just perfect for your holidays and all winter long! Who says it’s too cold outside to be glamorous?

Supplies: • Stampendous® Delicate Snow Set Stamp CRS5069 • Tim Holtz® Christmas Stencil #THS030 • Makeup Sponge • Aleene’s® Fast Grab™ Tacky Glue®

DecoArt® Paints & Mediums: • DecoArt® Media®Liquid Glass DMM14 • DecoArt® Glamour Dust™ DAS37 • DecoArt® Americana® MultiPurpose™ Sealer DS17

DecoArt Americana® Acrylics: • Aqua Sky DA333 • Brilliant Purple DA353 • Buttermilk DA03 • Coral DA346 • Dioxazine Purple DA101 • Espresso DA271 • Fawn DA242 • Green Tree DA349 • Holly Green DA048 • Kelly Green DA055 • Lamp Black DA067 • Light Buttermilk DA164 • Light Lime DA348

About Deb I live in beautiful Penticton, British Columbia, Canada with my recently retired husband and two fur children. My husband and I have spent the past two years renovating my husband’s childhood home that was built by his father in 1946.

My painting journey began in 1990. From the first time I picked up a brush I was hooked. I painted for craft sales and taught classes at Michaels® for five years.

Since then I have gone on to be one of the originalfounding members of Painting with Friends®, the brainchild of my friend Terrye French.

Surface: • 3 of #31-L494 6” Henry Vertical Ornaments from Cupboard Distributing® October 2017 Issue

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• Light Orchid DA352 • Napthol Red DA104 • Peacock Teal DA326 • Pink Chiffon DA192 • Prussian Blue DA138 • Spiced Pumpkin DA310 • Scarlet DA345 • Soft Heather DA306 • Spa Blue DA277 • Spiced Pumpkin DA310 • Warm White DA239

Dynasty® Brushes: Black Gold® Series 206: • Flat Shaders 206S #4 and #10 • Liner 206L #10/0 • Round 206R #2 • Angular Shaders 206A 1/4”, 3/8”, and 1/2”

Decorator Series 400: • Mop 5/8” or 1” • Stencil Brush 1/2”

Mezzaluna® Brushes: • Small, Medium, Large, and X-Large

Basic Techniques: Refer to the color photo for shading and detail placement.

Stenciling with paint: Load the stencil brush with paint then tap onto a paper towel to remove excess; use as little paint as possible so as not to bleed under the stencil.

Pounce the surface working from the center outwards.

Stenciling with Texture: Firmly hold or tape the stencil in place. Use a palette knife or an old credit card to apply a thin coat of texture over the stencil.

Carefully lift stencil straight up.

Float / Shade: I always float my color with the angular shaders. Use a mop to soften floating/shading.

Line: Unless otherwise stated, all lining is done with the #10/0 liner and the paint watered down to an ink-like consistency.

Sealer. Basecoat with Aqua Sky and let dry completely.

Stencil the background with the THS030 Christmas stencil and Peacock Teal.

When dry, trace on the pattern.

Shade around the designs and the outer edges with Peacock Teal.

Basecoat: Use the brush that best fits the size of the area to be painted.

Stamp the background with one of the smaller Snowflake stamps and Spa Blue.

Preparation:Background:

Painting Instructions:

Basecoat the background with Aqua Sky mixed 1:1 with DecoArt Multi-Purpose

Snowmen: Basecoat with Buttermilk.

Shade with Fawn. Drybrush

© 2017 Painting World Magazine Digital Edition. All rights reserved. Not for distribution, resale or reproduction. You agree to follow all international copyright laws as well as the terms and conditions outlined at paintingworldmag. com. You may NOT reprint or make copies, even for non profit uses. Any violation of these terms will result in a nonrefundable cancellation of your subscription and possible prosecution with fines up to $150,000 USD. http:// www.copyright.gov/title17/ Please contact info@paintingworldmag.com if you have received this PDF illegally.

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Light Buttermilk. Deepen shading with Espresso.

Drybrush with Warm White to brighten. Drybrush cheeks with Coral and base the nose with Spiced Pumpkin.

Red Hat Snowie: Hat: Base with Coral. Shade with Scarlet. Highlight with Pink Chiffon.

Deepen shading with Napthol Red. Dot the accents with Warm White in clusters of three.

Purse: Basecoat Green Tree. Shade with Kelly Green. Highlight with Light Lime. Deepen shading with Holly Green and line the stripes with Light Lime.

Purple Hat Snowie: Hat and Skirt: Base with Light Orchid. Shade with Brilliant Purple and highlight with Soft Heather.

The little snowie on the stick is the same as Snowmen above.

Green Hat Snowie:

Float the ruffle under the little Snowie head with Soft Heather.

Dot with Warm White. Line the bow with Lamp Black.

Hat & Shirt: Basecoat with Green Tree.

Shade with Kelly Green.

Highlight with Light Lime. Deepen shading with Holly Green.

Line the swirls with Warm White.

Stipple the “fur” with Light Lime.

Base the Candy Canes and the stick for the little Snowie with Napthol Red. Line the stripes and the highlight with Warm White.

October 2017 Issue

Add the pom-pom, hat brim, dress trims with the DecoArt Snow Writer then quickly sprinkle with Glamour Dust.

starting with Holly Green.

Repeat with Kelly Green and finish with Light Lime. Dot the berries with Napthol Red.

Finishing: Outline with Lamp Black as desired. Line and dot all snowflakes with Snow (Titanium) White for the perfect finish!

While still wet, adhere a small flat back crystal to the collar.

Berries & Greens: Line the stems with Holly Green. Line the greens in layers

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October 2017 Issue

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Directory of Artists Deb Antonick adeb@shaw.ca www.paintingwithdeb.ca

Barbara Nielsen, CDA barbara@barbaranielsendesigns.com www.barbaranielsendesigns.com

Debbie Cole, CDA debbie@debbiecole.com www.debbiecole.com

Sherry C. Nelson, MDA, TDA birdpainter@me.com www.sherrycnelson.com

Marlene Fudge paintingmarlene@aol.com

Sonja Richardson sonjastreasures@aol.com

Thelma Hamilton thelmahamilton@yahoo.com www.thelmaLhamilton.com

Phyllis Spaw phyllisspawdesigns@gmail.com

Kathi Hanson kathihanson@gmail.com

Tracy Weinzapfel info@tracyweinzapfelstudios.com www.tracyweinzapfelstudios.com

Chris Haughey chris@cdwood.com www.cdwood.com

Karen Wisner-Dyar kdolls.designs@gmail.com homespuncountrycollectibles.com

Tracy Moreau tmoreau7@bellaliant.net www.tracymoreau.net

October 2017 Issue

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Directory of Advertisers & Suppliers Aleene’s® Glue Products ilovetocreate.com/aleenes 559-291-4444

JB Wood ® Products www.jbwood.com 508-222-5790

Bear With Us , Inc. www.bearwithusinc.com 407-347-5939

Jo Sonja’s www.josonja.com 888-567-6652

Creative Woodworks® www.creative-woodworks.biz 408-923-5239

Just Fine Designs ® www.justfinedesigns.com 951-371-3489

Creative Arts Lifestyle www.creativeartslifestyle.com 740-441-1564

Koh-i-Noor www.kohinoorusa.com 800-628-1910

The Creative Coach www.lauriespeltz.com 515-253-9881

Krylon www.krylon.com

Smooth Cut Wood® smoothcutwoodproducts.com 888-982-9663

Loew-Cornell Brushes www.loew-cornell.com 866-227-9206

Stampendous® www.stampendous.com 800-869-0474

Menard’s® www.menards.com

Staz-On® Inks by Tsukineko® www.imaginecrafts.com

Molotow www.molotow.com

Totally Tracy® www.tracyweinzapfelstudios.com

New England Traditions www.newenglandtraditions.com

Truax Printing® www.truaxprinting.com 419-994-4166

®

®

®

®

®

Cupboard Distributing www.cdwood.com 937-652-3338 Debbie Cole Designs www.debbiecole.com

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DecoArt www.decoart.com 606-365-3193 ®

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Sakura® of America www.sakuraofamerica.com Sculpey® www.sculpey.com Sherry C. Nelson Brushes/ The Magic Brush® www.sherrycnelson.com 512-398-3277 Silver Brush® Ltd. www.silverbrush.com 609-443-4900

Viking Woodcrafts® www.vikingwoodcrafts.com 800-328-0116 Walnut Hollow® www.walnuthollow.com 800-395-5995 Winsor & Newton® www.winsornewton.com

Royal Langnickel® art.royalbrush.com 219-660-4170

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Missing drawings from the October 2017 Ornament issue; Star Angels

by Barbara Nielsen on page 29.

Painting World Magazine

ALL RIGHTS RESERVED ON THIS DRAWING. Part of October 2017, Issue 09 ©Magpie Publishing, LLC. Drawings are ©Barbara Nielsen, 2017, all rights reserved. The instructions in this magazine are published in good faith and have been checked for accuracy; however, no warranty, either expressed or implied, is made nor are successful results guaranteed. Subscription rate $29.99 for 7 issues. Distributed in the United States and worldwide. Printed & Shipped by Truax Printing®, Inc. Loudonville, OH. © 2017 Painting World Magazine Digital Edition. All rights reserved. Not for distribution, resale or reproduction. You agree to follow all international copyright laws as well as the terms and conditions outlined at paintingworldmag. com. You may NOT reprint or make copies, even for non profit uses. Any violation of these terms will result in a nonrefundable cancellation of your subscription and possible prosecution with fines up to $150,000 USD. http:// www.copyright.gov/title17/ Please contact info@paintingworldmag.com if you have received this PDF illegally.

October 2017 Issue

97