June 2016 Premier Issue 01 Painting World Magazine by Loon Publishing, LLC.

Decorative Painting, Mixed Media, Fine Art & More!

June 2016

Painting World Issue 01

ÂŽ

magazine PREMIER ISSUE! Designs from All Your Favorite Artists Including:

GET INSPIRED!

Media Paints & Mediums with Tracy Weinzapfel! Make $$$ With Your Art by Thelma Hamilton The Evolution of an Artist by Kelly Hoernig

Bobbie Takashima Chris Haughey Deb Antonick Sandy LeFlore Debbie Cole Lynne Andrews Shara Reiner Judy Diephouse and more...

Wood Surfaces, Pattern Packets and Stencils

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Contents

14 Gone to the Beach by Sandy LeFlore

21 AHoy!

by Chris Haughey

28 Portrait of America by Cindy Vitale

“Ku-u-ipo” by Featured Cover Artist: Bobbie Takashima

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What 39 Gather Gladdens the Heart by Lynne Andrews

© 2016 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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48 Circles of Inspiration by Tracy Weinzapfel

Earth Laughs in 53 The Flowers

60 Little Miss Amy

by Deb Antonick

by Judy Westegaard

80 Kiev Treasure Box by Judy Diephouse

66 MORE GREAT Zenspirations Box 73 ARTICLES! 45 Making $$$ With Your Art 71 Evolution of an Artist 78 Innovative Corner Use Your Head 87 94 Directory of Artists & Suppliers Butterfly Card Plaque by Kelly Hoernig

by Debbie Cole

by Thelma Hamilton

by Kelly Hoernig

by Debbie Cole

by Shara Reiner

ÂŠ 2016 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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About Painting World Magazine Who We Are

About the Magazine

Painting World Magazine is owned and operated by Magpie Publishing, LLC., which is an independent publishing company. We are completely dedicated to the joy of creating delivered to our readers! We select only the best articles from the top designers in the industry and will be featuring all the hottest new techniques, products and artists.

Painting World Magazine publishes 7 times per year: 6 issues that arrive at your door every 2 months and one issue for the Holidays!

Our audience is a huge range of artists just starting out with their craft to seasoned professionals who have supported the industry since the 1970s.

Editor-in-Chief, Laura Haughey, is a lifelong member of the artistic community and has grown up attending conventions around the United States, surrounded with decorative artists her entire life.

Together with top designers, photographers, outstanding writers and a passionate readership, our team is absolutely in love with this industry and entirely committed to helping it grow while always feeding the artistic love of our readers! June 2016 Issue

US Subscriptions are $29.99 per year. Canadian subscriptions add $14.00 to cover shipping 7 issues to Canada. International subscriptions are available! Please visit our website www.paintingworldmag.com for full details and prices for international subscriptions.

How To Contact Us

Our Mailing Address: Painting World Magazine PO Box 1236 Miamisburg, OH 45343-1236 Phone: 937-343-4440 Email: info@paintingworldmag.com Facebook: facebook.com/PaintingWorldMag Twitter: twitter.com/Painting_World

Painting World Magazine brings its readers the best painting and mixed media tutorials from some of the top artists worldwide in the decorative arts industry. We are focused on creating a community full of people who inspire each other and share great ideas! Our readers can learn about decorative painting, mixed media, fine art and craft projects, jewelry making and more! Editor-in-Chief: Laura Haughey

Proofing & Editing: Jennifer McConkey

Submissions info: editor@paintingworldmag.com

ALL RIGHTS RESERVED ON ENTIRE CONTENTS. June 2016, Issue #1 ÂŠMagpie Publishing, LLC. Painting World Magazine is published 7 times per year by Magpie Publishing, LLC., 3318 Ultimate Way, Dayton, OH 45449, USA. All rights reserved on entire contents of magazine. We are not responsible for loss of unsolicited material. We reserve the right to edit and publish correspondence unless specific commentary and/or name and address are requested to be withheld. Reproduction of editorial or advertising contents in any way whatsoever without the written permission of the Publisher is strictly prohibited. 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 sucessful results guaranteed. Subscription rate $29.99 for 7 issues. Distributed in the United States, Canada, Europe and Australia. Printed in the USA by Truax Printing, Inc.

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“Ku-u-ipo”

by Bobbie Takashima

Painting sweet childhood memories is always a joy and a blessing for me.

Here is a glimpse of Hawaiiana, my father’s birthplace in Hilo, Hawaii, and this precious gift he gave to me... a little coconut and shellfaced doll with rope arms and legs, hat, ukulele and lei embraced by Ku-u-ipo (Hawaiian word for sweetheart).

Ku-u-ipo is a young mermaid riding atop a friendly turtle, enjoying the day. My hope is that you will think about the story when you paint this design and let yourself drift into the “playful, creative” side of your head... not worry about perfect strokes and technical steps too much. I understand that learning the steps is

important to build a stronger skill base... just take it in small steps my friend. Enjoy the journey!

About Bobbie:

Being a natural “daydreamer,” visualizing dolls and playthings was easy for me as a child. Then finding the raw materials to create them out of sticks, leaves, paper, and even mud was endless hours of fun! Creating pictures in the sand, building a dollhouse from old paper and wood boxes, and

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Preparation:

Usual acrylic supplies of a water basin, paper towels, and a waxed paper palette.

I enjoy the look and feel of brush stroked texture to the base color of my artwork... so I use a large brush, Oval Wash 1”, and apply the paint with criss-cross, slippyslap brushstrokes, leaving a little ridging from the paint to remain visible. This texture can be made to look very soft or bold... your choice! Later on as we paint, these subtle touches will magically appear and make the painting come alive with interest!

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Supplies:

Surface:

• Plain edge flat plate, 12”, Montzka Woodworking Inc.©

JoSonja® Sure Touch Brushes:

dressing up critters with leaves, weeds, and flower petals to live in the house was a joy! Sharing my art with others by teaching design and painting classes has taken this farm girl around the world and across the entire United States many times throughout my career.

Most of all, I cherish my humble beginnings and my dear parents and grandparents for their example and inspiration.

Tagging along with mother to art classes nurtured and inspired my passion for design, painting, and teaching. Formal art classes began in 1960 with a local fine artist and continue to this day.

On any given weekend, you’ll find this old toad traveling to teach seminars across the United States, Japan, Australia, Canada, England, South Korea, Scotland, Singapore, and Taiwan. Telling stories through art is a big part of my art style. If you look closely, you’ll find some of the journeys depicted in my paintings.

In 2007, I was selected by First Lady Laura Bush as the official artist for the White House Easter Egg Roll. June 2016 Issue

• #2040 Pointed Round Blender, size 0, 2, 6 • #3010 Sableon Round, size 2, 3 • #1318 Oval Wash, size 1/8”, 3/8”, 1” • #1355 Detailer, size 2 • JoSonja Artist Acrylic Paints: • Titanium White • Burnt Umber • Naples Yellow Hue • Turners Yellow • Gold Oxide • Juanne Brilliant • Napthol Red Light • Burgundy • Brilliant Green • Aqua • Raindrop • Blue Violet • Amethyst • Brilliant Violet • Purple Madder • Dioxazine Purple

Jo Sonja Mediums:

• Jo Sonja Clear Glaze Medium • Jo Sonja All Purpose Sealer • Jo Sonja Satin Varnish

I do not pre-mix the paint with sealer, but rather enjoy brush mixing the Raindrop with a touch of All Purpose Sealer on the waxed paper palette. Much like adding seasoning to your soup...to taste! Allow the surface to dry for a few hours before transferring the pattern or force dry the surface with a hairdryer set on warm. Allow the wood to come to room temperature.

Sanding the lovely wood plate from Tim Montzka before prepping isn’t necessary..it is silky smooth! A light sanding after the base color had dried efficiently may or may not be needed. Such a joy to touch and paint on a quality surface!

(All suppliers are listed in the directory at the back of the book)

Painting World Magazine as a reference, add or omit lines as desired to create the shapes in a very soft-edged sketch in this first step. This allows you to tighten up the looseness with clean, crisp edges as desired in future layered steps.

The core dark areas are very small, sometimes just a pin dot of color. These dark areas make a huge addition in creating added depth to the shadows.

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Techniques used in this painting:

Layering: There are multiple layers of pigments to build contrast of hues in value, temperature, and intensity; the amount of contrast is a personal choice. Build the effects the way you would like to see them. The layering may be applied in transparent layers by adding a touch of Clear Glaze Medium and pigment to the brush and blending together on the paper palette.

Layering with the dry brush painting technique is a lovely way to create a soft, textural effect, allowing the under layer(s) of pigment to filter through the successive layers. The method I use to load the brush for this technique is to dress a dry brush into Clear Glaze Medium, load with the pigment, blend on the waxed palette, and unload just the excess pigment hanging off the end of the bristles with a touch to the palette before painting. Begin all strokes of the brush in the air (yes you can do this) and gently touch it to the surface. As you use up more of the paint in the brush, your pressure becomes stronger until you run out of paint!

Once the brush-sketching step is complete, the shapes are shaded along curved edges to make them “bend,” and on objects and areas to push them away from the viewer, overlapping objects. This “shadow” shading helps to create a feeling of space in-between things! The Shading Steps involve a minimum of three dark values:

Purple Madder + a touch of Burnt Umber; then dirty brush to more Burnt Umber + Dioxazine Purple to create stronger dark areas within the first shading; finally, add an additional “core” dark within the tiny “V” and “C” areas of the second shading by adding a touch of Blue Violet to the dirty brush. Figure 1

Value Painting Technique: The value painting process is very logical and orderly, building upon the darker brush-sketching and shading steps with hue, temperature, and intensity change as we layer from dark to light hues. This begins our journey to more color! This is how I “base coat” areas with color, yet allow the background to peek through in the receding areas. I do not base coat from the pattern line edges in an opaque coverage.

Painting Instructions:

For me, the painting usually begins with the background color(s). The Raindrop hue is soft, toned, and supports the many warm hues of the painting. Adding a few soft, translucent brush strokes of colors from the cool side of the palette into the background before painting the figures will get us moving from back to front.

Brush-Sketching and Shading Technique: Sketching involves short, loose, soft edge strokes of the Pointed Round Blender Brush; thus, I say brush-sketching. Using the pattern lines

I begin with a color closest to the value, hue, and intensity of the background hue to create an ease of color blend and contrast.

Dress (meaning to add just a touch of paint) the 3/8” Oval Wash brush in Clear Glaze Medium and Raindrop, and then touch into June 2016 Issue

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spot to the low. Alternatively, in the case of a flat edge, emphasize that edge with this first application.

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The sketched and shaded samples are for your reference and interpretation.

Figure 2

Amethyst. Gently blend on the palette before touching to the design. Brush the paint onto the background (negative areas) around the figures with light, wispy strokes… thinking gentle Hawaiian trade winds.

Without cleaning the brush, touch the tip of the brush into Clear Glaze Medium and a little Brilliant Violet. Blend on the palette and apply the same wispy, light strokes randomly over the background area. This is the first step to developing the color harmony in this painting. These are still the beginning stages… enjoy the journey to the end! The entire design is brushsketched and shaded as previously described and shown in Figures 1 & 2.

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I must point out that there was a last minute design change in the coconut doll’s face in regard to his nose shape. These are the things artists do, and I like to show you exactly what went on during my design process. I want to be very transparent, as they say, letting you know it’s OK to change your mind for whatever reason… just make yourself happy!

Value Painting Steps:

The entire design is built up with these color steps to develop the fullness and to highlight areas on the shapes, slightly overlapping the first shading to softly blend edges together. Choose the appropriate size Oval Wash or Pointed Round Blender brush to fit the area you are working on. Dress the brush with Clear Glaze Medium and then load with Gold Oxide. Begin the application of paint in what will end up being the strongest light value spot on the shape. Continue brushing out toward the shading, slightly overlapping where they meet. Repeat as needed to develop a nice gradation from the high

Next, dirty-brush into Juanne Brilliant and repeat the previous step. See Figure 3.

Work the value to a higher level and develop lighter and gently brighter value and intensity by adding Naples Yellow Hue to the dirty brush. This will allow refined details to stand out, such as facial features, hair strands, flower petal edges and centers, and shine dots. See Figure 4.

Glazing Additional Color:

The paint is thinned with Clear Glaze Medium to a translucent mixture by brush mixing the color of choice + enough of the medium to make a wash, or to the consistency you wish.

The glazing technique is to layer the thinned paint mixture, wet over dry. Allow the paint to dry to the touch before adding another glazed layer. The beauty of glazing is the multiple translucent layers of colors. The glazed color applications follow this order:

• Turners Yellow in any highlight area or areas you would like to see Yellow strongly. • Napthol Red Light in strongly red areas, such as the blush on cheeks and lips and over some of the Yellow areas to turn them slightly orange (such as the fish). • Adding the deeper red hue, Burgundy, to the red areas will add depth.

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• Dioxazine Purple glaze is delicately applied to darken and deepen shadows, particularly on the side of the doll’s face next to the girl’s face.

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• The doll’s shell nose is dabbed touches of Aqua + Aqua + a touch of Naples Yellow Hue on the upper half with the #2 or #3 Sableon Round. • The bottom edge of the nose is darkened with Blue Violet touches. • Amethyst and Brilliant Violet glazes are delicately brushed into the shaded areas of flesh, hair, flowers, skirt, doll, turtle, fish, and background.

Finishing Details:

The #2 Detailer is the ideal brush for creating the very finest linework for the hair strands, leaves, flower petals and center dots, straw hat, ukulele strings, and shine dots.

This artist loves to sit and mess around with the details! I know you must too, to a degree! Figure 4

Figure 3

• Green is the next color glaze, beginning with the lightest, brightest value green: Brilliant Green. This green is glazed over the hula skirt, doll’s lei, and turtle’s body, and swished into the water around the fish. • The dark green glaze is a mix of Brilliant Green + a touch of Blue Violet. The deepest shadows on the skirt and turtle have a touch of this dark green glaze. • The darkest green leaves on the headpiece and the lei around her neck are stroked in with one or two brushstrokes with the Sableon Round brush. • Aqua is glazed on shaded areas of the design. Stay out of the highlight areas when possible, but not always… a little “accidental” color mixing can be fun!

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The plate edge is casually dry brushed with colors from the warm side of the palette, such as Gold Oxide and Burgundy.

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contrast the dark values, brings us just a step away from the finish. My favorite signature treatment in my work is the play of hues and movement in the back and foregrounds.

Here it comes… the “Ooohy, boohy” dry brush strokes, swirling and overlapping the design, adding a playful, magical touch! The dry brushed swirls are with the 3/8” Oval Wash brush loaded with Titanium White + Naples Yellow Hue (1: + a touch of Aqua).

Finishing:

Once the painting journey is complete, it is time to protect your new treasure with two applications of Clear Glaze Medium, drying between coats. Allow the Clear Glaze Medium to completely dry before applying the Varnish coat. Your painting is now ready to be varnished and enjoyed! Aloha, Bobbie T.

The color mix for the final “spattering” of sea foam is Titanium White + Naples Yellow Hue (1: + a touch of Aqua).

This is our opportunity to evaluate and enjoy our creation. First, I look for places that need darker contrast. With the #2 Detailer loaded with Burnt Umber + a touch of Purple Madder and Clear Glaze Medium, I will add the detail linework to Ku-u-ipo’s face (with eyeliner and eyebrows) and throughout the design with this dark value linework. The lightest value linework is Naples Yellow Hue + a touch of Clear Glaze Medium or plain water.

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Gone to the Beach

by Sandy LeFlore

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Palette: DecoArt Americana®

Brushes by Royal® and LangnickelTM:

• Antique White • Avocado • Baby Blue • Black Plum • Burnt Umber • Cinnamon Drop • Evergreen • Honey Brown • Lamp Black • Margarita • Ocean Blue • Red Violet • Sable Brown • Sand • Spiced Pumpkin • True Blue • Ultra Blue Deep • Warm White

• Royal Aqualon 2150 Shader – Size 12 • 2700 Glaze/Wash – Size 1/2” • 2250 Round – Size 4 • 2595 Liner – Size 1 • Langnickel Royal Sable 95005 Short Round – Size 10 (for dry brushing and stippling) • Large Old, Flat Brush, any brand will do, to apply Decou-Page

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Adding interest to a background can change the whole look of a project. On this piece, we’ll incorporate decoupaged tissue paper, stamps, and unique stencil material to add some character to an otherwise plain area, and it only takes a little bit of time. Let’s have some fun with our creative selves!

Mediums/Other Products:

About Sandy

Sandy has been painting since she took her first beginner class in 1988 at a local decorative painting store near her home in Southern California. Happily married for 40 years, mother of three, and grandmother of five, Sandy travels across the US frequently to teach and/or exhibit at painting conventions or to visit her grandchildren. She loves what she does and feels blessed to be able to share that love with others.

Surface:

• 15” x 5-1/2” Metal Chalkboard Arrow, available from Just Fine Designs

• DecoArt Decou-PageTM Medium – Matte • Text Background Tissue from Just Fine Designs • Punchinello Stencil Material – from Just Fine Designs • StazOn® Solvent Ink – Timber Brown • Background Stamps such as “Old Letter Writing Script,” “Chicken Wire,” “Decorative Circle,” or any stamps you may have in your stash. (Hero Arts, Stampendous, and Darice are some companies with great background stamps.)

(All suppliers are listed in the directory at the back of the book)

Miscellaneous Supplies:

• Craft Heat Gun or Hair Dryer (optional) • Royal Langnickel NANO-Liner Black Pen - .05 (or comparable permanent black ink pen) • Emery Board or Sanding Block • Cosmetic Sponge (optional) To help you through the process of preparing the background, go to www.justfinedesigns.com and watch the “Preparing the Mixed Media Background for the Metal Arrow Designs” video. This video takes you through the process step by step.

Preparation:

Working in sections, apply a coat of decoupage to the top of the arrow. Tear the tissue paper into a few pieces, then lay it on top of the decoupage and smooth slightly. If you get wrinkles that’s okay. Once the top of the arrow is completely covered, give the tissue paper a thin coat of decoupage. Let dry.

Apply just the pattern for the

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Photo 1

Photo 2

horizon line and the sand. Continue the horizon line and the water’s edge line through the other elements of the design. This makes for easier painting than trying to paint around fences and sandcastles.

Using the brown ink pad and your background stamps, stamp randomly around and over the design area. This adds interest to the background. Float very well blended out Burnt Umber on the background around the outside edges and above the horizon line. Using the Punchinello as a stencil, add dots to the background with Burnt Umber. I like to use a cosmetic sponge to stencil with. Pounce off most of the paint and it will give you a nice soft imprint that rarely bleeds under the stencil.

Painting the Design:

We will work on getting the foreground sand and the water painted in before applying and painting the rest of the design.

Foreground Sand:

Paint with one coat of Antique White. The background tissue and stamping will show through, and that’s all right. June 2016 Issue

Stipple the sand with Sand (Photo 1). Very lightly and sparingly, stipple some touches of Burnt Umber through the sand (Photo 2). Float shading along the bottom edge of the arrow, under the water line, and down the side edges with Honey Brown (Photo 3).

Water:

Paint with one coat of Baby Blue. Float Ocean Blue across the top edge of the water. With a flat brush, streak some Ocean Blue horizontally across the water (Photo 1).

Float the front edge of the water with Warm White. Streak some Warm White through the water with your flat brush. Add some floats of Warm White on the sand in front of the water’s edge (Photo 2). With a liner brush and Warm White, tap some “foam” on the edge of the water and in a few spots just above the water’s edge (Photo 3).

Clouds:

Stipple some light clouds in the sky with Warm White. Not too bold, just enough so you get the idea that there are clouds there (Photo 3).

Photo 3

Apply the pattern for the fence, the shovel and bucket, and the sandcastle.

Sandcastle:

Paint with a couple of coats of Antique White. Float shading on the background, behind the sandcastle, with Burnt Umber (Photo 4). Float shading on the water behind the sandcastle with Ocean Blue. Stipple all over the castle with Sand. Stipple some highlights with Warm White. Stipple little touches of Burnt Umber very sparingly.

Float highlighting with Warm White (Photo 4). Float shading with Honey Brown. Paint in the windows and doors with a wash of Burnt Umber (Photo 5). Deepen the previous shading with floats of Burnt Umber. Add a line of straight Burnt Umber inside the right side of each door and window. Line a highlight on the outside left edge of each door and window with Sand (Photo 6).

Paint the flagpoles with Burnt Umber. Paint the flags with Cinnamon Drop. Mix a little Cinnamon Drop with a little Sand and then line a highlight on the flags.

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Photo 4

Float shading on the flags next to the poles with Burnt Umber (Photo 6).

Stipple the sand on the ground in front of the castle with Antique White. Stipple again with Sand. Be sure to stipple and blend this Sand into the previous sand. Stipple the brightest areas, the tops of the little mounds, with Warm White. Very sparingly go back and stipple just a hint of Warm White on the castle to give it some more texture. Float shading above the mounds of sand with Honey Brown (Photo 6).

Photo 7

Photo 5

Fence:

Paint each fence post with Sable Brown. Float shading on the background around the posts with Burnt Umber.

With a large round brush or a small flat brush, paint a dry brushed layer of Antique White on each post. The wrinkles in the tissue will help the dry brushing give the posts a weathered look. Dry brush again with Warm White (Photo 7). Add a line of Burnt Umber down the left side of each post to form the cut edge of the wood. Line the wire around the posts with thinned Lamp Black.

Photo 6

Float shading above and below the wires and at the base of the posts (Photo 8). Line a highlight on the wire with thinned Warm White (Photo 9). Line the grass at the base of fence with thinned Evergreen. Line brighter grass with thinned Avocado (Photo 8). Line the brightest blades of grass with thinned Margarita (Photo 9). Stipple the sand beneath the grass with Antique White, then with Sand, and finally with Warm White. Float a touch of shading on the sand with Honey Brown (Photo 9).

Photo 8

Photo 9

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Photo 11

Photo 12

Photo 13

Photo 14

Photo 15

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Photo 10

Shovel:

Paint with True Blue. Float shading on the background around the handle with Burnt Umber. Float shading on the water with Ocean Blue.

Apply the detail pattern. Line some dry brushed highlighting to the handle, the shaft, and the blade with Baby Blue (Photo 10). Float shading on the handle, the shaft, and the blade with Ultra Blue Deep. This shading is going to tone down your highlights a lot, and that’s okay, part of the plan (Photo 11).

Line brighter highlights with thinned Warm White (Photo 12).

Pail:

Paint with Cinnamon Drop. This does not have to be completely opaque. A couple of coats will do. Dry brush highlighting with Cinnamon Drop plus a touch of Warm White. Dry brush brighter highlighting with June 2016 Issue

Warm White (Photo 10). Float shading with Red Violet.

Line the stripe on the pail and add the button to the base of the handle with Margarita. Line a highlight on the top of the button and through the center of the stripe with Warm White (Photo 11). Float shading on the stripe and the button with Evergreen. Deepen the shading on the pail with floats of Black Plum (Photo 12). Very softly float highlights on the handle, the rim, and the red part around the green button with Warm White plus a touch of Cinnamon Drop (Photo 12).

Stipple the sand beneath the shovel, the pail, and inside the pail with Antique White. Stipple again with Sand, and finally with Warm White. Float a touch of shading on the sand with Honey Brown (Photo 12).

Shells:

Paint the two flatter shells with Honey Brown. With your

liner brush, add the “ridges” with Warm White (Photo 13). Line the shading between the ridges and add the top piece with Burnt Umber. Line a highlight on the top piece with Warm White (Photo 14). Line small stripes across the “ridges” with thinned Burnt Umber.

Float a little Honey Brown across the top of each shell. Line a small highlight of Warm White on each section of the shell, across the brown stripes (Photo 15). Paint the spiral shell in the middle with Baby Blue. Line a highlight on the spiral and the end of the shell with Warm White (Photo 13). Line shading with some Baby Blue plus a touch of Ultra Blue Deep (Photo 14).

Line tiny stripes on the spiral shell with thinned Ultra Blue Deep. Float shading along the bottom with Honey Brown (Photo 15).

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Photo 16

Stipple the sand beneath the shells with Antique White. Stipple again with Sand, and finally with Warm White. Float a touch of shading on the sand with Honey Brown (Photo 15).

Crab:

Paint with Cinnamon Drop. Dry brush highlighting on the claws and the body with Spiced Pumpkin. Float a highlight with Spiced Pumpkin along the top edge of the body and claws. Line the highlighting on the legs with Spiced Pumpkin (Photo 13). Float and line shading with Black Plum. Line the split in the claws and dot the eyes with Black Plum (Photo 14). Line a brighter highlight with Warm White (Photo 15).

Stipple the sand beneath the crab and the seashells with Antique White. Stipple again with Sand, and finally with Warm White.

Photo 17-18

Float a touch of shading on the sand with Honey Brown.

Background:

Once again, using the Punchinello (or dry wall joint tape) as a stencil, add some Burnt Umber dots here and there, even on the actual design as well (see finished piece).

Lettering:

Copy the lettering provided with these instructions (or print your own). The font I used is called “Stamping Nico” and the size is 48pt.

Photo 19

Line a shadow to the left and bottom of each square (word) with a wash of Burnt Umber (Photo 18). Using your permanent black ink pen, outline each square (Photo 19).

Finishing Touches:

Let everything dry. Give the arrow a coat of decoupage to seal it. Let this dry, then varnish with 2-3 coats of your favorite spray varnish.

Cut each individual word out and decoupage it into place on the design (Photo 16).

Let this dry and then add a very light wash of Burnt Umber over each letter to knock the whiteness of the paper down a tad (Photo 17).

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AHOY! DO

by Chris Haughey

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

• 16-00004 Quick Grip Adhesive • 29-32227 Specialty Sponge Set of 2 • 29-10611 Extra Fine Sanding Pad • 03-11183 Double-Ended Stylus • 18-30581 .05 Black Micron • 18-57305 Mono Zero Eraser • 18-00650 White Uni-ball Pen • 28-31011 Graphite Paper • 28-03838 Canary Tracing Paper • 16-03680 Painters Tape

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Ahoy Maties! This portly anchor makes a great welcome for those with a love of the salty air. Combining traditional painting with a twist of stenciling and penwork creates the spirit of adventure that is both enticing and appealing!

Materials:

All materials available at Cupboard Distributing • 31-L426 Portly Wood Anchor 10”x 15” • 31-L421 Wood Banner 1-1/2” x 6” • 09-71375 Tim Holtz Clockwork Layering Stencil

DecoArt Americana Acrylics:

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 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 do not mix), 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 June 2016 Issue

• 13-DA042 Baby Blue • 13-DA193 Blue Chiffon • 13-DA318 Blue Haven • 13-DA191 Camel • 13-DA003 Deep Teal • 13-DA114 Light Cinnamon • 13-DA294 Mulberry • 13-DA035 Navy Blue • 13-DA099 Sapphire • 13-DA01 Snow White • 13-DA324 Watermelon Slice

Preparation:

Using the large specialty sponge, seal surface with Multi Purpose Sealer. Lightly sand and wipe clean. With same sponge, basecoat with Snow White. Trace pattern onto tracing paper. After background is created, lightly transfer the main pattern lines using the transfer paper and stylus. Transfer details as needed.

Painting Instructions:

Mediums

Background:

• 13-41370 Americana Matte Sealer/ Finish Spray • 13-07930 Multi Purpose Sealer • 13-DATM01 Glazing Medium

Load oval wash with a 50/50 mix of Blue Chiffon and Glazing Medium. Using a slip-slap stroke, start laying in color, starting at the top, working closely and covering the surface loosely, heavier in the center.

Brushes by Loew-Cornell

• 03-7000-4 Round • 03-7050-0 Script Liner • 03-270-1/2” Maxine’s Mop • 03-7400-3/8” Angle • 03-247-1/4” Crescent

Miscellaneous:

• 03-M77WO-3/4” Oval Wash • 03-205-5 Theorem Stencil Brush

Wipe brush, pick up more Glazing Medium and Blue Haven. Slip-slap around edges, blending softly into the center. This should result in light and dark areas, brush strokes will be visible, but colors will not be spotty.

Load dirty brush with Glazing Medium and Baby Blue.

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Continue adding stencil design randomly on the right side. Image should be subtle, if it is too dark, lightly buff with sanding pad to lighten and fade.

Shade the bottom edges with thinned Navy Blue. Outline the clouds with the black Micron Pen.

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Using same stroke, deepen outer edges very lightly.

Stencil:

Load stencil brush with Baby Blue, wipe excess on a paper towel. Place Clockwork Background stencil randomly at the top left and secure with painter’s tape. Very lightly, drybrush over stencil to create a faint design. Lift stencil, place lower on the right side and repeat.

Cloud:

Base clouds Snow White. Load toe of 3/8” angle with Mulberry and float a very faintly along the bottom and right sides of cloud and sections. Repeat with Baby Blue to mute. Brighten tops of clouds with Snow White.

Sailboat:

Base sailboat, sails and banner with Snow White.

Mast:

Paint center mast Camel. Deepen right side and bottom,right of top ball with Light Cinnamon. Highlight the top left of the ball with a Snow White comma stroke. With the same color, pull a tiny line down the centerleft of the pole to highlight.

Right Sail:

Float Baby Blue heavily along the bottom and up the left side of right sail. The sail should be mostly blue becoming lighter at the top and right side. Repeat with Sapphire and deepen shading with Navy Blue. Highlight right side by drybrushing with Snow White. Paint star Snow White. Shade bottom and left side with Baby Blue, keeping the top and right side bright Snow White.

Left Sail:

Paint stripes Watermelon Slice. Shade softly across bottom, left side of stripes with Sapphire and along right sides with Mulberry. Drybrush down center of sail including stipes with Snow White. Repeat to brighten.

Boat:

Base boat Watermelon Slice. Shade down left side and and along bottom edge with Mulberry. Deepen shading softly with Navy Blue.

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Paint stripe Snow White. Shade both ends of stripe with Baby Blue. Deepen left side with Mulberry, then add a small shade of Navy Blue.

Paint port holes Camel. Shade along the bottom and up the right sides with Light Cinnamon. Dip dot the centers Navy Blue using the large end of the stylus or handle end of small brush. Shade below and the right of the port holes on the boat lightly with Navy Blue.

Pennant:

Wash over pennant with Watermelon Slice. Shade folds and down right side with Mulberry. Highlight centers of folds with Snow White. Outline the boat, sails, pennant, and add rigging with the Micron Pen. June 2016 Issue

Waves:

The waves are painted in layers using round brush.

Wave 1: Starting at the top, base wave Sapphire. Using dirty brush, highlight tops of waves with Baby Blue. With angle, shade along base of waves with Navy Blue. Load round with thinned Deep Teal and softly wash under the curl or each wave. Wave 2: Next wave is Deep Teal. Shade base of wave with Sapphire.

Wave 3: Following wave is Baby Blue. Shade base with Sapphire. Wash a little Deep Teal throughout the wave.

Wave 4: Base the next wave Mulberry. Load dirty brush with thinned Baby Blue and blend into the Mulberry. Shade base lightly with Navy Blue. Wave 5: Repeat wave #1

Wave 6: Repeat wave #2 Wave 7: Repeat wave #4

Wave 8: Repeat wave #3

Wave 9: Repeat wave #1

Wave 10: Repeat wave #3 Wave 11: Repeat wave #4

Load round with Blue Chiffon and drybrush tops of curling waves. Repeat with Snow White to brighten.

Outline all of the waves with the Micron Pen. Using the white gel pen, add the lines and dots to accent the tops of the waves and curls.

Painting World Magazine Drybrush Snow White down center of banner and at tips of banner ends.

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Seagulls:

Load liner with thinned Navy Blue to paint seagulls.

Shading:

The small specialty sponge is used to add shading around the outer edges of the anchor.

Load the damp sponge with a touch of Sapphire on the edge. Keeping the sponge flat and the paint at the outer edge, use a small circular motion to create shading. Repeat lightly with Navy Blue. Finish with a soft hint of Mulberry.

Banner:

Base banner Snow White. With liner and Watermelon Slice, line stripes on banner. Shade folds with Blue Chiffon.

Deepen shading with Blue Haven and again with Navy Blue. Lightly tint shading with Mulberry.

Paint letters Watermelon Slice. With liner and Navy Blue, pull a line down the right sides and across bottoms of letters. Using stylus, add Snow White dip dots.

Edging:

To create the look of torn paper around the edges, load round heavily with Navy Blue. Keeping the tip pointed out, roll the brush on the edge, resulting in a jagged application. This is only done around the outer edges.

Tip: I created this technique to replicate the look of torn paper. It is easy and fun to do and the results are impressive. This is a great alternative to a traditional frame! coats of Matte Spray Varnish, allowing appropriate drying time between coats.

Secure the banner to the anchor using Quick Grip Adhesive. Enjoy! Chris

When dry, use white gel pen to line the “torn” edges. Paint the back and side edges Navy Blue.

Finishing:

Spray seal anchor and banner with several light

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Portrait of America

by Cindy Mann Vitale

June 2016 Issue

Painting World Magazine • Moon Yellow DA07 • Raw Sienna DA093 • Lemonade DA252 • Plantation Pine DA113

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and have promoted my designs in packets. At one time, I taught classes and attended conventions. My designs were incorporated into a home décor line, and more recently, fabrics.

About Cindy

Decorative painting began for me in 1979 when I signed up for a tole painting class with the Priscilla Hauser technique. These first classes required oil, but soon afterward I was introduced to Plaid acrylic paints and the charming designs of Millie Smith. Whether in oil or acrylic, I had discovered my niche. From that day forward, things began moving very quickly. Struggling with the side-loading technique, I began work creating my own method of shading and creating my own designs.

While displaying my work at a Christmas show, I met the Plaid artist Diane Capoccia. She was instrumental in submitting my name to the editor of Plaid. That’s when the journey began for me with professional painting. Through the years, I’ve been published by Plaid and Cabin Crafters, as well as in magazine articles and online publications,

I feel blessed that my artwork has been so well received and that I have met so many wonderful people through the years that share my love for art. My bucket list is long, so I still have a lot of work left to do, if the Lord gives me enough time to finish!

Surfaces:

• 8.5” x 11.25” Small Arched Frame from Cabin Crafters #101908 (Note: This frame can be ordered with the holes predrilled with pegs. I substituted the knobs for this design and used screws to attach them to the back of the frame.)

• 2 1-1/2” Wooden Knobs from Cupboard Distributing 01-P627 • Rusty Wire from Cupboard Distributing 11-53513

DecoArt® Paint:

• Warm White: DA239 • Slate Grey DA068 • Lamp Black DA067 • Bleached Sand DA257 • Mink Tan DA092 • Light Cinnamon DA114 • Burnt Umber DA064 • Blue Chiffon DA193 • Turquoise Blue DA268 • Winter Blue DA190 • French Grey Blue DA098 • Deep Midnight Blue DA166 • Boysenberry Pink DA029 • Dusty Rose DA025 • Berry Red DA019 • Cranberry Wine DA 112 • Banana Cream DA309

Mediums and Other Products:

• DecoArt Americana® DuraClear BrushOn Varnish Matte finish DS60 • DecoArt Americana MultiPurpose Sealer DS17 • DecoArt DecoMagic Brush Cleaner DS3 • One Step Crackle Medium DS69 • Americana Sealer/ Finisher DAS13

Royal® and LangnickelTM Brushes: • Glaze Brush: 2700 - 1” • Round: 2250 - #1, 3, 5, 8 • Flat: 2150 - #4, 8 • Liner: 2595-0

Supplies:

• Permanent Sakura Micron® Ink Pen, black: .005 • Spatter tool or toothbrush (I have no problem with getting paint on my fingers, so I use a toothbrush)

• Tracing paper • Transfer paper • Pencil and eraser • Fine Grit Sandpaper or Emery Cloth • Kraft paper or brown paper bag • Rusty wire: 24” length • Muslin fabric • Needle, thread, scissors, and pins • Sewing machine (or hand stitch to create flag banner) • Screws: Phillips Pan Head Wood Screw Size 10 x 1-1/2” • Drill bit 1/8”

June 2016 Issue

Painting World Magazine t The paint set-up I have illustrated shows a paper plate, but I do often use a wet palette.

It does take a bit of practice to balance the correct ratio of paint to water, and how much mixture to load into the brush. But once you are more comfortable with this method of shading, the process goes very quickly.

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Shading tips:

To achieve a soft watercolor effect, I mix the paint with water to create a shading mixture and apply over the dry base coat. The ratio for this mixture can range from 95% water to 5% paint up to a 50:50 ratio.

I use an old round brush with fuzzy and frayed bristles to apply the shading mixture. Fill only the tip of the bristles with the shading mixture. Tap out excessive drips. The brush should be damp, but still filled with enough of the shading mixture to apply to the surface.

Fill only the very tip of the bristles with the shading mixture. Lightly press the bristles down onto the surface allowing all the bristles to make contact with the surface. This moves the paint around smoothly and evenly.

Move the brush over the surface in a random movement, something similar to mopping the floor. Working with only the tip of the brush, and in a repetitive motion, will result in a streaked and/or a striped pattern.

Brush size should be in proportion to the area in which you are working. Apply the shading mixture in layers, waiting to ensure that the previous layer is completely dry before the next application. The process goes very quickly, but requires the ability to move around over the project while you are waiting on the shading

I use a folded paper towel to tap out the excess water and/or shading mixture from the brush. Always go back to the same ‘color’ area rather than going to a clean, dry area on the paper towel. The damp spot, with coordinating color, absorbs the excess liquid, but does not remove all the liquid from the brush. This spot becomes a drop off area as well as a pick-up area when just a little paint on the brush is needed.

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Mistakes are fixable. If there is too much liquid in the brush that bleeds out onto the surface, quickly grab a large, dry brush and pat over the surface to soak up the mess. Empty out the brush on a dry towel and repeat as needed. After removing the excess liquid, another wash with clear water can be helpful to remove all traces. If not, repair and/or touch up with more paint.

True confessions: Even though I have been shading with this method for years, I still sometimes have days where I just can’t get it exactly right every time!

to completely dry. I jump from one spot to another, and change from one shading color to another, to ensure the shading applications can completely dry. When attempting this technique for the first time, work in thin applications, keeping the ratio of water to paint higher, for a lighter effect. Build layer by layer until the desired effect is achieved, remembering to allow each application to dry. When you are more confident, it’s possible to use a slightly thicker mixture, so fewer layers may be necessary. Avoid a “heavy hand” in applying the shading mixture, which can result in completely darkening

the light base coat. Maintaining the contrast between light and dark is what gives the best result.

The best situation is to fill the right amount of shading mixture in the brush, so the brush empties out without a great deal of residual liquid on the surface. Keep in mind that my first shading applications are very mottled and splotchy. It takes several coats, as a minimum, to get an even, smoother result. Even with the first shading application, the effect should be soft and seamlessly fade into the surrounding area, from start point to stop point, with no hard edge lines.

In regards to the background transfer process, I prefer to transfer the larger design elements over the sealed and dry wood. Painting over a base coat color sometimes requires an underpainting of white, which I prefer to avoid. I do transfer the small and intricate design details over the base coated background, and underpaint with white if needed.

Note: I transfer a lot of the design freehand, so there are always small variances from the original pattern in my finished piece.

Preparation:

For the wood surfaces: Drill holes for the screws to attach the knobs. Sand the surface if needed, and wipe away sanding dust.

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Shade with Lamp Black. Base in medallion with Banana Cream. Shade with Raw Sienna, leaving a lighter band around the outside edge. When shading is dry, transfer the flower design in the center. Paint the same as given for the daisy.

Interior Panel:

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Seal with a mixture of sealer and water in a 50:50 ratio. Apply to all wood surfaces and allow to completely dry.

Transfer or freehand as follows:

The frame: Transfer the oval on the corner medallions by the arch (but not the interior details) and the corner squares behind the knobs.

The stripes on the frame:

I wanted a loose, folk art feel, so I drew the stripes in an irregular shape and pattern.

The inside panel: Transfer only the large design elements. Omit the interior details, as follows: facial details of angel and Uncle Sam, greenery under hat; hair strands, lettering on hat; star on the flag, buttons on shirt, daisy on lapel, seeds on watermelon, details on cabin, greenery on tree and the fence. Add the interior details when the background areas are completed and dry, then transfer or freehand.

Front Edge of the Frame: Paint white stripes with Warm White and black stripes with Slate Grey. Shade over the Slate Grey with diluted Lamp Black to darken. Allow small amounts of the shading solution to float over onto the white areas. Shade over the inside and outside edges with the Lamp Black and repeat as needed. Note: A faster alternative is to paint in the black stripes and frame edges with Lamp Black, and skip the shading process. I make the extra effort because I like the variations created by the shading process.

Wooden Knobs: Transfer or freehand the star. Paint in with Warm White. Shade with Burnt Umber. Base coat the rest of the knob with Slate Grey and shade with Lamp Black.

The Background: Base in with Blue Chiffon. Shade with Turquoise Blue, creating a mottled effect to give the impression of clouds. Pat and blend more Blue Chiffon into the background to create lighter areas if needed.

Angel:

Face, Hands, and Feet: Base coat with Dusty Rose and Warm White mixed in a 50:50 ratio. Create a shading mixture using Light Cinnamon and the Dusty Rose/Warm White mixture in a 50:50 ratio. Use this mixture with a liner brush to create eyebrow, ear, nose, and chin line, as well as shading a small area under the chin.

Blush on the cheeks is Dusty Rose and Berry Red in a 50:50 ratio. Use only a minimal amount of the tip of a liner brush, and pat and blend to soften. The eye is painted with a triangular shape using Lamp Black.

Painting Instructions: The Outer Frame: Paint the bottom corners (area behind the knobs) and the outside and inside frame edges with Slate Grey.

The Medallions: Transfer or freehand the medallion oval. Base the area around the medallion with Slate Grey.

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Wings: Base coat with Warm White. Shade with highly diluted Turquoise Blue. Dress: Base coat with Warm White. Create separation of the sleeves and shade with diluted Burnt Umber. Pat and blend a little diluted Mink Tan here and there for a stained and aged effect.

Hair: Base coat with Banana Cream. Shade with Raw Sienna to create the look of wavy hair.

The Angel’s Banner: White Stripes: Base coat with Warm White. Shade with Burnt Umber. Red Stripes: Base coat with Berry Red. Shade with Cranberry Wine.

Uncle Sam:

Hat: Base coat with Bleached Sand. Shade with Burnt Umber. Transfer or freehand the lettering with a pencil. Paint on with diluted Lamp Black and a liner brush. Hat Band: Base coat with Winter Blue. Shade with Deep Midnight Blue.

Greenery: When the hat is based and shaded, allow to dry. Transfer or freehand the leaves. Base coat with Lemonade. Shade with diluted Plantation Pine. Facial Details: Transfer or freehand the nose, eyes, placement of the eyebrows, and mouth under the mustache.

Base coat and shade with the same mixture as the angel. Deepen and shade layer-by-layer, working lightly to start, to create the lines around the eyes and

nose. Shade the ears and the area around the mustache to help define the cheekbones. For the mouth, add a wash of Berry Red. Eyes: Base in eye area with Warm White. Paint in the center with Winter Blue and shade with Deep Midnight Blue, leaving some of the base coat exposed for contrast. Paint on the iris with Lamp Black and add highlights. To avoid creating a ‘wideeyed’ appearance, paint in the iris so that it’s partially concealed by the eyelid.

Hair, Eyebrows, Mustache, and Beard: Base coat with Warm White. While the base coat is still wet, pull through streaks of Lamp Black with a liner brush. Work with a dirty brush, filled with Warm White, and dip the tip into Lamp Black. Blend and soften the colors together to create a gray shade. If the result is too dark, work more Warm White into the area. Coat: Base coat with French Grey Blue. Shade with Deep Midnight Blue. Allow the sleeve area by the cabin

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White Stripes: Base coat with Warm White. Shade with Burnt Umber.

Tree and Foliage:

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to fade away into the Blue Chiffon background.

Shirt: Base coat with Warm White. Shade with highly diluted Lamp Black. If you discover that working with such dramatic contrasts is difficult, then use a gray color of your choice. Freehand or transfer the buttons. Paint on with Slate Grey and shade with Lamp Black. Bow Tie: Base coat with Berry Red. Shade with Cranberry Wine. Add a third layer of shading by mixing Cranberry Wine with a very small amount of Lamp Black to give added intensity and contrast. Daisy: Transfer or freehand onto the lapel after the coat is painted. Base coat the petals with Warm White. Shade with highly diluted Lamp Black, or use a gray shade if you prefer.

Base coat the center with Banana Cream. Shade with Raw Sienna. Place dots of Lamp Black around the outside of the daisy center. Base coat the stem with Lemonade. Shade with Plantation Pine.

Flag:

Staff and Finial: Base coat with Banana Cream. Transfer or freehand the design on the finial. Use diluted Raw Sienna to shade. Field: Base coat with Winter Blue. Shade with Deep Midnight Blue.

Watermelon:

Center: Base coat with Boysenberry Pink. Shade with Cranberry Wine, leaving the center area light. Pat and blend Warm White along the top to highlight.

Seeds: Transfer or freehand and paint in with Lamp Black. Add highlights of Warm White on the larger seeds.

Rind: Base coat with Warm White. Allow to dry and shade with Lemonade, leaving part of the white basecoat exposed. When dry, shade again with highly diluted Plantation Pine, still maintaining the white basecoat.

Cabin:

Roof: Base coat with Slate Grey. Shade with French Grey Blue. Transfer or freehand the shingles. Use diluted Lamp Black to outline the shapes. Cabin sides: Base coat with Bleached Sand. Transfer or freehand the door and windows. Use Burnt Umber to shade and create the effect of logs and wood grain.

Door: Base coat with Berry Red. Shade with Cranberry Wine.

Star: Transfer or freehand onto the flag field. Base coat with Warm White. Shade with Deep Midnight Blue.

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Red Stripes: Base coat with Berry Red. Shade with Cranberry Wine.

Windows: Base in the area with Warm White. Shade with Turquoise Blue. Paint on the door and window frames with Slate Grey. Shade with Lamp Black.

Branches and Trunk: Base coat with Mink Tan. Shade with Burnt Umber.

Foliage: Base coat with Lemonade, allowing some patches of the background color to show through. Float in washes of diluted Plantation Pine, leaving some areas light for contrast. Paint in sections of the trunk again if they are lost in the process.

Fence:

Transfer or freehand placement. The fence posts are meant to be representational and not intended to be proportional to the size of the cabin. Base coat with Warm White. Shade with Slate Grey or Lamp Black. Using highly diluted Lamp Black, paint on lines along the fencing to resemble wire.

The Banner:

Cut six pieces of the muslin according to the pattern provided. Stitch together two sides, leaving the top of the shape open. I hand stitched my banner pieces.

Trim away some of the excess at the seams to retain the best shape when turning the fabric right side out. A small crochet hook makes a good tool to push the fabric into the point at the tip when turned. When all the pieces are completed, attach the fabric pieces to the rusty wire by turning the top edge over the wire and stitching in place.

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To prevent the stitches from showing, catch only the backside of the fabric.

Base coat the fabric with Bleached Sand, being sure to saturate the fabric thoroughly on both sides. Allow to dry.

Transfer or freehand the lettering with a lead pencil. Base in the letters with Slate Grey. Partially shade with Lamp Black.

Distressing/Cutting the Fabric:

Using very sharp and fine-tipped scissors, select a few areas to cut. I clipped a small slit, and then began fraying the edges with the tips of the scissors until I was satisfied with the size of the area. Be careful not to cut through to the back layer, if possible.

Finishing:

Crackle Medium (Optional): Brush the Crackle Medium onto the front edge of the frame and the knobs when the base coating and the shading are completed and dry. Follow the manufacturerâ&#x20AC;&#x2122;s directions.

Allow to completely dry, at least two hours, until surface has hardened to the touch. Brush on a thin coat of diluted Lamp Black and immediately brush off, or wipe away, the excess.

Varnishing: Dilute varnish in a 50:50 ratio with water and brush evenly only over the interior panel, sides of the frame, and the fabric pieces. Allow to dry. The varnish must be applied to the central panel before the antiquing can be applied.

If you chose not to use the Crackle Medium on the frame, or knobs, then varnish all surfaces. Antiquing: Brush on a light application of highly diluted Burnt Umber over all surfaces: the central panel, the frame, the knobs, and the fabric. I suggest a ratio of 95% water to 5% paint. Allow to dry. Repeat if the application is too light. Antiquing can be selectively placed, concentrating the antiquing around the edges, leaving the central figure lighter (which is Uncle Sam in this design) for the best effect. Sanding: Use emery cloth, or very fine grit sandpaper, to sand the edges and corners of the knobs and frame to give a worn effect.

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Apply a little more of the Burnt Umber to darken some areas if desired.

Inking: I did not ink this project, but if you choose to do so, ink around the design details when the Burnt Umber antiquing is completely dry.

Drawing includes room for a hemline.

Some of the more intricate and fine details that would be more difficult with a brush can also be added with the pen. From time to time, my hands shake, so if I am experiencing this problem, I am hesitant to attempt the inking process. Spattering: Spatter with Lamp Black. Test the spatter pattern before going to the surface. If the paint is too thick to give a good result, then dilute it slightly with water.

Final Finishing (Optional): If you so choose, you can apply a final finish of the Spray Sealer. Apply according to manufacturerâ&#x20AC;&#x2122;s instructions.

Assembly: Push the screws from the back of the frame and lay the frame down to hold the screws in place. Center the banner pieces on the wire, giving the wire a slight bend. Create circular loops that will align with the holes for the knobs and the screw tips showing. Slide these wire loops over the tips of the screws.Screw the knobs on to hold the wire in place and adjust to hang in place. Coil the ends of the wire. Enjoy! Cindy

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Gather What Gladdens the Heart by Lynne Andrews

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• Frame available from Lynne Andrews Folk Art; item #2010110s (also includes wooden ribbon embellishment)

• 400 grit sandpaper • Paper towels • Small hair dryer • Ruler • Scissors • Pencil and eraser • Wooden ribbon embellishment approx. 3-1/2” length • Scrapbook paper to cover the back of frame • Aleene’s® Super Thick Tacky Glue®

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The technique I use is a layering of washes, very similar to watercolor. I mop after each wash is applied to blend and soften. This is what gives my designs that “soft” appearance. With each layer of wash added, the softer and more blended the design becomes.

Paint: DecoArt Americana®

• Antique Gold • Antique Green • Buttermilk • Celery Green • Dioxazine Purple • Golden Straw • Lamp Black • Lavender • Plantation Pine • Royal Fuchsia • Slate Green • Snow (Titanium) White • Traditional Burnt Umber

DecoArt Mediums: • Americana MultiPurpose SealerTM • Americana Sealer/ Finisher Matte Spray

Loew-CornellTM Brushes:

About Lynne

I have been painting all my life. My journey has lead me to this place at this time. Decorative painting discovered me twelve years ago and has opened up a door to a world I had not known existed. I feel blessed to have been given the gift to paint what is in my heart. Decorative painting, designing, and teaching have enriched my life beyond words.

Surface:

• Pine frame, measuring 9” square with 8” square mediumdensity fiberboard insert panel.

June 2016 Issue

• #4, 8 Ultra Round Series 7020 • #6 scumbler Series 2014 • 1/4”, 1/2” Maxine’s mops Series 270 • #2 duster/stippler Series 4 • Flat brush approx. 1/2” wide (for checks on border) • Brush to seal and base coat

Misc. Supplies:

• Black Sakura IdentiPen® size 0.4 mm • Copic® Multiliner permanent marker - Sepia color, size 0.3 • Tracing paper • Transfer paper • Stylus ®

Painting Tips

Floating: I use an Ultra Round brush for floating. This brush is a combination of a round and a liner. The bristles hold a large amount of paint or paint/water mixture, while the point allows access to the smallest areas.

Floating with an Ultra Round is basically the same as a conventional float, treating the round the same way you would a flat or angular brush. Dip the brush into water, blot on a paper towel, and dip the tip into the paint. Work the paint into the brush by brushing back and forth on a palette once or twice. Lay the tip of the point up against the area you will float. Hold the brush almost parallel to the surface and continue just as you would with a flat. After floating, use a mop to soften and blend.

Blending: Use a small mop brush to blend and soften the area (especially the edges) of the section where a wash has been applied. This is an important step when working with washes. Overlaying Washes: Paint one wash over another in successive

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just trying to “age” the piece. Set the frame aside for now.

Tip: Use the #4 Ultra Round for all the small detail work and washes and the #8 Ultra Round for larger areas of wash.

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layers to build up a depth of color. For added softness, mop immediately after applying the wash. Each layer must be completely dry before applying the next, or the paint will lift. Use a small hair dryer set on low to speed the drying process.

Preparation:

Lightly sand the frame and wipe free of dust. Base coat the frame Celery Green. Dry thoroughly.

Paint Buttermilk over the Celery Green, but leave the inside edge of the frame Celery Green. Dry completely before lightly sanding sections of the frame. Sand more along the edges and corners, exposing some of the Celery Green showing through. You are

Seal the insert panel with Americana Multi-Purpose Sealer. Apply according to label directions. Base coat the panel Buttermilk. Dry, lightly sand, and apply a second coat. Trace the pattern and transfer onto the panel. Use a ruler to make sure your lines are straight. Leave off small details such as leaves and buds on plants, double lines on the bee, beehive, etc.

It will be easier to add the details once the initial washes have been painted. Transfer your small details on an “as needed” basis.

Instructions:

With the #8 Ultra Round, wash Antique Gold onto the outside border (where the checks will go) and the inside border (up against the design). Mop as you go to blend and soften. Dry and repeat again if needed.

Lightly wash Slate Green onto the sky area, starting at the top and walking the wash downward towards the center. Mop with the duster/stippler. Dry and repeat.

Wash Plantation Pine onto the ground area, but do the opposite.

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Start at the bottom and walk the wash up towards the center. Mop with the duster/stippler. You want the sky and ground to meet in the middle, but blend softly together with no beginning or end. Dry and repeat if needed.

Use the #6 scumbler and load with Snow White. You will be dry brushing clouds onto the background, so wipe excess paint off of the bristles. Lightly stipple/ dry brush clouds onto the sky. You want to be able to see your transfer lines through all washes. If you canâ&#x20AC;&#x2122;t, then you are not using enough water. Wash the beehive in Antique Gold, mopping as you go. Dry and repeat a second wash, but mop the left side heavier this time (removing more wash). Dry. Float the horizontal lines onto the beehive using the #4 Ultra Round in Traditional Burnt Umber. When dry, wash a small amount of Traditional Burnt Umber onto the right side of the beehive. Mop to blend.

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Float a little more Slate Green around the outside of the beehive, if more color is needed at this point. Use the fine point Identi-Pen (or one of your choice) to draw the double horizontal lines on the beehive. Once drawn, you can come back in with the tip of the #4 Ultra Round and add White highlights to some of the double lines on the left side. Lightly dry brush White onto the left side. Drag some Antique Green wash across areas on the ground in front, keeping it on the light side. Mop to blend. Start to build up some of the stems using Plantation Pine, keeping it soft looking, not harsh. Starting on the left, the lavender flower buds are Lavender.

Once on, add Plantation Pine leaves just below each bud. Add larger leaves toward the base of the plants, all done using the tip of the #4 Ultra Round. The chive plants on the right have long, slender leaves, also in Plantation Pine. The flowers

on top are Dioxazine Purple, but watered down quite a bit. I used my finger to smudge some of the flowers. Overlap some of the plants across the front of the beehive.

Using the #6 scumbler, stipple Plantation Pine onto areas in front to form clumps of plants. I used the tip of the #4 Ultra Round to dot on different colors to imply different colored herb plants in front. From left to right they are Royal Fuchsia, Royal Fuchsia mixed with White, Lavender, White with Golden Straw, etc.

Add individual blades of Plantation Pine grass here and there. Once dry, use the #8 Ultra Round and float Traditional Burnt Umber all around the inside of the design, up against the Antique Gold border. Mop as you go to blend and soften. The border will get Traditional Burnt Umber vines painted loosely. Add the little Plantation Pine leaves randomly on the vine.

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the vines that extend out onto the frame and add leaves.

I used Aleene’s Super Thick Tacky Glue, but good quality wood glue will work. Dry following manufacturer’s directions.

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The Buttermilk area between the two Antique Gold borders remains Buttermilk, but will have Traditional Burnt Umber floated along the edges of both.

I used a 1/2” flat brush to paint the Celery Green checks over the Antique Gold border on the outside. I kept it light by mixing water with it. Dry. Go back and add the vines between the two borders in Traditional Burnt Umber. I used the various greens to make the leaves. The little bunny down in front will get a White wash over his body. Mop. Dry and repeat. Float around the outside of him with Traditional Burnt Umber and shade on his body to form the nose and eye. Once dry, use the very tip of the #4 Ultra Round and add individual White lines along the edges of his body to fluff him up.

Paint the wooden ribbon in Celery Green. When dry, transfer the lettering on as lightly as possible. Use the Sepia colored marker to outline and fill in lettering. I suggest waiting a few days for the marker to cure before attempting to erase. Use a very light touch when you do. Use the scumbler to stipple the larger bees in Lamp Black. Dry and add Golden Straw bands on each bee with the #4 Ultra Round. The wings are White. I added antennae with my black marker. The smaller ones on the design are drawn in with your marker. Add Golden Straw bands and White wings. Make sure you paint the one on the frame.

I used a piece of coordinating craft paper (below) to glue on the back of the frame. Spray entire piece with several light coats of Americana Sealer/Finisher. Enjoy, Lynne

Glue the wooden piece to the top center of the frame, showing the bee underneath.

Place the insert inside the frame and secure. Continue

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Making $$$ With Your Art

For the last 30 years, I have been doing just that: making money with my art. I want to share my experiences of how I did that so you can see some of the options that are out there for you.

A friend suggested she and I do a small craft fair together.

Not only can you make a living, you can make a life with your art! Whether you need extra money to buy art supplies (they are a necessity after all), want to contribute to your familyâ&#x20AC;&#x2122;s income, replace your full time/part time job, or just express yourself, you can make real $$$ with your art.

I painted my inventory in the evenings, after our children were off to bed, during lunch hours, and on weekends. After we had moved into our new home, my full time job was eliminated. My husband saw this as an opportunity and encouraged me to do art/craft shows full time.

I was an office manager at our local radio station and was newly married when I took my first decorative painting class. I was smitten.

I started painting anything that did not move. We had just moved into a new home, and there was no extra money for inventory.

by Thelma Hamilton

That is where it all started, doing a craft fair here and there, within driving distance of our homes. Craft fairs could be a great way for you to get started making money with your art, too.

Donâ&#x20AC;&#x2122;t make the mistake of thinking you need lots of fancy supplies to get started making money with art. I shopped garage sales and even painted on soda cans and soup cans. Oh the memories!

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sell to gift shops wholesale. She told me about the markets, how to apply and display your wares. She suggested that I could do it also. At this point, I added my wholesale spoke. There are so many positives to selling wholesale. Yes, you sell for half (or whatever discount you decide on for your business) of the retail price, but you sell more items all at once to the same person, who will in turn resell them to the public.

association approached me to start an annual limited edition collection. We would honor a different aspect of our city each year. Even now, over 16 years later it is still going strong.

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I visualize my business as a wheel with spokes. My art is

the hub in the center - it is my main focus. I stay true to the message I want to put out into the world through my creations. Your wheel doesn’t need to have the same spokes as mine, but it’s important that they all build from the art in the center.

I began with my art/craft shows. I like to refer to these as my retail shows, as this is where I take my product and interact with my customers face to face. I did not know it at the time, but this was the first spoke in my wheel. Your first spoke might be different - just make sure it’s something you enjoy that comes from your love of art. I was networking with other exhibitors and finding out where they did shows.

Networking can be an important part of growing in the art industry, and I highly encourage you to spend time getting to know other artists in business. I

In 2001, after a few years of selling in both markets, I wondered if I had a good product to use for fundraising campaigns. I utilized my son, Matt’s, expertise at this point. We produced a flyer to distribute to nonprofit organizations to see if there was any interest in raising money through art. Lo and behold, we sold out our time the first year with the few organizations we approached. That was the third spoke in my wheel.

You don’t need to wait to be approached, though. You could approach a group of businesses in your area and propose a similar collection. Even if they say no, at least you’ve given them the idea, and they might change their minds later. Once you’re at a point where you’re financially stable enough to invest a lot in your business, you might consider opening a store. One day, I was driving down the road when I saw a “for sale by owner” sign in the perfect spot to open a store. Yes, you guessed it, another spoke in the wheel.

learned as much as I could from these exhibitors’ experiences, good and bad.

I continued both the retail and wholesale venues while exploring the fundraiser avenue. This can be a good route for you to take as well once you’ve started making money in a few other areas.

The store was perfect - it had three floors. The main floor, I used for retail sales, where local customers could look for unique, painted items they could get personalized. Upstairs was my working studio, where I created the pieces for the store, as well as the painted inventory for the retail and wholesale shows.

After putting myself out there for several years, I met an exhibitor who was starting to

My next spoke was added the same year. The local downtown business

The space on the third (lower) level was going to waste, so I added another spoke to the

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wheel and started teaching art classes to adults in the evenings. Soon, word of mouth spread, and I found myself teaching art to a group of children that were being homeschooled. The children came in the afternoon and had a classroom experience with other homeschooled children to explore color and design.

Teaching classes is a great way to share your love of art with like-minded people while making money.

Even if you aren’t ready to open a physical store, I would encourage you to think about selling your products online. When we decided to sell the store, it was only logical to replace the local retail with an online presence. I started a store on the internet with my own website.

Another spoke in the wheel.

If running an online store is intimidating, consider starting by opening an Etsy shop. Etsy shops are easy to run, and you don’t have to worry about managing the website. I added an Etsy shop in 2010. Yet another spoke in the wheel. In 2015, Amazon invited me to be part of the initial group to sell through their new Amazon Handmade page. I leapt at a new opportunity to add a spoke to my wheel. You can apply to join this group of sellers through Amazon. There are many spokes in the wheel of using my art to make money, but all of them are still me and my focus on what I want to put out into the world. This should be the same for you. Regardless of

what spokes make up your wheel, they should all grow from your love of art and how you want to contribute to the world through your art. And remember, you can always continue adding spokes to your wheel, even through venues I didn’t describe.

I am sure there are additional ways to make money with art that I have not tried... YET! Some ideas I still have are: gallery openings, Art Licensing, writing and illustrating painting books, illustrating Children’s books, selling packets, teaching at conventions, travel teaching, designing for furniture companies, etc. I am currently working on another new spoke: prints. There is always room for another spoke in the wheel!

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Circles of Inspiration by Tracy Weinzapfel

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So many surfaces and so little time. We all get used to those square and rectangular surfaces but the world is round so why not paint in the round! I decided to do a series of (3) pieces with these circular Fredrix Round 12â&#x20AC;? Canvases. What a fun surface to play on...

Here are my three pieces:

These pieces came to life through the backgrounds and textures which are super easy to create with the DecoArt Media Line. I used Crackle Paste, Crackle

Medium, Gesso and Modeling Paste with some fun Andy Skinner Stencils and Totally Tracy Stamps to achieve the texture: Each took on their personality when I used DecoArt Media Misters to paint the backgrounds! I used DecoArt Media Gesso as the base for all my flower designs. Use

About Tracy

Tracy Weinzapfel owns and operates her own Art Studio, Tracy Weinzapfel Studios and is the Education Coordinator for DecoArt, Inc. She works as a fulltime licensed Mixed Media Artist who hosts a show on the internet called Mixed Media Monday and teaches art workshops across the US and beyond. Tracy is happiest in her studio painting and living life with a creative edge. Her great joy is sharing and teaching her passion for art and everything colorful.

For more information, visit her website at tracyweinzapfelstudios.com or email info@tracyweinzapfelstudios.com

your imagination to create some simple flower shapes of your own! Then each design was colored in with Decoart Media Fluid Acrylics and details were added with doodles and dots! The secret to painting three pieces in series is to have something that ties them together.

In this case circles were my consistent theme. Each piece, though different and able to stand alone, was meant to go with the other.

(All suppliers are listed in the directory at the back of the book)

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June 2016 Issue

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Stamp:

Here are the materials I used for these three pieces:

• DecoArt Traditions Round #6 and #8 • Liner Brush

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*Special thank you goes to Tracy Scott for inspiring this piece to complete the collection: heartistryatstudio7.blogspot.com

Surface:

• Fredrix 12” Round Canvas

DecoArt Fluid Acrylics: • Carbon Black • Paynes Grey • Primary Yellow • Cobalt Teal Hue • Yellow Green Light • Diarylide Yellow • Quin Magenta • Pyrrole Red • Cadmium Orange Hue • Green Gold • Cobalt Turquoise Hue • Titanium White

• Totally Tracy Textures

Brushes:

Pen/Pencils:

• Stabilo Aquarellable Fudeball Pen

I hope this inspires you to think outside the square and pick a shape that inspires you. Sometimes the greatest inspiration can be taken from things you see in other art pieces, for example from nature, or in this case from geometry!

DecoArt Media Misters • Primary Magenta • Yellow Green • Primary Cyan • Yellow • Carbon Black • Primary Cyan • Violet • White

Mediums:

• DecoArt Media Matte Medium • Decoart Media Crackle Paste • Crackle Paint • Modeling Paste (White) • DecoArt Media Gesso (White)

Other:

• Palette Knife • DecoArt Spray Sealer (Matte) • DecoArt Media Varnish (Satin) • DecoArt Brush & Stencil Cleaner

Stencils:

• DecoArt Andy Skinner

June 2016 Issue

Want to sell Painting World Magazine in your store? No problem, you can order wholesale for your business! Your customers are already buying your products to use on the project in our magazine, why not carry the magazine as well? Just provide us with a copy of your vendorâ&#x20AC;&#x2122;s license emailed to info@paintingworldmag.com and weâ&#x20AC;&#x2122;ll get your order started right away!

The Earth Laughs in Flowers

by Judy Westegaard-Jenkins, CDA

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magazines and has recently been featured as one of the instructors on Art Play Date online classes.

Mediums/Other Products:

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With a trowel in one hand and seed packets in the other, I eagerly count down the days until the weather is warm enough to play in the dirt. “Amazing” and “miraculous” are the only words that describe the feeling of planting a tiny seed into the dirt with a splash of water, and in short order, beautiful blossoms appear. The earth truly laughs in flowers and makes our planet a glorious place to live. An interesting, subtle background, stenciling, and chalk lettering techniques will allow painters to stretch their imaginations. All this project needs to bloom is a few drops of paint, a splash of water, and time to spend with your brushes!

About Judy

Judy has worked professionally as an artist, designer for the craft and gift industry and as an educator in the arts. Her work has been published in numerous June 2016 Issue

Judy’s artwork, especially her holiday designs can be found in many private collections as well as in the National Museum of Decorative Painting, The Society of Decorative Painter’s Permanent Collection, the Library of Congress, the Whitehouse, the Smithsonian Institute and in several Presidential Libraries. Judy’s most recent work is a mix of painting, unusual background textures and papers, embellishment and a variety of other experimentation. Her work is strongly influenced by nature, anything vintage, antique or repurposed.

Surface:

• Wood Plaque, Presidential, Small - 7-1/2” x 5”; WDSF561_1 from Creative Arts Lifestyle

Paints by DecoArt Americana®:

• Avocado • Bahama Blue • Boysenberry Pink • Dioxazine Purple • Lamp Black • Lavender • Napa Red • Olive Green • Oyster Beige • Payne’s Grey • Prussian Blue • Primary Yellow • Santa Red • Snow White • Spa Blue

• Americana Soft Touch Varnish • DecoArt TraditionsTM Extender and Blending Medium • DecoArt Traditions Multi-Surface Sealer • DecoArt Americana Home Decor Stencil - Jacobean Floral 8.5” x 11” • General’s® Charcoal White #558 chalk pencil • Krylon® Workable Fixatif Spray

Brushes by Dynasty® Brush:

• 3/4” Flat Wash, 206Fw • #3 Shader, 206S • #6 & #10 Filberts, 206Fil • #1 & #2 Rounds, 206R • 1/4,” 1/2,” & 3/4” Angulars, 206A • #10/0 & #1 Script Liners, 206Sl • I pc1 Small Point Blend, 23580 • I pc2 Large Flat Blend, 23585 • I pc8 Small Detailer Foam, 23593 • 1” Palmer, 37030 • 3/4” Mini Mop, Series 400 • 1/2” Stencil Brush, 22183

Miscellaneous:

• Craft glue • Disposable palette • Graphite paper, white • Kneadable eraser • Masking tape • Palette cup • Paper bag or brown kraft paper • Paper towels • Plastic wrap • Pencil sharpener • Ruler, transparent • Spray bottle • Stylus, fine tip • Water basin

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Preparation:

edges with water. Allow to dry.

Chalk lettering is easy if you use the right tools. I’ve had the greatest success with General Pencil’s Charcoal White Pencil. A mechanical pencil sharpener or a battery-operated sharpener is important to use to keep a fine tip on the pencil. Apply light pressure for a softer look or harder pressure to create a bold, wider line.

Seal all sides of the masonite surfaces with Multi-Surface sealer. Allow to dry. Buff lightly with a scrap of brown paper bag.

Transfer the circular earth shape to the center of the oval section with white graphite paper. Mix extender + Payne’s Grey + Prussian Blue (2:1:1).

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Helpful Hint:

When filling in a large area, use a freshly sharpened pencil to make tiny, overlapping circles known as scumbling. Use the Small Foam Detailer to soften any large areas of scumbling.

Clean up is very important when working with a chalk pencil, as lines can smear or smudge. Use the Point Blend brush, moistened in fresh water, to clean up fine details. A kneaded eraser also works to clean up larger areas, as well as to remove any visible tracing lines. When painting, use the Large Flat Blend brush for extender, and reserve it to be used only with extender. I have found that this brush holds the perfect amount of medium. Dip the brush into extender, pull the side of the brush along the palette cup edge and blot gently on a piece of soft towelling. Apply the extender to the surface a bit beyond the area to be painted. The area should look shiny but should not be dripping with extender. Test the surface for the perfect amount of extender by touching the extended area with your index finger. Your finger should look slightly shiny, but should not be wet.

Base the top overlay and the cut edges of the top and back pieces with Bahama Blue. Allow to dry. Apply an additional coat of paint to achieve opaque coverage. Place the stencil on the top overlay and tape in place. Load the 1/2” stencil brush with a scant amount of Spa Blue. Using a circular motion, lightly stencil the design to the surface. Reposition the stencil as needed to cover the surface completely. Paint a 1/8” wide Snow White line on the top overlay around the opening and on the inner cut edge.

Position the top overlay over the back section of the plaque. Use the chalk pencil to trace the open section of the top overlay to the back section.

Brush the mixture into the circle in a loose, slip/slap manner. Bunch a clean piece of plastic wrap into a loose ball and tap the area, removing the mixture to create a soft blue mottled texture. Allow to dry thoroughly.

Apply extender to the earth area and slightly beyond. Cornerload the 3/4” angle brush with Payne’s Grey and place shading along the outer edge of the earth. Soften with the mop brush.

Pick up a small amount of Olive Green on the #10 filbert. Lightly pat the color onto 2 to 3 areas on the left and right sides of the circle (refer to photo for placement). Soften with a mop and allow to dry. Extend the earth area. Corner-

Mix extender and Oyster Beige (1:1). Brush the mixture onto the traced oval center on the back section of the plaque extending about 1/2” beyond the traced line. Bunch a piece of plastic wrap into a loose ball and tap the area, removing the mixture to create a softly mottled texture. Clean any mixture that may have spilled onto the

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with thinned Snow White to apply vein lines on each petal. Use the 1/4” angle brush corner loaded with Primary Yellow + Napa Red (1:1) to shade each petal along the flower center.

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paint to dry between coats. Several coats will be needed for solid coverage. Allow to dry.

load the 1/2” angle brush with Dioxazine Purple and apply an accent to the outer edge of the earth, allowing the purple to faintly spill onto the sky area around the earth. Use a mop brush to soften the area so that the earth appears to “glow.” The earth shouldn’t have a harsh edge but should be very soft. Add a scant amount of Snow White to several areas in the earth center as a highlight. Mop. Allow to dry. Trace

and transfer the continents using white graphite.

Continents:

Base the continents opaquely with Snow White, allowing June 2016 Issue

Corner-load the 3/4” angle brush with Prussian Blue and place shading along the upper edge of North America and the lower tip of South America. Corner-load the 1/4” angle brush with Prussian Blue. Shade the ocean areas directly along the continents. Soften with a mop and allow to dry.

Leaves and stems:

Base each leaf and stem with Olive Green. Allow to dry and recoat as needed for opaque coverage. Corner-load the 1/4” angle brush with Avocado + Payne’s Grey (1:1) and shade the base of each leaf, as well as the areas where one section falls behind another area.

Load the #1 liner brush with Snow White + Olive Green (1:touch). Add vein lines to the leaves, striation lines to the tulip leaves, and highlights to the stems.

Brown-Eyed Susan:

Load the #1 round brush with Primary Yellow and stroke each petal. Use the #10/0 liner loaded

Base the center with Primary Yellow + Napa Red (1:1). Shade the lower edge of the center with Napa Red. Highlight the upperright area of the center with random dots of Primary Yellow. Use the fine-tipped stylus to add pollen dots to cover the area where the petals attach to the center with Lamp Black, Primary Yellow, and Primary Yellow + Napa Red (1:1).

Tulip:

Base the tulip petals with Boysenberry Pink. Shade the two outer petals where they fall behind the center using the 1/4” angle loaded with Napa Red. Deepen the shading with Dioxazine Purple. Highlight the upper third of each petal with Snow White + Boysenberry Pink (2:1). Use the #10/0 liner loaded with thinned Snow White + Boysenberry Pink (1:touch) to add thin lines to the upper half of each petal. Add a Santa Red accent to the lower third of the center petal and a Primary Yellow accent to the lower left edge of the center petal.

Five Petal Blossom: Base the petals with Primary Yellow + Napa Red (1:1).

Base the center with Primary Yellow. Use a #1 round brush with Primary Yellow to add a turned edge at the

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outer tip of each petal.

Shade each petal along the flower center with Santa Red and deepen the shading with Napa Red. Shade the lower half of the flower center with Primary Yellow + Napa Red (1:1). Highlight the upper third of the flower center with Snow White. Use the stylus to add Snow White pollen dots around the edge of the flower center.

(1:touch) and stroke each petal. Allow to dry. Overstroke each petal first with Lavender, then add a touch of Snow White to a few of the Lavender overstrokes on several petal tips. Shade a few back petals with Payne’s Grey.

of the #1 round brush and the #1 liner brush. Base the lettering with thinned Payne’s Grey + Lamp Black (1:touch). Allow to dry. Apply a second coat as needed. Use the white chalk pencil to letter the word “in.”

Sprig:

Top Overlay:

Load the #1 round brush with Lavender and base the leaves and stem. Overstroke with Snow White.

Use the 3/4” angle to float Payne’s Grey + Prussian Blue (1:touch) along the outer edge. Allow to dry. Transfer the lettering, leaf, and line details with white graphite.

Purple Daisy:

“Laughs” Lettering:

Load the #1 round brush with Dioxazine Purple + Lavender

Depending on the width of each letter’s section, alternate the use

Outline the letters using a freshly

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Load the #3 shader with Lavender and add checks to the white border that surrounds the overlay opening.

soap and water. Allow varnish to dry one to two hours, and then apply additional coats as desired.

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sharpened chalk pencil. Use a scumbling motion to fill in each broad section of the larger letters and leaves. If desired, use the Small Foam Detailer to soften the letters and leaves. Use a ruler as a guide to place the borderlines along the outer edges. Add small dots throughout the border, as indicated on the pattern. Use the water-moistened tip of the Small Point Blend to clean up fine details and smudges.

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Finishing:

Use craft glue to attach the top overlay to the back section.

Remove any remaining transfer lines with a kneaded eraser. Use Workable Fixatif spray to affix the chalk lettering and details. Spray in a well ventilated area. When dry, use the 1â&#x20AC;? Palmer brush to apply a coat of varnish. Clean the brush thoroughly with

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Little Miss Amy

by Deb Antonick

June 2016 Issue

Painting World Magazine • Paynes Grey

• Palette Sign Board • #62927 Artist’s Club • #103038 Cabin Crafters • #20-11525 Viking Woodcrafts, LLC.

Brushes

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Surface:

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 2 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. Terrye French is my greatest inspiration and I credit Terrye French’s encouragement and friendship for all of my success.

Sadly, Terrye passed away in November 2014, she left a very large hole in my heart. With her family’s support I have continued on with the Painting with Friends and am very honored to continue my designs in her memory.

Supplies:

• Stencil – Small Borders #ST017 by Tracy Moreau Designs • Stencil – DecoArt® Mixed Media Stencil #ASMM21 Dandelion • Scrapbook paper – The Paper Studio #468835 Linen Door Boy Plaid from Hobby Lobby • Laurie Speltz® Foam Texture Stamp Set • Martha Stewart® adhesive lace butterflies • 1 Flatback Crystal • 1/2” paper daisy/flower • Small 2” brayer • Scissors

DecoArt Americana® Acrylics: • Colonial Blue • Whispering Turquoise • Blue Chiffon • Pink Chiffon • Wedgewood Blue • Moon Yellow • Sunny Day • Mustard Seed • Spiced Pumpkin • Mocha • Raw Sienna • Light Buttermilk • Burnt Sienna • Traditional Burnt Umber • Leaf Green • Melon • Watermelon Slice • Cinnamon Drop • Snow (Titanium) White

Available from The Brush Guys

• Dynasty® Black Gold (206 Series) Brushes: • 2, 4, 6, 8, 1/2” Shaders • 1/4”, 1/2, 3/8” Angles • 10/0, #2 Round • Decorator Series 400 5/8” Mop • Decorator Series 200 Drybrush, (sm, med, lrg) • 1” Stencil Brush ST104 (Laurie Speltz)

Mediums:

• DecoArt All Purpose Sealer • DecoArt Media® DMM20 Matte Medium

My Techniques:

Surface Preparation: Unless otherwise stated, I seal all my surfaces with one coat of DecoArt All Purpose Sealer. Let dry, then sand lightly.

Dry Brushing: I dry brush all of my highlights unless otherwise mentioned. For larger projects, I like to use the 1” and 2” Palmer brushes. For the smaller areas, I like to use the Dynasty Decorator Series Blenders. The blenders have a dome tip. For best results, use the brush on its side. The brush must be dry. When dry brushing, I load my paint from a dry surface, not a wet palette, as the moisture will get into the brush and make the paint go on smudgy. I also keep an old towel handy; it is great for cleaning the brush between colors. To start, load the brush by tipping it into the first color.

© 2016 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 outlined at paintingworldmag. (All suppliers are and listedconditions in the com. You may NOT reprint or make copies, evendirectory for non profit violation at theuses. backAny of the book) 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.

June 2016 Issue

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in your paper and add a little of that color into the background.

Trace on the basket design. Shade the dress with Moon Yellow. Highlight the bottom of the dress and the sleeves with Snow White.

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Blend out on palette paper, and then wipe excess paint off on a paper towel. Lightly scrub the surface to apply the color. Use the brush on its side and scrub side to side or up and down. Start soft, then press harder depending how much color you need. The harder you press, the more color you will get. The first dry brush coat should allow some of the background to still show through. Additional colors should cover less area than the first coat. Clean the brush as best you can on your old towel, then pick up the next color. Apply in the same manner, using less.

Float/Shade: I always float my color with the angular shaders. Mop to soften with a Mop brush. I shade around my design elements before base coating; I like the softer look I get when I do this. Unless otherwise indicated, I shade around the entire shape and deepen in corners and under design elements for more depth. Line: Unless otherwise stated, all lining is done with the #10/0 liner and the paint is watered down to an ink-like consistency. Basecoat: Use the brush that best fits the size of the area to be painted.

Scrapbook Papers: I try to use papers that I get from Michaels or Hobby Lobby. I know this is not always possible to match, so I use papers that are fairly neutral and can be easily substituted or recreated using paint. If you have a favorite paper, simply pick a paint color that matches a color June 2016 Issue

Preparation:

Seal the surface with DecoArt All Purpose Sealer. Let dry and sand lightly.

Background Technique Video: https://vimeo.com/161565918

Pour random drops of Colonial Blue, Whispering Turquoise, Blue Chiffon, and Pink Chiffon onto the painted surface. (Note: these are just small drops). We will add more as needed throughout the process.

Use a brayer to move the paint over the surface. Roll from top to bottom, following the line of the wood. Add more drops here and there as needed. I love the mottled, rough look this created and the tiny bits of pink. Randomly stencil the edges and corners using the DecoArt Dandelion stencil (or stencil of your choice) with Colonial Blue. Trace on basic pattern lines. Shade around the outer edge of the board and around the design with Wedgewood Blue.

Painting Instructions Note: Refer to the photo and the pattern for color placement and details.

Angel Dress:

Trace the dress onto the scrapbook paper and cut it out. Apply a coat of DecoArt Matte Medium over the entire area where the dress will go. Lay the dress in place and smooth with the brush loaded with more Matte medium to seal. Let dry.

Deepen the shading with Mustard Seed. Dot the bodice with Colonial Blue.

Stencil the bottom of the dress with the small borders stencil using Pink Chiffon. Use the same stencil and Pink Chiffon and stencil a little around the edges of the board. Line the stitching with Lamp Black.

Basket:

Base coat the basket with Raw Sienna. Shade with Burnt Sienna. Dry brush with Mustard Seed. Deepen shading with Traditional Burnt Umber. Line with Lamp Black.

Line the handle with Burnt Sienna tipped in Traditional Burnt Umber. Line the string and the bows with Lamp Black. Base the house with Melon. Shade with Watermelon Slice. Highlight with Pink Chiffon. Deepen shading with Cinnamon Drop. Base coat the holes and the roof with Lamp Black. Line highlights in the holes and dot the roof with Snow White. Base the chicken with Whispering Turquoise. Shade with Colonial Blue. Highlight with Blue Chiffon. Deepen shading along the bottom with Wedgewood Blue. Use the #2 Round brush loaded with Wedgewood Blue tipped in Blue Chiffon to stroke in the wings and tail. Dot the chicken with Snow White. Base the beak with Mustard Seed.

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with Whispering Turquoise. Base the pupil with Lamp Black, then dot with White. Line the eye and the eyebrows with Lamp Black. Highlight the nose with Light Buttermilk. Base the mouth with Watermelon Slice. Dry brush the cheeks with Melon.

Base the hair with Raw Sienna. Shade with Burnt Sienna. Dry brush with Spiced Pumpkin. Deepen shading with Traditional Burnt Umber.

Hat and Bow:

Base the hat with Moon Yellow. Shade with Mustard Seed. Highlight with Sunny Day. Deepen shading with Spiced Pumpkin. Brighten highlights on the top of the hat and brim with Snow White.

Base the hatband and the bow on the dress with Pink Chiffon. Shade with Melon. Highlight with Light Buttermilk. Deepen shading and line the plaid with Watermelon Slide. Highlight the bow with Snow White. Dot along the hat brim with Colonial Blue.

Dot the eye with Lamp Black and the pupil with White.

Base the Strawberries with Melon. Shade with Watermelon Slice. Highlight with Pink Chiffon. Deepen shading with Cinnamon Drop. Add tiny seeds with Lamp Black. Use the liner loaded with Leaf Green tipped in Moon Yellow to stroke in the leaves on the top of the strawberries. Line all the vines with Traditional Burnt Umber tipped in Lamp Black. Base the leaves with Leaf Green tipped in Moon

Yellow. Dot the orange flowers with Spiced Pumpkin; dot the centers with Moon Yellow. Line the straw in layers starting with Mustard Seed. Repeat with Moon Yellow and then Light Buttermilk.

Angel Head, Hands, and Feet:

Base with Mocha. Shade with Raw Sienna. Highlight with Mocha mixed with a touch of Light Buttermilk. Base the eyes with White. Base the eyeball

Bloomers and Wings:

Base the wings and the bloomer with Light Buttermilk. Shade with Blue Chiffon. Dry brush and float highlights with Snow White. Line the stitching and the bows on the bloomers with Lamp Black. Dot with Canyon Orange. Dot again with Turquoise Blue.

Finishing:

Using the Laurie Speltz foam stamp set, stamp the background and the dress as desired using White, Colonial Blue, and

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French for Painting with Friends called “Painting with Friends”. My second book and my first on my own is called and “A Touch of Primsey” was released in 2013. I released my second book “A Touch of Primsey 2” at the 2015 Las Vegas Painting convention in 2015.

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Moon Yellow. Outline as desired with Lamp Black.

Glue the paper flower to the hat and the crystal to the dress using the DecoArt Matte Medium. Adhere the butterfly to the dress using the Matte Medium. Dot the neck, cuffs, bottom of dress, and bloomers with Snow White. Varnish as desired. I am very proud to be a DecoArt Helping Artist and an FM Dynasty Brush Artisan.

My designs can be found in several back issues of Paintworks and Paint-it-Today Magazines as well as Bear with Us, Viking Wood Crafts, Cabin Crafters, Cupboard Distributing, Stockade and Artist Club. My first book was a joint venture with Terrye

June 2016 Issue

Little Miss Amy is inspired by Terrye French.

RIP Terrye French: August 27, 1953 November 27, 2014

Watch for some “how to” videos using some of my favorite tools and products in 2015 and 2016, along with projects in the new Pixelated Palette E-zine, Artist Club, Viking Woodcrafts, Patricia Rawlinson, Cupboard Distributing and Bear with Us. I have several conventions planned for 2016 including Vegas, HOOT and Seattle. If you are planning to attend any these, please stop by and say hi!

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June 2016 Issue

Butterfly Card

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by Kelly Hoernig

June 2016 Issue

Painting World Magazine

Chase the muse everywhere. Excited by nature. Love a challenge.

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I wanted to make a background that included several layers so you can add interest with each one. The star of the show however is the little butterfly painted on a playing card.

My favorite quote is by John Wooden - “Make each day your masterpiece.”

Surface:

• Dick Blick artist’s board, flat profile, 8”x8” • Playing card

DecoArt Mediums:

• Decoupage, Matt DS106 • Media Gesso, White DMM18 • Matte Spray Finisher

Acrylic Paints by DecoArt Americana:

About Kelly

Hello from Indiana! So far I have graduated with a fine arts degree. Worked in advertising. For the last 19 years I have traveled the US teaching and exhibiting in the decorative painting market. Have designed over 500+ pieces for publications such as books, articles and pattern packets. I have taken more than 10,000 photos. Became an international artist with my first e-course (more than 8 different countries).

I enjoy creating in acrylics, mixed media, colored pencil and watercolors. And am still excited to be creative every single day! Some things you might not know about me: I have a very curious nature. Work best by moonlight. Create because I have to. Inspired by the details.

• Antique Gold Deep • Antique Green • Camel • Charcoal Grey • Cocoa • Oyster Beige • Raw Sienna • Wasabi Green

Loew-Cornell Brushes: • 1”, #3/4 Wash • #8 Shader • #4 Round Sroke • #1 Liner • 1/2” DM Stippler

Photo 1

Apply one coat of Gesso on one side of the playing card.

Instructions:

Tear the book page to approximately 7” x 4-1/8”. On board, apply decoupage to the surface, place book page down, smooth with credit card working from the center out to get out air bubbles. Dry then apply one layer of decoupage on top of page. See Photo 1. Photo 2

Miscellaneous:

• Palette Knife • Spreader or credit card • The Crafters Workshop, mini harlequin stencil • Book page • Cardboard or wood scrap

Preparation:

On board apply one coat of Wasabi Green, pulling all the strokes in one direction either horizontally or vertically to create a pattern.

(All suppliers are listed in the © 2016 Painting World Magazine Digital Edition. All rights reserved. forof distribution, directory at theNot back the book) 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.

June 2016 Issue

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Mix Charcoal Grey + Antique Green (1:1).

Place harlequin stencil in center of board. With DM stippler brush randomly stencil in shapes with mix. Lift and dry.

Photo 3

On playing card slip-slap one layer of Cocoa. While wet press in bubble wrap to bottom third of card.

Dry, then decoupage a 1” strip of the book page to the card, pressing to remove bubbles. When dry, apply one layer of decoupage on top of the book page.

Line up the stencil so you can expand design to sides, top and bottom. Again, apply with DM stippler and mix.

Base board outer edges with the remaining mixture. When dry I added a couple harlequin diamonds to the sides with Antique Gold Deep.

Helpful Hint:

Let yourself just have fun with the background instead of trying to make it just like mine...

Flowers:

Transfer flower to board and butterfly to playing card with white graphite or black graphite lightly. See Photo 4.

Base flowers with #4 round stroke brush and Cocoa twice. With #8 shader and Camel highlight by running the chisel Photo 4

On board, with watery Wasabi Green go over entire top even the book page with the 1” brush. While wet slip-slap and let your stokes show with Antique Gold Deep in a diagonal motion, larger at bottom right. At the top right and bottom left slip-slap in Antique Green making the edges darker in value. See Photo 2.

While wet, dip fingers into your brush basin and flick water onto the surface. Let sit for a couple of seconds then blot with paper towel. This will add some nice interest to your piece lifting the paint where the water was. Let dry. See Photo 3. June 2016 Issue

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Brighten the top three strokes with a highlight of Antique Gold Deep. Bottom wings are stroked on with Antique Gold Deep twice. Spots on all wings are Camel. Body is shaded with edge mixture. Highlight Camel.

Segments are edge mixture, highlighted lightly with Camel. Antennae are done with liner and edge mixture.

Finishing:

Spray varnish everything with 2-3 light mists before assembling. Decoupage the cardboard or wood scrap to the back center of the playing card. This is just used to lift the card away from the surface giving it more depth when finished. When dry, decoupage card to board.

Photo 5

edge up and won the flower petal to create petal ridges. Do this twice if needed. With Oyster Beige repeat chisel edge stroke but only in the highlight areas. On center create bumps with “c” strokes of Camel then Oyster Beige. See Photo 5.

Shade each petal with chisel strokes of Raw Sienna from outer tip up about halfway. Using edge mixture from above and the liner brush, outline each petal, the center and the stems.

Playing Card Butterfly: Base wings with edge mixture from above. With the #4 round stroke brush, stroke top wing with Antique Green twice.

June 2016 Issue

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June 2016 Issue

Painting World Magazine

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The Evolution of an Artist I have been an artist my entire life. As a child I couldn’t wait for the Sunday comics in the newspaper. I would spend hours and hours drawing my favorite characters and making them come to life in my own stories. In school I experimented with printmaking, charcoal, conte crayons, ink, still life, clay, jewelry making, acrylics, oils and watercolor. I have always loved many mediums and the challenge they give me as an artist. Trying to control any new medium and transform my imagined design into a piece of art has always been my goal in the creative journey.

from a drafting plan was something I was fascinated by. Chicago was filled with architectural genius to spare so there was no shortage of inspiration. With this came learning about weather (clouds, sunshine, dusk, dawn), landscapes (trees, bushes, flowers), interiors and exteriors. It was a full-out challenge that could be done in any medium of choice—markers, watercolor, acrylics, pen and ink and even paper. But most of all, it gave me my direction of noticing the details no matter how large or small.

I went to the American Academy of Art in Chicago where I studied architectural rendering. The experience of perspective and being able to construct a building

While working in Advertising as a typesetter, I discovered the world of Decorative Painting. A friend of a friend was starting classes and needed one more student, yep, me. So I bought the required supplies, attended the classes and knew this was something I would be good at and I could do it in my spare time. I did craft shows, sold in consignment shops and discovered the wonderful world of the Society of Decorative Painters (SDP).

Everything is important, how you choose to showcase it is up to you.

This lead me to new experiences like painting chapters, conventions, trade shows, plus associations like HIA, CHA and SCD. My art world was getting a little larger and soon I began designing and inspiring others with my own creations. As an artist, I love to learn, get bored easily and like to try new things. This is so important to who

by Kelly Hoernig

I am that I have taught basic still life drawing, altered books, pen and ink, acrylics, genesis oils, colored pencil, mixed media, art journaling, finding your style and making art a business throughout many conventions in our Decorative Painting world. It is also something I am known for, never staying still with one medium. So this brings you to the importance of trying new things, stepping out on a limb and not reacting without knowing the whole story. Industries change, and we must embrace that because, without change, companies and artists might not be able to acquire what they need to create. And, wouldn’t that be a tragedy to not be able to fulfill what is inside each of us? What was once Altered Art is now Mixed Media and I can see many people thinking “I don’t do mixed media.” I can tell you that there is just as much challenge to

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Online magazines, e-packets, video lessons, classes and e-courses all represent our future. Think about it. Where have you ever had so much information at your fingertips? I love knowing that as a designer of almost 20 years now, growth is here! I get excited seeing the new possibilities of being an international teacher with one e-course. Being able to reach more art students every day through the Internet is something I never imagined when starting out in the late 90’s.

a mixed media piece as any other art form and we as Decorative Painters have been doing mixed media for generations.

Do you remember painting on tin, wood or anything else that wouldn’t move with acrylics and oil paints? How about adhering fabric to wood, painting on glass, wax batiks, colored pencil over paint? Those are all forms of mixed media and I bet you have probably done most of them. The term “mixed media” just means more than one medium, nothing more, nothing less.

shows and products that used to be readily available. It is about reaching and growing and learning and allowing new things to happen. We don’t have to like all of them but saying you don’t like it without trying it just isn’t fair and hurts our painting industry’s longevity.

It has bridged the gap of traveling and reaching only a handful of students that lived nearby and who could afford to attend in person. The Internet lets you experience art lessons whenever you want, wherever you are, and as someone with an inquisitive, creative mind, I love the endless possibilities it offers. The evolution I have seen in the past 20 years is astounding and I can’t wait to see what the next 20 bring!

Our ability to accept change and support the companies (DecoArt, Plaid, Loew-Cornell) that are bringing us new and innovative products have to go hand-in-hand or the industry will fail to exist. You have seen this in the decline of our magazines, trade

June 2016 Issue

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Zenspirations Altered Box by Debbie Cole

Painting World Magazine t share it with others. Her mission is to be able to reflect her joy onto others through her artwork.

Brushes by Silver Brush Ltd®

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This design was Zenspired by the artwork of my dear friend Joanne Fink, who is the author of all the Zenspirations books. I wanted to create something fun, yet easy to do, based on Joanne’s artwork, so I used the Zenspirations stencils to create this project along with the Koi Watercolor Brush Pens.

About Debbie

Surface

• 28-29843 - 6 X 6” Wood Canvas from Cupboard Distributing • 01-P614 - Draw Pull knob from Cupboard Distributing • 01-P486 - Wood candlestick from Cupboard Distributing • Strathmore® 140lb Mixed Media Paper (brown tablet)

Paints & Pens

• DecoArt Americana® Acrylic Snow White • Sakura® of America Koi® Watercolor Brush Pens 24 pack (includes Blue, Burgundy, Fresh Green, Green, Iris, Lilac, Pale Orange, Pink, Peacock Green, Purple, Sky Blue, Yellow, and Yellow Green)

• #CD2624S Debbie Cole Creative Blending Set, including Monza® Round #8, 6, 2, & 0 Brushes • Golden NaturalTM 2000S #3 Round and 2007S #00 Script Liner

Stencils

• Zenspirations TCW467s “Live Love Laugh” and TCW464s “Dancing Leaves,” available from the The Crafter’s Workshop

Miscellaneous

• Cheesecloth • Plastic acetate • Paper towels • Screws • Spray bottle filled with water • Water bin

• Sakura of America Microperm® .001, .003., and .005 markers

Debbie Cole, CDA is an awardwinning 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 sought-after instructor who has taught throughout the United States, Japan, Argentina, and Canada. While Debbie loves traditional decorative painting, she also loves stamping, mixed media, and jewelry design. No matter what her medium, Debbie’s main source of inspiration comes from her faith in God. She knows that all her creative talent is a gift and feels blessed to be able to June 2016 Issue

Mediums

• DecoArt® Matte Varnish • Decoart Decou-PageTM Paper medium • Decoart Multi-PurposeTM Sealer • Krylon® Spray Workable Fixatif

(All suppliers are listed in the directory at the back of the book)

Painting World Magazine

Helpful Hints:

White. Trim two 6” by 6” pieces of mixed media paper.

Trace around the outside edge of each image using a Microperm marker, varying the size where needed. Fill the small letters completely with the markers.

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When sealing the Koi Watercolor Brush Pens, I do so in three steps. I begin by adding a VERY LIGHT application of the Workable Fixatif over the entire surface. Once it is dry I repeat this step. I then apply one coat of matte medium or varnish over the entire project to keep it from bleeding. Preparation:

Instructions:

Background One

Loosely apply Blue, Sky Blue, Peacock Green, Yellow, Fresh Green, and Yellow Green onto a sheet of acetate. Lightly spray with water. Place one of the 6” papers on top of the acetate and lift. Allow to dry. Place the “Live Love Laugh” stencil over the background and tape into position on all four sides. Apply snow white to the images within the stencil. Allow to dry.

Coloring the Images

The method I chose to blend was color into color, starting from light to dark. In general, follow the color wheel, working the lighter color into the next color. For the lettering and flowers, I worked from Yellow, Pale Orange, Pink, Iris, Burgundy, and Purple.

On the last letter, I began with Lilac and worked through Pink, Iris, Purple and Blue.

Using a saw, remove the candle cup from the candlestick, and sand the cut area. Drill one hole in the top and one in the bottom to fit the screws. Seal the wood canvas, candlestick, and knob, then sand lightly. Wipe away dust particles with a cheesecloth. Base coat all items with Snow

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To the green areas, I worked from Yellow, Fresh Green, Yellow Green, Peacock Green, and Green. While the colors blend easily into each other, occasionally I would use a dry #0 Monza round brush to soften the blend.

Patterning the Images

What makes Zenspirations so much fun is the patterning. I have provided a graphic step out for some of the patterns. Keep in mind that any patterns are simply a series of lines or circles. Think about repeating the letters of the alphabet when creating patterns. What looks complicated is very simple when broken down step by step.

Background 2 & Sides of Wood Canvas

The same method is used to colorize the second background and the sides of the wood canvas. Begin with Pink and fill in the center. Blend Iris into the Pink, then blend Purple into the Iris and allow to dry. Seal these areas following my Helpful Hint. June 2016 Issue

Allow to dry and place the leaf stencil over the background. Sponge Snow White paint over all the leaves. Repeat to the sides of the wood canvas. Using a .001 Microperm, outline all of the leaves.

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Candlestick Base

From top to bottom of the base, blend Pink, Pale Orange, Yellow, Fresh Green, Yellow Green, and Green. Fill in the curved area with Sky Blue. Blend the base with Pink, Iris, Purple, and Blue. Add patterning using .001 and .003 Microperm markers.

Knob

Fill in the curved area with Sky Blue. Doodle a flower onto the top by beginning with a circle in the center and then adding long “U”s for the petals. Color with Pink, Pale Orange, and Yellow. Add patterning. Colorize the negative space with Blue.

Finishing

Seal all items as stated in the Helpful Hints section at the beginning.

Apply background one to the solid section of the wood canvas using decoupage medium. Apply background two to the open side to enclose the box. When dry, add another application of decoupage medium to the backgrounds.

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Innovative Corner

with Debbie Cole, CDA

I am so excited to begin this new series called “Innovative Corner.” This is an editorial column that will focus on new, creative, and innovative ideas, products, and/ or techniques for painters. With each series, there will be a corresponding project so you can see how the products and/ or techniques can be used.

The second feature is that they perform like watercolor paints with smooth blending between colors and with water. The 48 transparent ink colors blend easily to create a multitude of hues and effects. Sakura also created a blender pen to help create seamless washes and color gradations. In addition, I have found that the same results can be created using the color pens together, an aqua pen, or a dampened paintbrush.

While these are dye-based inks that have superior blending capabilities, they are not permanent inks. Any moisture will reactivate them. Unlike watercolor paints, I love that they can be used over acrylic paint and gesso without beading up. They can even be blended onto wood. However, they must be sealed or they will bleed and/or reactivate. The versatility of these Brush Pens seems to be endless. I hope that you will be able to experiment with these innovative tools.

In this issue, I would like to introduce the Sakura® of America Koi® Watercolor Brush Pens. The Brush Pens are very versatile and are a convenient way to add vibrant color to any sketch, journal, illustration, rubber stamp, or painting project. There are two features of these brush pens that really make them stand out from other markers. First, these are dye-based brush pens that perform similar to an artist brush. The tips are flexible, so they can create fine, medium, or bold strokes by changing the position of the pen and the pressure on the nib. June 2016 Issue

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Wood surfaces and so much more. Check out our large selection of wood cutouts, wood turnings and true, curved barrel staves.

Pattern packets from over 40 of today’s top artists.

Large selection of glass jewelry, jewelry trays, and findings to make complete sets.

We carry Margot’s MUD and kits!!

We’ve been in business 33 years and looking forward to taking care of you!!

Bear With Us, Inc.

1331 Green Forest Ct. #16, Winter Garden, FL 34787

www.bearwithusinc.com

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Kiev Clamshell Treasure Box

By Judy Diephouse

June 2016 Issue

Painting World Magazine

Palette: DecoArt Americana®

Preparation:

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This uniquely-shaped box would be a lovely addition to any room. The Kiev florals are done with bright, beautiful colors. Have fun with the stroke work on this charming piece!

About Judy

I was introduced to Decorative painting in 1975. Very soon after that I was teaching classes in my home. This I did for the next twenty or more years. During this time, I did teach at the National Conventions and at HOOT. In 1994 I teamed up with Lynne Deptula to form “Distinctive Brushstrokes” . We have published over 300 pattern packets and 40 books. Please check out our web site for our current line of patterns and books, teaching schedule, and Home Seminar dates.

Surface:

• Bahama Blue • Berry Red • Black Green • Black Plum • Bubblegum Pink • Buttermilk • Carousel Pink • Desert Turquoise • Hauser Dark Green • Hauser Light Green • Hauser Medium Green • Indian Turquoise • Jack-O’-Lantern • Emperor’s Gold (Metallic) • Moon Yellow • Orange Flame • Peony Pink • Red Alert • Snow White • Tangelo • Tangerine • Teal Green • Yellow Green

Brushes: Loew CornellTM

• Liners 7350 Series #10/0, #4, #6 • Liners JS Series #1, #2 • Flats 7300 Series #4, #8

Miscellaneous Supplies: • Paper Towels • Chalk Pencil • Water Bin • Tracing Paper • White graphite • Stylus

Basecoat the entire box with Black Green. Sand between coats. (This extra step makes for a smoother finish. The piece can be finished with a gloss finish, which will make any stroke marks in the basecoat show up.) Trace on the pattern.

Painting Instructions: Stems & Stroke Leaves: All stems to the flowers and buds and the center stems of the stroke leaves are Hauser Medium Green.

The two leaves of strokes start at the tip of the leaf and continue down the sides of the leaves using the colors listed in order.

The leaves get darker and larger with each set of strokes. Do not clean your brush between strokes; just wipe off excess paint when needed. Use a #4 liner.

• Mix of Yellow Green and Hauser Light Green • Hauser Light Green • Mix of Hauser Light Green and Hauser Medium Green • Hauser Medium Green • Hauser Medium Green and a touch of Hauser Dark Green • Add a touch more Hauser Dark Green to the previous mix • Hauser Dark Green • If needed, add a touch of Black Green to the final strokes. Shade below the stem line with a float of Black Plum.

(All suppliers are listed in the directory at the back of the book) © 2016 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.

June 2016 Issue

Painting World Magazine t Inside these petals are smaller ‘c’ strokes of Carousel Pink. The dots under these petals, on the line, and around the center petal are Moon Yellow. The dot at the base is Red Alert, with a highlight dot of Moon Yellow.

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Main Red Flower

The center is a line and crosshatching with a mix of Hauser Light Green and Yellow Green. Float below the line with a side load float of Peony Pink. Using a #6 liner, the farthest outer petal is Berry Red with a touch of Peony Pink added.

Add shade detail lines on the lower strokes with fine lines of Black Plum.

Highlight the tip of the center vein with the lightest mix. Shade the base of the center vein with the darkest mix.

Five Main Leaves:

Using a #8 flat, the leaves are a mix of Hauser Medium and Dark Green on one side, double loaded into Indian Turquoise. Blend well on palette for a nice transition of color.

The second petal in is Peony Pink, the third petal is Carousel Pink, and the fourth petal is Bubblegum Pink.

The three center petals are Buttermilk, with a tiny touch of Bubblegum added. Shade the base of all of the petals with fine lines of Black Plum. The top petals are side loaded ‘c’ strokes of the mix of Berry Red and touch of Peony Pink.

Blue Flowers

The center, top petal is Bahama Blue. As you stroke the petals going down each side gradually add the following colors: Indian Turquoise, Desert Turquoise, and Teal Green.

The center is Moon Yellow, shaded at the base with Red Alert. The dots around the top are Buttermilk and Snow White. The three strokes on top of the petals at the bottom of the flower are a mix of Buttermilk and Snow White. The dot at the base of these three light petals is Peony Pink. The small blue flower on the right is two strokes of double loads: Indian Turquoise and Teal Green, and Bahama Blue and Desert Turquoise.

The three large leaves at the base of the design have an elongated ‘c’ stroke in the center of the leaf with Bahama Blue. The four smaller leaves along the stems have a center vein of Hauser Light Green attaching them to the stems. All of the leaves are overstroked with Indian Turquoise. The three large leaves are shaded at their base with a float of Black Plum.

June 2016 Issue

Painting World Magazine

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The stem coming out is Hauser Medium Green with dashes of the mix of Moon Yellow and Buttermilk.

The small orange flower is a mix of Orange Flame and Tangelo for the ‘s’ strokes and Jack-O’-Lantern for the inner strokes. The small center stroke and dot are Moon Yellow.

The dot is Peony Pink and the calyx leaves are Hauser Light Green. The stem coming out of the large blue flower is Hauser Medium Green, with dash lines of a mix of Moon Yellow and Buttermilk.

Orange Flowers

The small blue flower on the left side is an elongated ‘c’ stroke of Desert Turquoise with a smaller ‘c’ stroke inside of Bahama Blue. The dot at the base is Moon Yellow with calyx leaves of Hauser Light Green.

The two strokes below are Red Alert. The top of the ‘s’ strokes are overstroked with Moon Yellow. The three small strokes coming out of the top and the dot at the base are Moon Yellow.

The outer ‘s’ stroke petals for the large orange flower are Tangelo Orange. The next strokes in are Orange Flame, the third are Jack-O’-Lantern, and the two smallest strokes are Tangerine.

The Orange flower on the right side are elongated ‘c’ strokes of Orange Flame, Jack O Lantern, and Tangerine with a touch of Moon Yellow added. The dot at the base is Red Alert, with the calyx leaves of Hauser Light Green.

Berries

The berries are dots of Red Alert with a highlight dot of Tangerine. The tiny leaves around the berries are a blended double load of Hauser Medium Green and Indian Turquoise.

Strokes and Trim on the Top

The fine curl lines at the top of the red flower are a mix of Hauser Light and Medium Green. The strokes inside of the curls are a mix of Hauser Medium Green and Indian Turquoise. The center five strokes are Emperor’s Gold. Additional filler strokes are also Emperor’s Gold. The edge outline and tiny strokes are Emperor’s Gold with dots of Peony Pink.

Band of the Lid

Basecoat this band the width of a #8 flat with Teal Green.

June 2016 Issue

Painting World Magazine t

The three leaves are a mix of Hauser Medium and Dark Green double loaded and blended with Indian Turquoise. The dot is Peony Pink. The crosshatching lines and set of dots above the leaves are Emperor’s Gold.

are a mix of Hauser Light and Medium Green. The dots are Peony Pink. The filler strokes are Emperor’s Gold. The stroke work inside of the lid is Emperor’s Gold with a touch of Black Green.

Inside of the Box

Finishing

The lines outlining the curves of the box and the three small leaves are Emperor’s Gold. The dot is Tangelo Orange. The flower inside the box is done the same as the large Blue Flower and the leaves are done the same as the large leaves. The curl lines and fine tendrils

Allow the painting to dry thoroughly. Erase any visible tracing lines. Varnish with three coats of a satin acrylic varnish. If you want to have the gloss finish, spray with a gloss varnish spray. High gloss pieces were usually finished with a lacquer finish. If you know someone who refinished furniture or cars, you may ask them to lacquer spray your box for this finish.

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Shade the top edge of the band down with a float of Black Green. This should leave a stripe of Black Green along the bottom edge. The four ‘s’ strokes per curve are Indian Turquoise with dots of Emperor’s Gold in between.

Bottom of the Box

The bottom line is Teal Green. The large comma strokes are Desert Turquoise. The highlight lines coming from the top of each stroke are Indian Turquoise. Highlight the top curve with a float of Bahama Blue.

Enjoy! Judy

June 2016 Issue

Painting World Magazine

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June 2016 Issue

Painting World Magazine t

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June 2016 Issue

Painting World Magazine

N: . IO CE U IT ED OD R L TA EP GI T R DI O N

Use Your Head by Shara Reiner, CDA

June 2016 Issue

Painting World Magazine t

• Liner Scharff® 455 #1 or Loew CornellTM 7350 #2 • Mop - I like a 3/4” size • #8 or #10 Filbert

After it’s dry, I gave the top two coats Gesso. You can use Snow White paint also. I like the soft texture of Gesso.

DecoArt Americana® Acrylic Paints:

Apply the pattern. Use only outside lines.

• Snow White • Black • Tomato Red • Spice Pink • Deep Burgundy • Antique Rose • Coral Shell • Foliage Green • Hauser Medium Green • Plantation Pine • Purple Cow • Grape Juice • Espresso • Indian Turquoise • Whispering Turquoise • Golden Straw • True Ochre • Deep Midnight Blue • Wedgewood Blue • Blue Haven • Blue Harbor • Tangelo Orange

Instructions:

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These houses were painted from memories I have from visiting Borneo. This is an island off Venice that is famous for lace. They have wonderful colorful houses...

(All suppliers are listed in the directory at the back of the book)

About Shara

I have been painting almost 40 years and still love every minute of it!!

I am a wife, a mother, grandmother and painter.... I have authored hundreds of pattern packets, written many books, I’m a teacher and have been a shop owner. My life revolves around travel teaching now both in states and Europe. I love the people I meet and have made lots of friends. I like my painting to be free and HAPPY. I hope each pattern of mine is a new adventure for the painter.

Storage Desk:

Preparation:

• The Folk Artist, Newport Beach, CA

Use your favorite prep for metal. I use a spray Gray Auto Primer. I did not prep the inside.

• Good Flat Brushes In Sizes #4 To 20 June 2016 Issue

The sky is a wash of Blue Haven working around the housetops. I recommend watercolor for this step. (It will look messy.) Let it dry well between coats.

Add a thin wash, here and there, of Indian Turquoise. I added some Snow White for clouds. Shade around housetops with a side load of Deep Midnight Blue. Mop to soften the float.

Extras:

• Permanent Black Pen • White Pen • Gray Auto Primer • Gesso

Brushes:

The outside edges are a wash of Foliage Green. The top corners have Black checks. The lower corners have a wash of Golden Straw around the heart shape. The hearts are Antique Rose. Shade the round parts with a side load of Deep Burgundy. Highlight the point with Spice Pink plus Snow White.

Painting World Magazine

N: . IO CE U IT ED OD R L TA EP GI T R DI O N

For the ground, the back hills are Hauser Medium Green and the front hill is Foliage Green. Stripe the front hill with the liner brush and very thin Hauser Medium Green.

House #1:

The roof is Tomato Red, highlighted with Spice Pink. The house is Spice Pink. Shade the under roof with Tomato Red. Add thin dots of Snow White. The door is Coral Shell, shaded across the top with Tangelo Orange. All windows are Golden Straw. This will probably take two coats. Shade across the tops with True Ochre. The trim around the top windows is Foliage Green plus

Snow White. The trim around the lower windows is Purple Cow.

House #2:

The roof is Black. Highlight it with a mix of Black plus Snow White, for a medium gray. The chimney is Deep Burgundy and the highlighting is Spice Pink. The smoke is a liner of a Gray mix (Black plus Snow White).

The house is Blue Harbor, shaded under the roof with Deep Midnight Blue. The door is Whispering Turquoise, shaded across the top with Indian Turquoise. The windows are Golden Straw, shaded across the tops with True Ochre.

The heart is Antique Rose; I use a filbert brush for this. Shade the round parts with Spice Pink, and add a tad Snow White to lighten, if you need to.

Shade the point Deep Burgundy. The “wings” are Snow White.

House #3:

The roof is Grape Juice, highlighted with Purple Cow. The wide strip is Foliage Green. Shade each side with Hauser Medium Green. Highlight the center with Foliage Green plus Snow White.

The small stripes are Whispering Turquoise. Shade each side with Indian Turquoise. The ball on top is Tomato Red.

June 2016 Issue

Painting World Magazine t

The door is Spice Pink, shaded with Tomato Red.

All windows are Golden Straw, shaded with True Ochre. Trim around the upper window with the liner using Whispering Turquoise.

The fence between houses is Snow White. Shade with a little gray (Black plus Snow White).

Trim the lower part of box with colors of your choice from the palette. I used Spice Pink to trim lid. The lock is Tomato Red.

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The house is Purple Cow. Shade under the roof with Grape Juice.

The stripe on the house is Snow White with Black checks. The door is Tomato Red.

House #4:

The roof is Golden Straw, shaded with Deep Burgundy. The house is Indian Turquoise, shaded with Wedgewood Blue. The window is Golden Straw shaded with True Ochre. The trim is Snow White.

June 2016 Issue

The path in front of each door is very thin Espresso.

Use your liner brush to dab Hauser Medium Green at base of each house for bushes. Add a little Foliage Green here and there.

Flowers, leaves, and stems are Hauser Medium Green. Add some Foliage Green for highlighting. Flowers are finger dots of Snow White. The smaller center dot is True Ochre.

The bottom is Foliage Green and the bottom lip is Whispering Turquoise.

The handle is Golden Straw. I wrapped the handle with a strip of fabric.

Pen Work:

Use the pattern and picture as a guide. I use a double wiggle line to line all doors and windows. Use the White pen to decorate the Black roof and to add a small highlight in all the windows. Add detail to the heart and wings.

Painting World Magazine

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The writing is also pen work. I used the large end of an Identi-pen.

The White pen does not like water-based varnish. Spray with a matte spray before varnishing. Fill with your favorite things and enjoy! Shara

June 2016 Issue

Painting World Magazine t

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Directory of Artists & Suppliers

Listed Alphabetically

Artists:

Lynne Andrews

andrews181@cox.net www.lynneandrews.com facebook.com/lynne.andrews.165

Deb Antonick

adeb@shaw.ca www.paintingwithdeb.ca facebook.com/deb.antonick

Debbie Cole

debbie@debbiecole.com www.debbiecole.com facebook.com/ DebbieColeDesigns

The Brush Guys

JstFnDsgn@aol.com www.justfinedesigns.com facebook.com/JustFineDesigns/

www.thebrushguys.com 23881 Via Fabricante, Suite 515 Mission Viejo, CA 92691 877-898-9046 info@thebrushguys.com

Shara Reiner

shara@angelthyme.com www.angelthyme.com facebook.com/shara.reiner

Bobbie Takashima

BobbieTArts@gmail.com www.bobbieartstudio.com facebook.com/BobbieTakashima

Cindy Vitale

cindymannvitale@gmail.com facebook.com/cindymannvitale

Judy Diephouse

distinctj@aol.com www.distinctivebrushstrokes.com facebook.com/judy.diephouse

Thelma Hamilton

thelmahamilton@yahoo.com www.thelmaLhamilton.com

Chris Haughey

chris@cdwood.com chrishaughey.wordpress.com facebook.com/chris.haughey.98

Kelly Hoernig

questions@kellyhoernig.com www.kellyhoernig.com facebook.com/kellyhoernig.artist

June 2016 Issue

Sandy LeFlore

Tracy Weinzapfel

info@tracyweinzapfelstudios.com tracyweinzapfelstudios.com facebook.com/tracyweinzapfelstudios

Judy Westegaard

jkwestegaard@aol.com judithwestegaarddesigns.com facebook.com/judy.westegaard

Suppliers: Artist’s Club

www.artistsclub.com PO Box 87760 Vancouver, WA 98687-7760 800-845-6507

Cabin Crafters

www.cabincrafters.com 1225 W. 1st St. Nevada, IA 50201 515-382-5406 Sherry7686@gmail.com

Copic Markers by Imagination International, Inc.

imaginationinternationalinc. com/copic/ PO Box 72149 Springfield, OR 97475 541-684-0013 info@iiinc.co

The Crafter’s Workshop Stencils

store.thecraftersworkshop.com 116 South Central Avenue Elmsford, NY 10523 914-345-2838

Creative Arts Lifestyle Surfaces & Supplies www.creativeartslifestyle.com/ PO BOX 938 Gallipolis, OH 45631 740-441-1564 info@CreativeArtsLifestyle.com

Painting World Magazine

Just Fine Designs

www.cdwood.com 1463 S. US Hwy 68 Urbana, OH 43078 937-652-3338 info@cdwood.com

www.justfinedesigns.com 1560 Evergreen Lane Corona, CA 92879 951-371-3489 JstFnDsgn@aol.com

DecoArt, Inc.

Krylon

www.decoart.com P.O. Box 386 Stanford, KY 40484 606-365-3193 info@decoart.com

www.krylon.com 800-457-9566

R & M What Knots Surfaces

N: . IO CE U IT ED OD R L TA EP GI T R DI O N

Cupboard Distributing

Dick Blick Supplies www.dickblick.com P.O. Box 1267 Galesburg, IL 61402 800-828-4548 info@dickblick.com

Dynasty Brushes

www.dynastybrush.com/ 718-821-5939

The Folk Artist

www.thefolkartist.com 9594 Hamilton Ave Huntington Beach, CA 92646 thefolkartist@gmail.com 949-294-1496

FudeBall Pens by Ranger Industries, Inc. www.rangerink.com 15 Park Road Tinton Falls, NJ 07724 732-389-3535 info@rangerink.com

Jo Sonja Paint and Brushes www.josonja.com 2136 Third St. Eureka, CA 95501 888-567-6652 folkart@josonja.com

Laurie Speltz Creative Coach

www.lauriespeltz.com 2815 100th Street #130 Urbandale, IA 50322 515-253-9881 info@lauriespeltz.com

Lynne Andrews Folk Art

www.lynneandrews.com andrews181@cox.net

Loew-Cornell Brushes www.loew-cornell.com 300 Gap Way Erlanger, KY 41018 866-227-9206

Martha Stewart for Plaid Supplies

www.plaidonline.com/marthastewart/brand/home.htm 800-842-4197

Montzka Woodworking Inc.

www.montzkawoodworking.com 5294 250th Street Forest Lake, MN 55025 651-464-5847

www.rmwhatknots.com 23406 94th Ave West Edmonds, WA 98020 206-542-1592 customerservice@rmwhatknots.com

Royal Langnickel

art.royalbrush.com 515 W. 45th Street Munster, IN 46321 219-660-4170 customerservice@royalbrush.com

Sakura of America Pens and Markers

www.sakuraofamerica.com 30780 San Clemente Street Hayward, CA 94544

Scharff Brushes

www.artbrush.com 106 Cornflower Court Peachtree City, GA 30269 770-461-2200 scharff@artbrush.com

Silver Brush Ltd.

www.silverbrush.com 92 North Main Street, Suite 19-I Windsor, NJ 08561-0414 609-443-4900 info@silverbrush.com

Tracy Moreau Designs Stencils www.tracymoreau.net tmoreau7@bellaliant.net

Viking Woodcrafts, LLC. www.vikingwoodcrafts.com 1317 8th St. SE Waseca, MN 56093 800-328-0116 viking@vikingwoodcrafts.com

June 2016 Issue

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