August 2016 Autumn Issue 02 Painting World Magazine by Loon Publishing, LLC.

Decorative Painting, Mixed Media, Fine Art & More!

August 2016

Painting World Issue 02

AUTUMN ISSUE!

TO BE OR NOT TO BE… a good student! by Margaret Riley From Art Journal to Home Decor... by Tracy Weinzapfel

$7.99 USA $10.35 Canada

magazine

Designs from All Your Favorite Artists Including: Chris Haughey Deb Antonick Rebecca Baer Franca Marzi Judy Westegaard Karen Wisner Laurie Speltz Nancy Scott Sharon Bond and more...

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Wood Surfaces, Pattern Packets and More...

Mirror and Box designed by Cynthia Erekson

"Friends Gather Here" designed by Lauré Paillex

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

Painting World Magazine

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Your privacy is IMPORTANT to us! We never sell, share or otherwise distribute any of your personal information for any reason whatsoever. 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.

August 2016 Issue

Contents

Wicked by Featured Cover Artist: Chris Haughey

13 Autumn Heirlooms 20 Bewitched by Rebecca Baer

by Deb Antonick

25 Steampunk Treat Box by Debbie Cole

31 Floral Pitcher Set

35 Poppies!

50 Magical Brew!

57 Little Bird Journal 63 Trick or Treat

70 Scary!

Leaves & 78 Autumn Acorns

by Tami Carmody

by Sharon Bond

by Judy Westegaard

by Sharon Cook

45 Autumn Leaves by Laurie Speltz

by Kelly Hoernig

by Nancy Scott

by Franca Marzi

81 “Boo” Friends

MORE GREAT ARTICLES! 29 Innovative Corner: DecoArt Media by Debbie Cole 43 To Be or Not To Be... A Good Student by Margaret Riley 61 Art Journal to Home Decor by Tracy Weinzapfel

by Karen Wisner

Painting World Magazine

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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 Rucker, 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!

August 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.

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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Conventions & Events

Heart of Ohio Tole Convention

Oklahoma City Painting Palooza

August 8-13, 2016 Arena Hyatt Regency Hotel Columbus, Ohio We are REALLY looking forward to the HOOT show coming up in August in Columbus, Ohio. We will be there, so make sure you stop by the booth and say hello! If you’re not registered for this fantastic event, make sure you get signed up soon by visiting: http://heartofohiotole.org/convention/registration

September 26-October 1, 2016 Sheraton Hotel / Reed Center, Midwest City, Oklahoma “We are looking to put the Best of the Best together to bring a frenzy of painting fun, education, laughter and shopping to the southwest. Rally ALL your painting buddies & friends to come join us for the most enjoyable time you can imagine.” Sign up at: http://okcpaintingpalooza.com/

Northwest Decorative Artists Regional Convention

September 21-25, 2016 SeaTac DoubleTree Hotel Seattle, Washington “Visit with your favorite Educators, try your hand at new classes, and visit with friends that you have not seen since last convention!” Sign up at: http://nwdaseattle.wix.com/convention

Ministry of Mixology October 22nd- 23rd, 2016

with Andy Skinner & Tracy Weinzapfel

Full day workshops, fabulous mixology goody bag, buffet/deli lunch, demonstrations throughout the weekend, onsite shop, open art room on Saturday evening and a raffle! What’s not to love!? Sign up now at http://www.ministryofmixology.com/ book-your-retreat.html

Painting World Magazine

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Wicked

by Chris Haughey

They say there’s something magical about a Halloween moon. Create your own magic using a limited palette, eerie techniques, and lots of glitter!

do not mix for me), I discovered the wonderful world of acrylic. I have been an addict ever since! My background in art continually encourages me to try new and exciting paints, mediums and techniques. I absolutely love what I do and feel very blessed that I am able to design and share my wonderful world of art.

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 August 2016 Issue

Supplies:

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

All supplies are available at Cupboard Distributing

• 46-93181 Postale Tissue Paper • 46-20844 Ornate Border Cling Stamp • 46-93026 Black Tinsel Twine

© 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.

Painting World Magazine When dry, load oval wash with Glazing Medium and Moon Yellow (50:50). Using a slipslap stroke, cover entire surface. This will mute the design, but it should still be visible.

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• 13-DA293 Persimmon • 13-DA01 Snow White • 13-DA155 Soft Black

• DecoArt Mediums: • 13-41370 Americana Matte Sealer/Finisher • 13-07960 Multi-Purpose™ Sealer • 13-DATM01 Traditions™ Glazing Medium • 13-DMM20 Matte Medium • 13-01120 Star Lite Varnish ®

• 13-41530 Crystal Glamour Dust

• Miscellaneous: • 03-M77WO-3/4” Oval Wash • 03-11183 Double-Ended Stylus • 46-04784 Tim Holtz Splatter Brush • 28-03838 Canary Tracing Paper • 28-31011 Graphite Transfer Paper • 18-57305 Mono Zero Eraser • 29-32227 Specialty Sponge Set of 2 • 46-14850 Black Ultra Fine Jewel Glitter

Preparation:

Surface:

• 31-39501 14” x 6-1/2” Wood Circle Signboard

Loew-Cornell® Brushes:

• 03-7000-4 Round • 03-7500-6 Filbert • 03-7050-18/0 Script Liner • 03-7400-1/4, -1/2” Angle • 03-7350-0 Liner • 03-270-1 1” Maxine’s Mop or other mop for brushing glitter off

DecoArt Americana Acrylics:

• 13-DA03 Buttermilk • 13-DA07 Moon Yellow • 13-DA167 Payne’s Grey

Seal surface with Multi-Purpose Sealer, lightly sand, and wipe clean. Base coat Snow White using small specialty sponge.

Trace pattern onto tracing paper. After creating the background, lightly transfer main pattern lines using transfer paper and stylus. Transfer details as needed.

Painting Instructions: Background:

Cut a piece of Postale tissue larger than the surface. Using large specialty sponge, coat surface with Matte Medium. Place tissue and smooth to remove any bubbles or wrinkles. Immediately topcoat with another layer of Matte Medium.

Load same brush with Persimmon and Glazing Medium. Starting at outer edges, slip-slap onto wings, stopping at the moon’s edge.

Moon:

Load edge of specialty sponge with Buttermilk. Keeping sponge flat with paint at the outer edge, use a small, circular motion to shade around the top and left side. Repeat with Persimmon to shade along the bottom and right side.

Foreground:

Load toe of 1/2” angle with Persimmon to float along the ground’s top edge, continuing with strokes along the foreground in the moon area.

After painting cat, witch, and pumpkins, load toe of 1/2” angle with Payne’s Grey to float horizontal shadows below each of the shapes, and deepen with Soft Black. Finish with a Snow White highlight along the ground’s top edges.

Cat:

Base coat cat Payne’s Grey using round for the body, and liner for the tail and hair. With 1/4” angle, shade Soft Black along bottom of tummy, head, and legs. With liner and same color, add detail strokes in tail.

Pick up Persimmon on toe of 1/4” angle to highlight back, top part of the head, pull some strokes in tail, and paint nose.

August 2016 Issue

Painting World Magazine

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If stamped design becomes too heavy/solid, gently buff with a soft grit sandpaper to lightly distress and mute the design.

Load 1/4” angle with Persimmon to highlight tops of wings and left sides of bodies. Brighten highlights with Buttermilk.

Load liner with thinned Snow White to paint veins in wings and highlight left sides of bodies.

Pumpkins:

With liner and thinned Moon Yellow, paint eyes.

Load script liner with thinned Snow White to detail hair on back, legs, tail, tips of ears, tops of eyes, and left side whiskers. Paint right side whiskers with Soft Black.

Witch:

Base witch, hat, broom hair, cape, and dress Payne’s Grey using round; switch to liner for smaller details. Load toe of 1/4” angle to shade left side of hat, bottom edge of brim, below cape, collar, and sleeve, and right side of broom and handle. With same color and liner, add small details in hair, broom bristles, ragged edge of cape, sleeve, and hem of dress. Load toe of 1/4” angle with August 2016 Issue

Persimmon to float highlights on top of hat, collar, cape, sleeve, bottom of dress, and left side of broom. Use liner and same color to add strokes in bristles and hair. Load liner with thinned Snow White to brighten highlights on top of hat, brim, hair, collar, tips of cape, dress, left side of broom, and bristles and binding straps on broom.

Use filbert to base pumpkins and stems Payne’s Grey. Pull Soft Black from the bottom about halfway up and deepen right sides. Drybrush from top down with Persimmon. Highlight top and left sides with Moon Yellow.

With liner, add Moon Yellow eyes, noses, and mouths. Pull a Persimmon line down right sides of eyes and noses. Highlight top and left sides of eyes, noses, and mouths with Snow White.

Bats:

Use #0 liner to paint bats with Payne’s Grey. Load toe of 1/4” angle with Soft Black to float along bottom edges of wings and right sides of bodies.

Painting World Magazine

Words:

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Background: Load oval wash with Glazing Medium and Payne’s Grey. Very carefully, slip-slap over the Persimmon side sections to create a mystical, eerie night effect. The brush strokes may be visible, but you need to blend softly so they aren’t spotty. Load filbert with Buttermilk to drybrush a soft halo along each outer side of the moon. Load splatter brush with thinned Moon Yellow to speckle side sections.

Load same brush with Paynes Grey to add speckles on side sections and very lightly on moon area. Repeat with Snow White. Keep speckles small and minimal.

Base coat words Lamp Black using round and liner as needed. When dry, base letters with a coat of Star Lite Varnish. Immediately sprinkle heavily with Black Ultra Fine Glitter. After dry, tap lightly to remove excess glitter. Gently brush with soft mop to clean off any remaining glitter. Attach Black Tinsel Twine for hanging.

Stamping:

To stamp the ornate border, load small specialty sponge with Soft Black. Tap sponge on palette to disperse paint evenly across bottom of sponge.

Gently apply a light layer to pointed top edge of cling stamp. Carefully stamp pointed edge around outer border of plaque. You need to apply paint to the stamp after each imprint. Too much paint will cause a blurry image, while not enough will cause an incomplete stamping. Only use a small portion of the stamp around the border to create a narrow design edging.

Finishing:

Paint side edges and back of plaque Soft Black. Spray seal all pieces with several light coats of Americana Matte Spray Finish, allowing appropriate time between coats.

August 2016 Issue

Painting World Magazine

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August 2016 Issue

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Autumn Heirlooms

by Rebecca Baer

Painting World Magazine via rebeccabaer.com. The artist’s professional background as a technical illustrator taught her the importance of detail, which is evident in the graceful lines of her designs.

• Paper Towels • Water Bin • 2” Dense Foam Roller • 1/4” Mini Masking Tape • Small Spray Bottle Filled With Water • Talcum Powder • Angled Palette Knife • Transfer Paper • Coordinating Accent Paper (opt.) • 3 Small Coordinating Snaps, Beads, or Brads (opt.) • 1/4” RB Double-Stick Craft Tape

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Beautiful squash varieties abound in all shapes, sizes, and harmonious colors, making pleasing arrangements easy. Autumn brings many images to feed our painting passions. I based the squash composition on photos from a Maine garden nursery. Integrating this refined painting with an imaginative mixed media canvas provides a contemporary foundation bringing together trending & traditional styles.

• Surface Kit | RebeccaBaer.com: • 12” Wrapped Canvas • Cold Press Watercolor Board • Rough Watercolor Paper • Coordinating Twine

DecoArt Americana® Paints:

• Dried Basil Green DA198 • Antique Gold Deep DA146 • Sable Brown DA061 • Antique White DA058 • Gingerbread DA218 • Bleached Sand DA257 • Cadmium Orange DA014 • Midnite Green DA084 • Black Plum DA172 • Payne’s Grey DA167 • DecoArt Media®: • White Shimmer Mister • Rebecca Baer® Stenciling Gel

Brushes - Rebecca Baer:

About Rebecca

Rebecca Baer, the creative force behind Rebecca Baer®, Inc., is an accomplished designer, author and international instructor. She has a substantial portfolio of designs published in leading United States and Japanese publications. Rebecca is also an experienced feature columnist. She has produced an extensive line of instructional tutorials, which, along with her signature products, are marketed internationally August 2016 Issue

Supplies:

• 3/8”, 1/2”, & 3/4” RB Classique™ Angle 1100 • #3 & #7 RB Classique Round 1000 • #20/0 RB Classique Liner 1050 • #2 RB Artiste™ Stenciler 500 • Large Scruffy Brush

Preparation:

Use 3/4” angle to base coat canvas, including sides, Dried Basil Green. A slip-slap motion will help work paint into canvas’s woven texture. Dry.

Instructions:

Canvas Background Treatment:

Use a large scruffy brush (at least 3/4”) to skim color over background. To do this, don’t wet brush. Pick up Sable Brown + Antique Gold Deep on drybrush. Vary proportions to avoid static color. Wipe brush well on dry paper towel. Skim over canvas to bring out texture. Use a light touch to avoid creating solid areas. Carry this around to sides. (See Fig. 1)

Miscellaneous Supplies: • Rebecca Baer Stencils: Flourish & Drop Border | Small ST-628 • French Quarter | Medium ST-8025

© 2016 Painting World Magazine Digital Edition. All rights reserved. Not for distribution, resale or reproduction. You Fig. and 1 conditions outlined at paintingworldmag. agree to follow all international copyright laws as well as the terms com. You may NOT reprint or make copies, even for non profit uses. Any violation of these terms will result in a nonrefundable cancellation of your subscription and possible prosecution with fines up to $150,000 USD. http:// www.copyright.gov/title17/ Please contact info@paintingworldmag.com if you have received this PDF illegally.

Painting World Magazine Realign stencil side-by-side to cover canvas’s full width. Wrap design onto sides. Make sure

too much. If color isn’t moving, you can lightly mist again with water. Let dry. (See Fig. 3)

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Don’t feel bound to follow the exact stencil placement I used. I give precise information so you see how I achieved my end result. Shifting placement or positioning things differently won’t ruin the project. Having knowledge to create and freedom to restyle keeps following a designer’s instructions fun. I also give specific mixture ratios, but I tend to brush mix colors to keep elements from seeming flat. Brush mixing provides subtle variations in hue, temperature, and value, adding interest to the piece.

Flip Flourish & Drop Border stencil vertically so tab is down. Align straight edge of stencil’s opening with canvas’s top and left edges. The straight Mylar® edge will be beyond canvas’s edge. You can tape stencil to avoid shifting, but tape doesn’t hold well on canvas. Don’t wet roller. Place a bit of Antique White on palette paper. Roll it into a thin layer with dry roller. Too much paint will cause it to bleed. Lightly roll paint over stencil, leaving some areas of drybrushed layer exposed. [Fig. 2]

Fig. 2

paint on stencil isn’t wet and flip vertically to stencil second row in the same manner. Overlap plain strip to align the repeat. Stenciling along lower edge doesn’t need to align with row above. When finished stenciling, use roller to paint patchy background on lower right area. Lift roller as you work outward to create soft edges. (See Fig. 2)

Lightly mist canvas with water, then spritz with White Shimmer Mister. Stand canvas so mist travels and creates drips. Be conservative with water or white will disperse

Place French Quarter stencil in more solid background area. Flip or rotate stencil however you want. For my canvas, I flipped stencil horizontally and positioned it along lower edge. Rouge canvas with brush-mixed variations of Gingerbread and Antique Gold Deep on #2 stenciler. To do this, pick up a bit of paint on brush and wipe excess on clean, dry paper towel. Pounce brush over stencil to deposit color. If you swirl the brush, be gentle and avoid snagging curls or you’ll bend the Mylar. Allow to fade softly before reaching stencil’s straight border to avoid hard lines. Don’t move stencil. Add talcum powder to RB Stenciling Gel so it’s like a light paste. Note: If you substitute ready-made paste, you won’t achieve translucent effect shown. Use this RB Stenciling Gel/ Paste to emboss stenciled motif. Spread gel with angled palette knife letting gel/paste end at irregular intervals. Missing areas and ridges give a more vintage look. After removing stencil, I also used the palette knife to apply plain areas of gel/paste above and just to the left of the rouged, embossed stenciling. (See Fig. 4) If you want another embossed area (like the non-rouged area on my canvas’s upper right), reposition stencil and emboss the same way. If there’s any possibility of overlap, wait until first application is dry. (See Fig. 4)

© 2016 Painting World Magazine Digital Edition. All rights reserved. Not for distribution, resale or reproduction. You Fig. agree to follow all international copyright laws as well as the3terms 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.

August 2016 Issue

Painting World Magazine

Fig. 4

Stencil design with Bleached Sand on dry #2 stenciler. Allow color to fade away in stencil’s open areas. Reposition stencil to complete motif at bottom if desired.

Clean the stencil immediately after embossing. If you must delay cleaning, submerge it in water.

Dampen board with water from spritzer, then drip/spatter with watery Antique Gold Deep + Gingerbread 1:1. Dry board and very lightly transfer pattern.

When embossing is dry, you can decide if you want to increase prominence with a second application. Notice translucent nature of gel/paste allows rouged color to show through stenciling. (See Fig. 5)

This squash is lumpy-bumpy, so you’ll need to dab color in place rather than a smooth application. Begin by dampening a single rib with water and wash with thinned Midnite Green to create lightest value. Then, while surface is wet, use #7 round to dab with additional Midnite Green beginning in darkest areas and moving toward light. Dabs will soften into wet layer, providing lumpy-bumpy texture.

Fig. 6

Watercolor Board Background Treatment: If your watercolor board is larger than 5”x7”, trim to this size. Mask board’s perimeter with 1/4” RB mini masking tape, pressing edges firmly in place.

August 2016 Issue

Establish stem with thinned Antique White on #3 round. It’s fine to work wet into wet, but don’t worry if layers dry. The stem is highly textured, so if areas don’t blend it’s okay. Apply streaks with inky paint in a linear fashion consistent with stem’s sides. Create darker streaks with thinned Sable Brown on #3 round.

Blue-Green Squash:

Orange Squash:

Fig. 5

Finish this stage with Cadmium Orange + Antique Gold Deep 2:1 for darkest regions. The area you’re working in must be wet so colors bleed/blend on their own. I advise you work on only one rib at a time before watercolor board becomes too dry. I skip ribs so I’m never working wet beside wet and lose control of where values travel.

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Flip French Quarter stencil horizontally. Align with tape along upper left then shift stencil roughly 1/2” past left side.

Working on one rib at a time, use #7 round to dampen squash with water. Wash with a hint of Cadmium Orange (the lightest value seen), then, while surface is wet, place additional Cadmium Orange in darker areas and allow it to bleed into wash to create medium values.

Establish stem in same manner as for orange squash.

Leaves:

Paint each leaf independently and dry before painting an adjacent leaf. Begin by using #3 round to dampen a leaf with water, then lightly wash with very thin Antique Gold Deep (these leaves appear warm yellow-green). Add a hint of Midnite Green at wet leaf’s base

Painting World Magazine Paint stem with thin streaks of Antique White + Sable Brown 1:1 on #20/0 liner. Likewise, apply dark steaks with inky thin Midnite Green. Refer to photo to identify where to pack streaks tighter, which develops shading and creates stem’s form.

Striped Squash:

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and allow it to bleed to create shading. In order to separate leaves that overlap, add a touch of Sable Brown to Antique Gold Deep (these leaves appear goldenbrown). Shade these leaves the same way. In the photo, the leaves’ hue isn’t static. Accomplish this by varying between brush-mixed hues of Antique Green and Sable Brown to create leaves, then adding darker values with Midnite Green. This makes leaves appear more interesting than they would using one or two static hues.

Striped Squash:

Don’t paint the striped squash too dark. As with previous squash, begin by dampening a rib with water then lightly wash with a hint of Bleached Sand on #3 round. To create shading, vary between very thin brush-mixed Antique Gold Deep and Sable Brown. Brush mixing creates subtle hue and temperature variations. If shading becomes too dark, let it dry and wash with Bleached Sand to lighten.

Orange Squash:

(See Fig. 7) Deepen darkest values with Cadmium Orange + Black Plum 2:1 side loaded on 1/2” angle. In the photo, this falls primarily on squash’s left side and on ribs to right of stem.

Create small squash’s stripes in two phases. Begin with watery Cadmium Orange and Antique Gold Deep on #20/0 liner. Slowly build mottled stripes with transparent dabs of color. (See Fig. 7a) Fig. 7a

Likewise, build mottled stripes with thin Midnite Green.

Vary between Black Plum and Sable Brown on #20/0 liner to develop stem’s shading and texture. Don’t let stem become too much of a single, solid color. Use Cadmium Orange + Black Plum 2:1 on #3 round to apply a transparent cast shadow (created by stem) on squash.

Blue-Green Squash:

Intensify darker areas. Use #3 round to build darker values and further develop bumpy texture with layers of thinned Midnite Green. Likewise, add Payne’s Grey to squash to create deepest values.

Don’t completely cover lighter stripes.(See Fig. 7b below)

Use chisel edge of 3/8” angle to streak/wash shading on stem with Sable Brown + a touch of Black Plum.

Leaves:

Fig.7

Lightly shade leaves along one side of center vein as shown. Use 3/8” angle side loaded with brushmixed variations of Antique Gold Deep + Sable Brown. If you find this isn’t dark enough for some leaves, adjust by adding Midnite Green (sparingly) to brush.

August 2016 Issue

Painting World Magazine

Fig. 8

Mount papers and painting with 1/4” RB Double-Stick Craft Tape. You need very strong tape due to canvas’s texture, rough watercolor paper, and watercolor board’s weight. Place plenty tape on back of low areas—where paper dips down and comes in contact with canvas. Place your hand behind canvas and press firmly to bond. Secure layers in as many places as possible.

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section from the sheet. Edges don’t have to be neat. Distress and curl edges as follows:

Holding blade perpendicular to paper’s edge, scrape along sheet’s sides with scissors or a razor blade. Paper will get fuzzy and tear in places; you can make deeper tears by hand. Curl corners where paper is torn. You can do this with your fingers or curl paper around a brush handle. If you have trouble making it curl, soften with a water spritz on the back. It

Watercolor Board Details [Fig. 8]

Use very thin side loaded Sable Brown on 1/2” angle to wash cast shadows on lower left beneath each painted element.

Finishing:

Only finish this piece if you want a uniform sheen on the canvas. As-is, it incorporates a matte background with satin texture. If you want a single sheen, lightly spray with your favorite aerosol finish. I urge against using brushon finish on textured background.

Assembly:

Wash patches, then drip and splatter color on rough sheet of watercolor paper. Use your preferred colors from project palette. I used Gingerbread, Cadmium Orange, and Sable Brown + a touch of Antique Gold Deep to create gold tones. (See Fig. 9)

Next, trim watercolor paper to 7” x 9”. Select your favorite painted August 2016 Issue

The surface kit comes with a few yards of coordinating twine. Cut twine into three equal pieces. Loosely tie knots along twine’s length, making sure not to pull all strings equally tight. You can try spacing knots with same placement as on my canvas or tie randomly. Secure with small bumps of RB Double-Stick Craft Tape—they won’t hold with a single, flat piece. Support from behind and press firmly. If desired, decorate a few knots with small coordinating accessories (i.e. a snap, bead, or brad). Also attach these with small bumps of RB Double-Stick Craft Tape. Remember, support from behind and press firmly to bond.

Fig. 9

must be dry before mounting. (See Fig. 9) Decide how you want watercolor paper positioned on canvas. If you want coordinating accent papers (like corrugated strip along bottom and extra scrap of distressed watercolor paper along left), determine placement before securing papers.

Painting World Magazine

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August 2016 Issue

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

Bewitched

Painting World Magazine family’s support I have continued on with the Painting with Friends and am very honored to continue my designs in her memory.

This Wickedly clever mix of techniques and Charming colours will keep you spellbound!

Surface:

• Purple Cow • Purple Rain • Irish Moss • Margarita • Raw Sienna • Natural Buff • Titanium “Snow” White • Soft Heather • Leaf Green • Torrid Orange (Neon)

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You will be Bewitched by this Wonderful Mixed Media Project from Deb Antonick..

• #20-11561 Plaque, Pumpkin Board, 14” x 6-3/4”, Viking Woodcrafts

Supplies:

About Deb

I live in beautiful Penticton, British Columbia, Canada with my recently retired husband and two fur children. My husband and I have spent the past two years renovating my husband’s childhood home that was built by his father in 1946.

My painting journey began in 1990. From the first time I picked up a brush I was hooked. I painted for craft sales and taught classes at Michaels® for five years. Since then I have gone on to be one of the original-founding 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

• Tim Holtz® THS026 Gothic Stencil • Any Black, Halloweenie Scrapbook Paper With A Small Pattern • Scissors • Identi®-Pen • Black And White Graphite Paper • Stazon® Jet Black Ink • Spider Web Stamp • Flat Back Crystal • Flat Back Orange Star Crystals • Plaid® Stencil Décor 1/4” Dauber • Decoart® Ultra-Fine Writer Tip

DecoArt Paints & Mediums:

• Multi-Purpose Sealer™ DS17 • Media® Matte Medium DMM20 • Media Modelling Paste DMM21 • Media Liquid Glass DMM14

DecoArt Media Fluid Acrylics:

• Quinacridone Gold DMFA32 • Dioxazine Purple DMFA12 • Carbon Black DMFA05 • Interference: Blue DMFA101 and Purple DMFA102

DecoArt Acrylics: • Persimmon • Mustard Seed • Spiced Pumpkin • Mocha

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

Brushes:

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

Surface Preparation:

Unless otherwise stated, I seal all surfaces with one coat of DecoArt Multi-Purpose Sealer, let dry, and sand lightly.

My Techniques: Stenciling:

I drybrush my stenciling with a good quality stencil brush. Brush must be dry. When drybrushing, I load paint from a dry surface, not a wet palette, as moisture will get into brush and make paint go on smudgy. I also keep an old towel handy for cleaning brush between colors. To start, load brush by tipping it into paint, blend out on palette paper, and wipe any excess paint off on paper towel. Lightly scrub over stencil onto surface to apply color. Start softly then

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press harder depending how much color you need. The harder you press, the more color you’ll get. Unless otherwise stated, my stenciling is always imperfect for a bit of a distressed look. Float/Shade:

I always float color with Angular Shaders and mop to soften with a mop. I shade around design elements before base coating to achieve a softer look. Unless otherwise indicated, I shade around entire shape and deepen in corners and under design elements for more depth. Line:

Unless otherwise stated, I do all lining with the #10/0 Liner and paint watered down to an ink-like consistency. Basecoat:

Use brush that best fits size of area to be painted. Scrapbook Papers:

I try to use papers from Michaels® or Hobby Lobby®. I know this isn’t always possible to match, so I use fairly neutral papers you can easily substitute or recreate with paint. If you have a favorite paper, pick a paint color that matches a color in the paper and add a little into the background. Matte Medium:

I coat the entire surface with Matte Medium after applying papers. This seals paper and surface, making floating color much nicer and easier… and you can quickly wipe off any mistakes.

Stencil background with Gothic stencil and Persimmon. Trace on basic pattern lines. Trace hat, head and dress, body onto scrapbook paper and cut out.

Use Matte Medium to adhere scrapbook paper in place using basic pattern lines as guide. Smooth into place with finger and old credit card. When smooth, apply thin coat of Matte Medium over entire surface; let dry.

Make a shimmery hint of blues and purples by brushing Interference Blue and Purple over hat and dress papers; let dry. Trace on remaining pattern lines.

Painting Instructions:

Preparation:

Hat:

Seal, then base coat entire surface Spiced Pumpkin.

Basecoat hat’s stripes Purple Cow. Shade left side with Soft Heather. Shade right side with

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Purple Rain. Deepen shading with Dioxazine Purple.

Shade hat with Carbon Black. Highlight with Purple Cow. Base coat pumpkin Spiced Pumpkin. Shade with Persimmon. Highlight with Mustard Seed. Deepen shading with Quinacridone Gold. Enhance highlights with Neon Torrid Orange. Line stem with Irish Moss Green tipped in Margarita. Shade stem at base with Leaf Green. Dot along hat brim with Purple Cow.

Head/Face and Hands:

Base coat Mocha. Transfer face features. Shade with Raw Sienna. Highlight chin, nose, and hands with Natural Buff. Deepen shading with Quinacridone Gold. Base eyes White. Base irises Margarita. Shade bottom with Leaf

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Pumpkin:

and pupils with Carbon Black. Line bow with Carbon Black.

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Green. Highlight right side with a stroke of White. Base pupil Carbon Black. Highlight with White dots. Line eyes, brows, and eyelashes with Carbon Black. Base mouth Carbon Black. Line highlights with White.

Hair:

Line hair in layers starting with Leaf Green, then Irish Moss Green, and then Margarita. Repeat as desired for thicker hair.

Dress:

Shade with Lamp Black. Highlight with Purple Cow. With Purple Cow, dot at neck and cuffs and line bow.

Wings:

Shade wings with Carbon Black. Line and color all details with Identi-Pen. Dot with Carbon Black.

Base coat pumpkin Spiced Pumpkin. Shade with Persimmon. Highlight with Mustard Seed. Deepen shading with Quinacridone Gold. Enhance highlights with Neon Torrid Orange. Base mouth Carbon Black. Dot eyes with White and pupils with Carbon Black.

Froggies:

Stipple frog bodies with Modelling Paste for texture; let dry. Base coat frogs Irish Moss. Drybrush with Margarita. Shade with Leaf Green. Line arms and legs with liner loaded with Leaf Green tipped in Margarita. Dot above mouths with Margarita. Line mouths with Carbon Black. Dot eyes with White

Spells:

Make bubbles with 1/4” dauber corner loaded with Margarita. Load dauber, press straight down onto surface, give a quarter turn, and then lift.

Finishing Touches: I like to wait until all painting is complete to add little finishing details.

Outline as desired with Carbon Black. With Ultra Fine Tip on White, line “Spells” in pumpkin mouth, white squiggles, and EEK and BOO letters.

(DecoArt has a new tip for their acrylic bottles that turns the bottle into an ultra-fine liner. I thought it would be fun to try it on this project. If you don’t have or can’t get one, outline as you normally would.)

Stamp here and there with spider web stamp and StazOn Jet Black ink. Adhere clear crystal to forehead and star crystals to dress. Base checks around surface’s outside edge Carbon Black with #6 or #8 flat.

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August 2016 Issue

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Steampunk Treat Box by Debbie Cole

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Surface:

Stamps:

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Halloween and Steampunk seem meant for each other, so I put this fun treat box together using traditional decorative painting techniques and DecoArt Media® products. Learning about a new product line can be overwhelming, so I’ll show you how to use these products with familiar acrylic techniques.

• Wood Candle Box and Strathmore® 140lb Mixed Media Paper (brown tablet) from Viking Woodcrafts, Inc.

DecoArt Media® Fluid Acrylics:

• Burnt Umber • Cadmium Orange Hue • Carbon Black • Dioxazine Purple • Gold Metallic • Payne’s Grey • Quinacridone Gold • Silver Metallic • Titan Buff • Titanium White • Yellow Oxide

Mediums:

About Debbie

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 soughtafter 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 share it with others. Her mission is to be able to reflect her joy onto others through her artwork. August 2016 Issue

• DecoArt Media Liquid Glass • DecoArt Media Modeling Paste • DecoArt Media Texture Sand Paste • DecoArt Media Tinting Base • DecoArt Matte Medium

Varnishes:

• Decoart Media Ultra Matte Varnish

Silver Brush Ltd®:

• #CD2624S Debbie Cole Creative Blending set including: Monza® Rounds #8, 6, 2, & 0 • Golden Natural™ 3/4” & 1/2” Square Wash • Angle Brush • 2000S #3 Round • 2007S #00 Script Liner

Stencils:

• DecoArt® Andy Skinner Mixed Media Stencils, Industrial Elements, Andy107

• Steam Pumpkin Stampendous® Cling Stamp • Stampendous® Large Acrylic Handle

Miscellaneous Supplies:

• Basic acrylic painting supplies • Brayer • Cheesecloth • Detail scissors • Large sea sponge • 1/8” hole punch • Palette knife • High-density sponges from Cupboard Distributing® • Tim Holtz® Cogs and Gears • Sanding disc

Preparation:

Seal box, then sand lightly with sanding disc. Wipe with dampened cheesecloth to remove dust particles. Paint box’s front Titanium White.

Painting Instructions: Sides and Back of Box: Apply Modeling Paste over Andy Skinner stencil to create texture to box’s sides and back (refer to Helpful Tip). Let dry completely. Mix Tinting Base + Payne’s Grey (3:1) and base coat over back and sides. Using a dampened sea sponge and Carbon Black, very lightly sponge texture over gray areas. Soften sponging with sponge’s clean end.

Spread Texture Sand Paste to edges of box sides with palette knife. Let dry. Base coat Quinacridone Gold over box’s sides and back. Texture Sand Paste areas may need two coats. Let dry.

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

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DO Step 1

Step 2

Step 3

Step 4

Step 5

Step 6

Float Carbon Black along edges of back and sides with 3/4” brush. Apply one coat of Ultra Matte Varnish over all areas. Drybrush over raised texture areas with Gold Metallic and #8 Monza round. Add additional highlights to these areas with Silver Metallic and #6 Monza round.

Front of Box

Base coat with Tinting Base. Apply stamp to acrylic handle. Load highdensity sponge with Carbon Black, blot on palette paper, and apply to stamp. Impress stamp in middle of box’s front. Reload stamp and stamp onto mixed media paper.

Step 1

Step 2

Repeat to impress a third image. Immediately wash stamp.

Create transparent washes of the following colors by adding water: Cadmium Orange Hue, Tinting Base + Payne’s Grey (3:1), Silver Metallic + Dioxazine Purple (4:1), Yellow Oxide, and Quinacridone Gold. Apply Tinting Base + Payne’s Grey wash over box’s entire front with 3/4” brush. Let dry and apply Quinacridone Gold wash over same area. Colorize first image on mixed media paper by applying a wash of Cadmium Orange Hue to

Step 3

Tip: When applying Modeling Paste to surface, tape stencil’s bottom or side into position and hold firmly with your fingers so stencil is completely flush against surface. With a large spreader or palette knife, apply paste in one or two strokes to keep it from bleeding underneath stencils.

orange areas, Yellow Oxide to golden areas, Payne’s Grey mix to silver areas, and Dioxazine Purple mix to purple areas. Apply Payne’s Grey mix wash to background areas inside gears. Let dry and apply Quinacridone Gold wash.

Apply Silver Metallic + Dioxazine Purple wash over silver areas and Gold Metallic over golden areas. To the second impression, colorize hat, eye, gears from suit, and gear centers. (Note: You’ll shade and highlight second image items, then glue them over first image.)

Step 4

Step 5

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DO Step 1

Step 2

Using full strength paint and 1/2” brush, float to shade orange areas with Quinacridone Gold, golden areas with Burnt Umber, silver areas with Payne’s Grey, and purple areas with Dioxazine Purple. Shade hat with Carbon Black. Drybrush a highlight to hat using #2 Monza round. Reinforce with a second highlight of Titanium White using #0 Monza round.

Step 3

Cut out first image and adhere to box’s front with Matte Medium. Roll with brayer. You’ll adhere second image items the same way once frame is completed and adhered.

Faux Steel Frame:

Lay box’s front onto a mixed media paper sheet and trace around it. Measure 1” from sides and bottom and draw lines to create frame’s sides and bottom. To form arch at top, simply move box down 1” and trace top again. Create the four tabs by tracing pattern provided. Cut frame and tabs out and base coat with Tinting Base + Payne’s Grey (3:1). With dampened sea sponge, lightly pounce Carbon Black to create a texture. Apply wash of Tinting Base + Payne’s Grey (3:1) with 3/4” brush. Apply Silver Metallic the same way.

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Step 4

Adhere frame to box with Matte Medium. Roll with brayer.

Very lightly sponge over a 3” scrap piece of mixed media paper with Carbon Black and dampened sea sponge. Paint over it with Quinacridone Gold. Once dry, punch out approx. 30 “nail heads” with 1/8” hole punch. Adhere to frame’s inside with Matte Medium. Fold tabs in half and adhere to corners with Matte Medium. Once dry, add Texture Sand Paste as you did for box’s sides and back. Let dry and colorize.

Finishing:

Adhere second image items to box’s front with Matte Medium. Float to shade design’s darkest areas with Carbon Black. Keep this very soft by working paint into brush. Fill monocle with Liquid Glass and let dry until completely clear. Glue cogs onto tabs on box’s front. Optional: paint box’s inside. You can put a flameless candle in the box or fill it with your favorite wrapped candy treats.

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Innovative Corner

with Debbie Cole, CDA

This month, I’m sharing about DecoArt’s® innovative Mixed Media® Program products and discussing the products I’ve used in the companion project. The program has a range of products, making it suitable for all craft, fine art, and home decor mixed media projects.

Media Fluid Acrylics paints are the program’s heart. They are water-based, highly pigmented fluid acrylic paints that are intermixable, durable, and permanent. They contain a strong binder, so they adhere well to most surfaces and dry with a satin sheen. The line has 48 colors whose opacity varies from transparent to opaque. The opaque paints offer superior coverage for base coating

and other techniques requiring only one coat.

While created for mixed media, the paints also work well for many traditional techniques. The opaque and semi-transparent colors are wonderful for applying shades or highlights, while the transparent colors are perfect for glazing. Because of their strong pigment, you can thin them to use as watercolors. However, since they have a binder, you can paint them on almost any surface and they won’t reconstitute once dry. Therefore, you don’t need a medium to build multiple paint layers. Some colors in the Fluid Acrylic line have multiple uses. You can tone the pure pigmented colors with the

neutral colors, such as Medium Grey Value 6. Titanium White or Titan Buff have wonderful opacity and can lighten all the colors, whereas Carbon Black, Dark Grey Value 3, or Burnt Umber can darken the colors, allowing for a complete value scale for each color.

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DecoArt Media Liquid Glass is a specially formulated product that adds dimensional details, designs, and/or embellishments that dry clear, giving the illusion of glass. Once dry, it’s hard and non-tacky. It adheres to paper, wood, and canvas, and you can create custom colors by tinting with Fluid Acrylics. You can use it with stencils and add fine glitter or similar objects to create interesting effects. You can also use it in bezels.

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Silver Metallic and Gold Metallic are the two semi-transparent metallic colors. You can mix these with pure pigments to make warm and cool metallic colors. Understanding each paint color and its opacity opens a limitless range of technical opportunities. The line also contains many mediums that open even more possibilities. Matte Medium, an acrylic medium, can change the Fluid Acrylics’ properties to allow more ways to use them. It can increase the paints’ fluidity and transparency without changing their viscosity. Added to or painted over the paints, it will decrease sheen. It’s so versatile, it can be used as a sealer, decoupage glue, photo transfer medium, or, when added to water, a spray fixative to prevent smudging.

The White Tinting Base is an all-purpose white base you can use alone or tint with any of the Fluid Acrylic colors for superior coverage. This makes it perfect for one-coat base coating, and it adheres to most surfaces. You can also mix it with the DecoArt Americana® Acrylic paints to increase their opaqueness. This solves many transparent paint problems. However, since it’s white, it will lighten colors.

It comes in white, black, and clear, and you can tint it to create a rainbow of colors. You can spread the paste with a palette knife, use it with a stencil, and impress it with rubber stamps. It also adheres to most surfaces. Another paste is Decoart Media Texture Sand Paste. It creates texture and dimension with the look and feel of wet sand. You can apply it over stencils, then sand and paint it. Its uses are abundant. I used it to give a corroded look.

The Media line has a variety of exceptional varnishes. They all are polyurethane, fast drying, non-yellowing, and durable. The varnishes come in Gloss, Satin, Matte, and Ultra Matte. The Ultra Matte works as a final finish, but its great tooth means you can also use it as a clear coat for other techniques. Once dry, it accepts other media, such as chalk, graphite, colored pencil, and pastel. The other unique varnish is Soft-Touch Varnish. It creates a silky-smooth, durable finish that’s soft to the touch.

The program has many pastes that create different effects. DecoArt Media Modeling Paste creates texture and dimensional designs. August 2016 Issue

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Fall Floral Pitcher Set

By Tami Carmody August 2016 Issue

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Learn new painting techniques for enamels with glass. Paint these florals with step-by-step stroke work. You can paint this design on any glass piece of your choice. Looks great on the kitchen table at breakfast!

FolkArt® Enamels™:

About Tami

I started painted in 1984 at a local Tole shop learning in Acrylics. I’ve been married to my Husband Todd for 35 years, have two Sons and 3 grandchildren. I owned my own Tole shop for several years and been teaching for 32 years. Now I teach out of my home studio and Exhibit at painting conventions and do travel teaching. I started painting in Enamels about 7 years ago when I decided I was going to start selling my work at Boutiques and Art shows. I now travel with my husband several times a month up and down the West Coast selling my Painting. Painting is my passion and I just love to paint.

• Coffee Bean 4013 • Yellow Ochre 4015 • Lemon Custard 4017 • Wicker White 4001 • Burnt Umber 4136 • Licorice 4032 • Burnt Sienna 4014 • Vivid Orange 2839 • Berry Wine 4007 • Purple Lilac 4028 • Pansy Lavender 4019 • Thicket 4022 • Fresh Foliage 4019 • Autumn Leaves 4005

Loew-Cornell® Brushes:

• Paper towels • Water bin • Pallette paper • Spouncer® sponge

Preparation:

Wash all glass with rubbing alcohol to remove any stickers or oils on surface.

This painting is all free hand. Refer to worksheet when painting flowers. If you aren’t comfortable painting free hand, tape pattern to inside of glass for design placement.

Painting Instructions: Sunflower:

• #2 & #4 Filbert • Liner brush • #4 flat • Small stipple brush • Berry dabber

When painting on glass, paint with a very Surface: light touch. Pushing • Glass Pitcher: Can be found brush too hard will Miscellaneous supplies: at local home stores: (TJ just move paint across Maxx®, Ross®, Home Goods®) • Rubbing alcohol the glass! The brush • 2 Juice Glasses (All suppliers are listed in the can be damp, but (Walmart® or Ikea®) directory at the back of the book) never paint with any © 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 at paintingworldmag. August 2016 Issue water in outlined brush. 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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a #2 filbert, place petals around center in Berry Wine tipped into White. Paint flower like a clock; first stroke at 12 o’clock, then at 3 & 9 o’clock. Paint two strokes between 12 o’clock and each other stroke. Paint 6 o’clock and add two petals between those.

Berries:

Stipple center in Coffee Bean. Place back petals with #4 filbert and Yellow Ochre. Let dry.

Paint front petals with #4 filbert and load into Lemon Custard, then tip one side of brush into Yellow Ochre and other side into Wicker White and palette blend. Place top petals between bottom petals. Add stamen lines in top petals with Burnt Umber. Stipple center’s bottom and eye in Licorice. Using a liner, tap on Lemon Custard dots around center’s top and eye.

Orange and Yellow Flowers:

Dot Lemon Custard centers on with brush handle. Let dry. Shade bottom with Berry Wine.

Using a #4 filbert, place five petals around center. For orange blossoms, tip Vivid Orange into White; for yellow ones, tip Lemon Custard into White. Shade bottom of petals in Burnt Sienna. Add Burnt Sienna dots around centers’ bottoms and White around centers’ tops.

Gerbera Daisy:

Dot and shade centers same as for orange and yellow flowers. Using

Using a berry dabber or handle end of brush, add berries in Purple Lilac. Let Dry. Shade bottoms in Pansy Lavender. Highlight with a White comma.

Stems and Leaves:

Connect all flowers to sunflower with stems with a liner of Thicket tipped into Fresh Foliage.

Using #4 filbert loaded into Thicket and tipped into Fresh Foliage, add leaves throughout flowers. Connect all leaves with stems.

Bottom of surfaces: Stipple bottom of pieces with Spouncer sponge in Autumn Leaves.

Curing Piece:

Let paint dry 24 hours. Paint will cure in 21 days, or you can cure it faster by placing glass in a cool oven and baking at 350F for 30 minutes. Let cool before removing from oven. Piece is now ready to use. Hand wash or TOP shelf of dishwasher ONLY.

August 2016 Issue

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August 2016 Issue

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Poppies! by Sharon Cook

August 2016 Issue

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Surface:

Paste DMM21 • DecoArt Media UltraMatte Varnish DMM24

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This painting is a delightful blend of styles and techniques that are easier than they look. Embedded burlap, textured background, stenciled and textured acanthus leaves, wet-on-wet blending, and glazing with layers of transparent colors bring this project to life. Have fun, relax, and enjoy the creative journey. Your results will be striking and make a delightful addition to any home décor.

About Sharon

• 16” x 20” wooden canvas (sold several places). For convenience, I’ve listed two reputable suppliers. • Dick Blick®, 16” x 20” deep panel, 1-5/8” thick; item # 13606-2020; made from top quality birch with a poplar frame. • Ampersand™, 16” x 20” artist panel; 1-1/2” thick; made from premium basswood supported by pinewood cradles. (I got mine from Amazon.com®)

Paints by DecoArt Americana®:

• Burnt Umber DA064 • Deep Burgundy DA128 • Espresso DA271 • Foliage Green DA269 • Forest Green DA050 • Hauser Dark Green DA133 • Honey Brown DA163 • Indian Turquoise DA087 • Light Buttermilk DA164 • Orange Flame DA315 • Peacock Teal DA326 • Pumpkin DA013 • Soft Black DA155 • Sour Apple DA275 • Sunny Day DA325 • Tuscan Red DA265 • Watermelon Slice DA324

Brushes by LoewCornelle®:

• La Corneille® Script Liner, Size #18/0 (Series 7050) • La Corneille Round, Size #3 (Series 7000) • La Corneille Curved Flat, Size #16 (Series 7330) • La Corneille Angular Shader, Size 1/2” (Series 7400) • Loew-Cornell® Crescent, Size 1/2” (Series 247) • La Corneille Wash/Glaze, Size 3/4” (Series 7150) • Loew-Cornell Stencil Brush, Item #1026297 – OR – LoewCornell Round Fabric Dye Brush, Size #14, Series FAB

Miscellaneous Supplies: • “Poppies” word stencil (Optional); from Sharon Cook Creations • Simple acanthus leaves stencil (or stencil of your choice); from Sharon Cook Creations

When applying DecoArt’s Media Modeling Paste through a stencil, I achieved better Mediums/Other results by applying it Products by DecoArt®: thickly, without trying • Americana Multito get the medium’s Purpose™ Sealer DS17 She has been fortunate enough surface smooth before • Americana Glazing to host booths at trade shows removing the stencil. Medium DS18 throughout the U.S., and is The stenciled shapes the author of four books on • DecoArt Media® White look more interesting decorative painting, a magazine Gesso DMM18 if they have a few article, and about 100 pattern • DecoArt Media Modeling ridges and bumps to packets of her original designs. (All suppliers are listed in the directory at the back of the book) give character. © 2016 Painting World Magazine Digital Edition. All rights reserved. Not forthem distribution, resale or reproduction. You Sharon has been decorative painting since 1990 and absolutely loves it! She has enjoyed teaching painting classes for many years, and has taught at local craft stores, national painting conventions, various society meetings, and at church and community events.

August 2016 Issue

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

Painting World Magazine amount. (Burlap will absorb the glue into the fibers, which is why a very heavy layer is necessary.)

Allow the modeling paste to dry thoroughly before stenciling with the paste.

Adhere the 6-1/2” wide x 5-1/2” tall piece near the upper left corner of the canvas, approx. 1-1/4” away from both edges. Adhere the 5” wide by 6-1/2” tall piece near the bottom right of the canvas, approx. 1-1/2” from both edges. Press the burlap down very well.

Aligning the stencils:

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• Palette knife and/or small trowel • 1/4 yard burlap • Aleene’s® tacky glue • Sawtooth hanger (optional) • Soft fabric cloths (for example, old socks or pieces cut from an old t-shirt) • Paper towels • Pencil • Ruler or straightedge • Water basin • Grey and white transfer paper • Small amount of painter’s tape

Preparation:

Sand the canvas as needed and tack to remove dust. Seal front, sides, and back with Multi-Purpose Sealer. If the canvas panel didn’t come with a sawtooth hanger on the back, apply one now.

Painting Instructions: Burlap:

Cut two rectangles from the burlap; one 6-1/2” wide by 51/2” tall, and the second 5” wide by 61/2” tall. Completely cover the backs of both pieces with a generous layer of Tacky Glue. Smooth the glue over the back of the burlap until every part is covered with a generous

While glue is still wet, pull a couple of strands from each side of the burlap pieces to create a small fringe around the edges. Press the burlap down again to ensure that the frayed edges will stick to the canvas. If necessary, add more glue to secure them. Allow to dry several hours, or overnight. (Step 1)

Texturing the background and stencils:

Media Modeling Paste: Background: Using a small trowel/palette knife, cover a thin coating of modeling paste all over the wooden canvas, as though “frosting a cake” (don’t forget to “frost” the sides). This doesn’t need to be thick, but should leave some texture on the canvas. Leave some of the markings created by spreading the paste; don’t try to make it smooth. The background will be more interesting with a few marks, nicks, or bumps.

Over the burlap:

Step 1

Apply a slight amount of modeling paste over the burlap, being careful not to completely fill in all the voids in the burlap and fringe. If you push too much paste into the burlap and won’t be able to see enough texture, remove excess paste with a damp cloth or sponge until you’re satisfied.

Place the largest simple acanthus leaves stencil in the bottom right corner of the canvas, approx. 1/2” away from both edges. (Note: orient this stencil in the portrait position, meaning the longest side runs from top to bottom.) Place the smaller simple acanthus leaves stencil on the canvas immediately above the first one, but the orient it in the landscape position (meaning the longest side runs from left to right). Gently secure the stencils to the canvas with painter’s tape.

(Note: if you use different stencils instead, keep most of the stenciled detail along the right side of the canvas so it doesn’t interfere with the majority of the poppy design.)

Stenciling with modeling paste:

Using the trowel/palette knife, apply a generous amount of modeling paste to the stencil, pulling paste from the stencil’s cut edge toward the design’s center to avoid pushing the paste under the stencil. You’re stenciling over an uneven surface, so be careful not to push/press on the trowel/palette knife too hard. Apply a thick layer of modeling paste over stencils, leaving markings from where it was spread; then gently lift the stencil STRAIGHT UP. Don’t pull the stencil off from one corner or slide it when lifting it off, or the paste will smear. Allow the paste to completely dry several hours, or overnight.

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DO Step 2

Step 3

Immediately clean the stencils and trowel/palette knife with warm water and soap. (See Steps 2-5)

Painting Background: Gesso: Base entire canvas, top, sides, and back. (See Step 6)

Light Buttermilk: Base canvas top and sides. With a pencil, lightly draw a line across the canvas 3-3/4” up from the bottom. Lightly draw another line from the top to the bottom, 3-3/4” away from the left edge.

Glazing Medium/Honey Brown/ Espresso: (80%/15%/5%) Apply generously to upper right section of the canvas (the largest section) with a wide brush, working in small areas of approx. 3” or 4” in diameter at a time.

Step 6

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Step 7

Step 4

Using a soft cloth, immediately and gently wipe away excess glazing/paint mixture, leaving enough behind to settle into the crevices, texture, and bumps created by the paste and burlap. (You want the glazed color to settle into the background to help reveal the texture.)

Repeat the process, working in small sections, until the marked off area and sides of the canvas in that area are filled in. If you’ve wiped back more of the than you anticipated and want to deepen the color, repeat the above process until you’re satisfied. Glazing Medium/Espresso/ Burnt Umber: (80%/10%/10%) Following the steps above, fill in the section on the bottom right.

Step 8

Step 5

Glazing Medium/Tuscan Red: (80%/20%) Following the steps above, fill in the square area on the bottom left.

Glazing Medium/Indian Turquoise and Glazing Medium/ Foliage Green: (Make two mixtures, one for each color, 80% Glazing Medium/20% paint)

Working quickly in small sections, apply the Indian Turquoise mixture to the remaining canvas section, wiping back slightly. Using the round brush, while the Indian Turquoise is wet, quickly apply the Foliage Green mixture over the Indian Turquoise in diagonal streaks. Quickly and gently pat to remove some excess Foliage Green color until slightly blended.

Step 9

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DO Step 10

You can add more Foliage Green and Indian Turquoise with the round brush after the entire area is covered to adjust the color balance to your liking.

Painting the design: Watermelon Slice: Base the poppies.

Forest Green: Base the stems, poppy centers, and tops of the poppy pods.

Espresso: Base the two poppy pods, and inside the pods. (See Step 7 on previous page)

Pumpkin: Using the crescent brush, lightly drybrush in the center and top of each poppy petal. Float streaks and veins in each petal, coming from the flower’s center and moving outward. Float along the top portions of the petals to highlight.

Orange Flame: In the same way, float streaks and veins in the poppy leaves. On the petals’ highest tips, where they bend upward, float pulling the edge of the floats downwards toward the petal’s

Step 11

center to create brighter areas of the petal. Thin paint considerably with water, and lightly streak a bit over the Indian Turquoise section. Lightly soften this color or mop it around so it blends gently into the background; it shouldn’t stand out too prominently. (See Steps 8-9 on previous page)

Tuscan Red: Float to shade the petals against flower centers and next to stems. Also float to shade petals where they lay behind another petal or stem, beneath where a petal folds over, or on the bottom side of the petals. Float the portions of the petal tips that bend downwards, pulling the float slightly into each petal’s center next to the Orange Flame floats. (This should help the orange “pop” out.) Drybrush the brown poppy pods’ centers lightly with Tuscan Red. Mix a bit of Burnt Umber into a fresh pool of Tuscan Red and lightly drybrush around the edges of the brown background portion, the canvas’s lower left area, pulling the drybrushing toward the brown area’s center.

Step 12

Deep Burgundy: Float to deepen shading on all poppy petals; repeat as needed. Mix a bit of Burnt Umber into the Deep Burgundy, and heavily drybrush over the red square’s center on the canvas’s bottom left side. (See Steps 10-12) Peacock Teal: Using the crescent brush, drybrush the center of each stem, flower center, and rims of the poppy pods. Lightly drybrush a few diagonal streaks on the Indian Turquoise area. Thin the paint considerably with water, and lightly streak a bit more on the Indian Turquoise section. Blend and mop up the excess as needed. It should blend softly into the background. Sour Apple: Drybrush more color on the center of each stem, flower center, and rims of the poppy pods to brighten the color. Thin the paint with water, and add a few more subtle streaks to the Indian Turquoise area. Sunny Day: Very lightly drybrush highlights on the green stems, flower centers, and poppy pod rims.

August 2016 Issue

Painting World Magazine Using the “Poppies” stencil for the lettering:

Watermelon Slice: Thin paint with water, about 90% water to 10% paint. Very lightly, streak only a few strokes over the Indian Turquoise area. This should be very transparent; mop up any excess with a wet paper towel, or blend gently with a dampened fingertip. You only need enough to gently “introduce” red to this section. The red should be very subtle, almost unnoticeable.

Carefully align the word in the center of the Indian Turquoise area, centering it diagonally and horizontally. Use painter’s tape to secure stencil.

NOTE: Since you’re stenciling over a bumpy surface, the stencil won’t lay absolutely flat. It’s very important that as you stencil, you keep your brush completely vertical, and not tipped or slanted. If you don’t stencil with a straight-up-and-downmotion, you could easily have smudges beneath the stencil.

Soft Black: Thin the paint slightly with water. Using the 18/0 liner, apply small lines to flower centers, and line the pods’ tops. (See Step 13)

Watermelon Slice: Stencil the “Poppies” lettering.

Lettering:

Tuscan Red/Deep Burgundy mixture: Stencil across the bottom third of the lettering. Remove stencil. (See Step 14)

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Watermelon Slice: Base the lettering.

Orange Flame/Pumpkin mixture: Float across the top of the lettering, walking down the float toward the letters’ center.

Tuscan Red/Deep Burgundy mixture: Float across the bottom of the lettering, walking up the float toward the letters’ center.

Finishing:

Allow to dry for several days. Brush on two coats of matte varnish, drying well between applications. See Step 15 for finished piece.

Orange Flame/Pumpkin mixture: Stencil across the top third of the lettering.

(You can choose to stencil or paint on the lettering, it’s up to you!)

Step 13

Painting the lettering:

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Hauser Dark Green: Float along one side of stems to shade; float on stems where they meet flowers and pods, and where they come out from behind a flower. Float center areas of flower centers.

Step 14

Step 15

Painting World Magazine

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This drawing is at 50% of the original size: Enlarge drawing 2x or 200% to get the original size.

August 2016 Issue

Painting World Magazine

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This drawing is at 50% of the original size: Enlarge drawing 2x or 200% to get the original size.

August 2016 Issue

Painting World Magazine

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To Be or Not to Be...

A Good Student Part of learning to paint is being a good student. Many things make a class successful, but most importantly it should be rewarding for YOU! To start, you need to register for most classes. This to ensure room in a classroom and allow the instructor to know how many to prepare for.

If you’re a beginner, you’ll shop for supplies. A well-organized instructor will give you a list of supplies in ample time to obtain them. Many who have painted will have some or all of

by Margaret Riley

the supplies. Most instructors are flexible in specific supplies, but contact the teacher if you’re going to substitute. I’ve been in classes where I substituted and later wished I hadn’t due to my project’s outcome. Instructors understand financial differences and will try to work with you in any way. Get out the class ad/flyer. Do you know where to go? If you’re driving there, program the address into a GPS or check the internet to find out the required driving time. Add an extra hour for weather conditions, traffic, and food

stops. If you’re flying, go the day before class and stay in a hotel to ensure you arrive promptly.

Finally, if you’re staying at a hotel for the class, set an alarm early enough to get ready, have your meal, and to walk to the class.

You’re finally there! Hooray! Some students like to sit in the front to see the instructor and project up close. Some like to sit in the back, some along the aisle, and some are happy anywhere. I like to sit in the back and see what everyone else is doing. I’m always amazed at the work and enjoy watching the progress. After you’ve settled in, get out your supplies. If the instructor was kind enough to include a pattern packet, WAIT until she tells you to open it and what to do with it. You may have to get your own water in your brush basin - do that before class starts. If you’re with a friend or make friends with the person beside you, be courteous and don’t talk when the instructor is talking. Repeating instructions multiple times is very annoying. It’s even more annoying to have to ask the person next to you what was

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said or shown. You both may miss the most important step.

Listen and watch - very important! Listen to what the instructor says and watch what he does. Most instructors will show you what to do, then have you do it. Don’t be afraid to ask for help. The instructor wants you to leave class with something you’ll be proud to take home. If you need the restroom and can’t wait until a break, go quickly and quietly. If you’re a smoker, try not to leave until break. If you have health issues that require you to eat a snack, try to bring something you can open without disturbing others.

Some instructors are great and some shouldn’t be instructors. I’ve had both! Even had an instructor fall asleep in class. With that said, YOU, as the student, should get a good night’s sleep before class. Once your project is done, remember others may be slower than you. If you need last minute August 2016 Issue

touch up assistance from the instructor, be patient waiting your turn. If you’re satisfied with your project, tidy your area - supplies away, water dumped, trash thrown away - then leave quietly.

Class time is to be enjoyable and relaxing. You should be happy with your project. If you didn’t get it finished, don’t moan. Find time to finish it soon, while instructions are still fresh in your mind. Lastly, thank the instructor for teaching. As an instructor, I love a smile and “thank you” from students. It makes an instructor’s day knowing it’s been worth her time.

If you’ve never taken a class, try one. I’ve made wonderful friends, students and instructors, who’ve enriched my life in many ways! It’s grand to keep in touch via the internet so you can meet up again at a future class.

Best of luck in all classes you take. Relax, take a deep breath, and enjoy! About Margaret I’ve been involved in the craft industry for many years as a professional artist, designer, author, and instructor. I’ve also owned and operated two hobby/craft stores and am certified in the State of Indiana to instruct CEU classes in Nail Art. I enjoy various arts and hobbies including painting, pen and ink, scrapbooking, clay, sewing, jewelry, cooking, gardening, and spending time with my family. I liketo attend many shows and classes during the year to keep up on new media. Probably my biggest challenge has been painting a billboard at the Vietnam Veterans Reunion for a number of years. I’m always working on items for possible publication and designing products in the home décor industry.

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Autumn Leaves are Falling

by Laurie Speltz

Painting World Magazine spending time her dog Jasmine. Jazz is a sheltie/corgi rescue and makes life very interesting. Frisbee is her game of choice but she enjoys tennis balls too.

• Burnt Umber

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This project incorporates stamps, stencils, and traditional painting techniques. I love tools that speed up projects and create unique results. The crackled background and large leaves are a snap to incorporate. I love crackle’s look, but hate the hassle and inconsistency. I see many possibilities for this stamp!

About Laurie

Laurie always knew she wanted to be involved in art. She grew up in a family of crafters. Her professional art career path started in a classroom as a K-12 art teacher. Laurie is a self-taught decorative painter who gained most of her painting knowledge by reading magazines and books. Today Laurie is an internationally recognized decorative painting/ arts and crafts instructor, speaker, designer, publisher and retailer. She travel teaches but her online “Creative Classroom” allows her to provide online classes and workshops to people all over the world. Her stencil lines of product have allowed her to reach new segments of the arts and craft industry. When not painting, Laurie enjoys August 2016 Issue

Supplies

• Grooved Slat Pumpkin measures approx. 11” X 17” X 1/4” tem#103231 from Cabin Crafters • Cling Toxic Rubber Stamp Set (Item#ASCRS06 Available from Stampendous® Inc. www.stampendous.com) • Jumbo Cling Rubber Leaves CRS5052 from Stampendous Inc. • Jet Black Ranger Archival Ink™ • DecoArt® Acrylic Matte Finish • Basecoat Stencils (optional, from The Creative Coach) • Fancy Pumpkins (BCS232) • Falling Stars Background (BCS312) • Fall Mix Word (BCS320)

DecoArt Americana® Acrylics • Canyon Orange • Bright Orange • Orange Twist • Foliage Green • Burnt Orange • Soft Black • Avocado • Lemonade • Butterscotch • Antique Maroon • Camel • Blue Harbor • Toffee • Lt. Buttermilk • Honey Brown • Lamp Black

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

Brushes – Black Gold® by Dynasty®

• Series#206S Shader: 2, 6, 10 • Series#206FW Flat Glaze: 3/4” • Series#206A Angular Shader: 1/2” • Series#206L Liner: 1, 2 • Series#206MSC Mini Script Liner: 20/0 • Stencil Brush or Drybrush

Painting Instructions Pumpkin Cutout:

Base entire pumpkin Soft Black. Apply washes of Canyon Orange, Bright Orange, and Orange Twist. Wash stem with Foliage Green and Avocado. Add a Lemonade highlight to stem. Apply Soft Black to crackle stamp and stamp on pumpkin. I use a large sponge to pounce color onto stamp. Work quickly, but apply paint evenly. Shade pumpkin and stem with Soft Black. Background dots and stars are Lt. Buttermilk.

Words:

Base the word “Autumn” Lamp Black. Move stencil slightly left and up and base word again with Butterscotch. Base other words Butterscotch.

Pumpkins:

Base with an undercoat of Butterscotch. Base again with Canyon Orange. Shade with Burnt Orange, then with Burnt Umber. Drybrush Orange Twist highlights on pumpkin. Shade around pumpkins with Soft Black. Base stems with Foliage Green.

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Base small leaves Camel. Float Canyon Orange and Foliage Green on leaves. Leaf vein lines are Soft Black.

Large Acorn Leaves

I used template included with stamp set to apply color to shapes. Base leaves with Camel, then use Canyon Orange, Foliage Green, and Soft Black. Apply color using floating and drybrushing as desired. Apply black ink to stamp and stamp leaf detail over shapes. Shade around leaves’ outsides with Soft Black.

Shade with Avocado. Highlight stems with Lemonade. Vines and small leaf are Foliage Green and Lemonade.

Scarecrow:

Base head and hands Toffee; shade with Burnt Umber. Drybrush cheeks with Canyon Orange. Cheeks’ highlight dots are Lt. Buttermilk. Base nose Canyon Orange; shade with Burnt Orange. Mouth and eyebrows are Burnt Umber. Neck tie is Burnt Umber. Eyes are Lamp Black.

Shirt’s lines are Antique Maroon. Black buttons are Lamp Black. Base hatband and overalls Blue Harbor; shade with Soft Black. Lines on hatband and overalls are Soft Black.

If you can’t use or find the stamps, substitute a leaf shape of your choice and add veins and detail as desired.

Finish

Shade around scarecrow, leaves, and pumpkins as desired. Spray with acrylic matte finish. Tie raffia bow on pumpkin if desired.

Small Leaves & Grass: Grass blades are Camel lines.

Base hat Camel; shade with Honey Brown. Shade hat’s inside with Honey Brown, then with Burnt Umber. Details on hat are Honey Brown. Hair and straw are Lt. Buttermilk and Honey Brown lines.

Base shirt Lt. Buttermilk; shade with Honey Brown and Burnt Umber.

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August 2016 Issue

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August 2016 Issue

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I adore anything fall – regardless if it’s Halloween or just general fall, it’s my favorite season! I love the colors and the FUN, which this project is full of! A cute Crow creating a “Magical Brew” at sunset. The background really makes this project stand out. This was such fun for me, and I hope you enjoy it too! You can display this shape many ways: on a shelf/mantle, on the wall, or above a door/ window. Or you could hang it on your door or covered porch to tell everyone you’re brewing up a Happy Halloween!

Magical B

About Sharon

I’ve had a love of drawing, painting and crafts since I was very young. I supplied shops and did many craft shows. However, I kept leaning towards decorative painting and finally got the courage to give it a try and I have never looked back! I sell finished pieces on Ebay and lots of painting patterns on Etsy. I was extremely honored August 2016 Issue

When asked by Terrye French several years ago to paint for her in what would soon become “Painting With Friends”. I owe her so much gratitude and miss her so much! I am designing on my own now, and I love whimsical and primitive designs. I only wish I had more time to paint! Outside the painting world, I am married with two

fantastic sons and daughter-in-laws (and now two grandbabies!) I love Classic Rock and I am a huge Led Zeppelin fan! Music and Art have always gone hand in hand for me!

Surface:

• 7”x14” Half Moon Plaque Cupboard Distributing #01-HM714

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Brew! By Sharon Bond DecoArt Americana® Acrylics: • Black • Bleached Sand • Boysenberry Pink • Burnt Orange • Burnt Sienna • Canyon Orange • Dioxazine Purple

• Grape Juice • Hauser Medium Green • Honey Brown • Irish Moss • Lavender • Marigold • Midnite Blue

• Olive Green • Toffee • Traditional Burnt Umber • Victorian Blue • Warm White • Watermelon Slice • Wild Orchid

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

August 2016 Issue

Painting World Magazine for ready use: Canyon Orange (bottom of plaque), Watermelon Slice, Lavender, Grape Juice, and Midnite Blue (top of plaque). I used my Wash Brush for this.

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DecoArt® Mediums: • Americana Dry Time Extender • Americana Matte Spray Finisher

The Artist’s Club® Papillon Brushes:

• Glaze/Wash Brush 3/4” - #29002 • Round #2 - #20158 • Script Liner 10/0 - #20137 • Angle Shader 1/4” - #20109 • Angle Shader 3/8”, #20110 • Flat Shader #6 - #20127 • Drybrush 1/4” & 1/2” – from their Highlighter Set #20173

Keep your surface/paint damp so the colors blend and look smooth. If paint starts to drag or look jagged, either thin the paint or mist the surface. I mist the surface before I start this step so it’s already damp and ready to blend!

Miscellaneous Supplies:

Start at the bottom and work toward the top; Canyon Orange first, then Watermelon Slice, etc. Sweep brush in long, flowing strokes back and forth across entire surface to help colors blend a bit.

• Ultra-fine Permanent Black Marker – Such as a Sharpie® OR Black PITT® Artist Pen, Extra Superfine by FaberCastell® (for even finer lines.) • Small mister bottle of water

Preparation:

I was excited to create a fun background for this colorful project! Start by base coating plaque Boysenberry Pink. Once dry, start the sunset background.

Let dry completely before proceeding. I based the ‘routered’ edge part across the plaque’s top Black. (See Step 1)

Place a puddle of each color (listed from bottom to top as applied to plaque) on your palette

Painting Instructions:

Any time I say to “finely outline” something in Black, you can choose whether you want to thin your paint and use a liner brush or simply use your Black marker(s)!

To make transferring easier, this project involves two separate line drawings. One with the trees only and one with the main scene. To start, transfer trees. All trees are Black. You can do smaller branches with the Black marker or liner and thinned Black paint. Once trees are dry, start transferring main design. (See Steps 2-3)

Crow:

Start with cape and hat band.

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Step 1

Step 2

Step 3

Step 4

Base coat both Lavender. Once dry, drybrush with Wild Orchid. Shade around inside edges with Grape Juice, then repeat with Dioxazine Purple to strengthen shade. Once dry, trace raised wing’s outline. (See Step 4) Base all of crow (except beak)

Painting World Magazine Base kettle Black. Drybrush just a bit of Black + Warm White on right side to highlight. With thinned Warm White, make accent lines down kettle’s right side and underneath rim.

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mark by eye.

Black. When painting outspread wing, leave tiny areas so a bit of purple shows between feathers, or paint Black between graphite lines so when you erase them a small space will appear!

Drybrush a touch of Black + Warm White on front of chest and back of head. Thin Warm White and finely outline two feathers showing from wing under cape. Line string around neck in Lavender. Base amulet Boysenberry Pink and shade on left side with Watermelon Slice.

Base legs and beak Burnt Orange. Drybrush with Canyon Orange. With Marigold, add small highlight to legs and drybrush top part of beak. Add stripes to legs and line feet with Black. Paint circle around eye solid Canyon Orange with a few Marigold lines to accent. Eye is Black with a tiny Warm White dot. Thin Warm White to make accent

with Marigold.

Base hat solid Midnite Blue (you may need two coats); drybrush with Victorian Blue. Base hatband buckle Canyon Orange, then rebase

Finely outline cape and crow (including mouth) in Black.

Pumpkins:

Base coat both pumpkins Burnt Orange. Drybrush them with Canyon Orange. With same drybrush, add a bit of Marigold to highlight pumpkin’s tops. Shade around pumpkins’ inside edges and a little between their ‘ribs’ with Burnt Sienna. Base stems solid Hauser Medium Green and drybrush with Irish Moss. Paint all facial features in Black. Finely outline pumpkins, stems, and vines in Black.

Magical Brew, Skulls & Kettle:

Base brew Irish Moss. You may need two coats. Pick 3 bubbles on top of brew (see picture) and rebase them Hauser Medium Green. Drybrush those bubbles in Irish Moss; drybrush the rest of the brew with Olive Green. Float a thinned line of Irish Moss coming up from kettle – dab it back a bit so it’s almost transparent. Base skulls Bleached Sand, then drybrush with Warm White. Do skulls’ facial features and finely outline skulls and brew with Black.

Magical Brew “Bubbles” & Lettering: Base coat large circles Honey Brown (you’ll need two coats for solid coverage). Once dry, drybrush with Toffee. Shade around circles with Traditional Burnt Umber. Finely outline them with Black. All letters are Black. Dot some Black marks around letters for a ‘scarier’ look!

Finishing:

Seal your project. I spray sealed mine with a couple coats of Americana’s Matte Spray Finisher. Let it dry between coats.

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August 2016 Issue

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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!

Little Bird Journal

by Kelly Hoernig

Painting World Magazine

You can transform a simple, common composition book into something wonderful, personal, and beautiful in a matter of hours!

• Mona Lisa® Super Chacopaper™ • Drywall tape or spiral notebook page for holes • Paper ephemera - tags, stamps, book pages • 2 sheets of coordinating 12”x12” scrapbook paper • Texture items - bubble wrap, corrugated cardboard, burlap, lace etc. • Sandpaper • Scissors

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

Surface:

• Composition Notebook

DecoArt Americana® Acrylics: • Flesh Tone • Pebble • Toffee • White Wash

DecoArt® Mediums:

• Decou-Page™ Matte DS106 • Media™ White Gesso DMM18 • Matte Spray Finisher DAS13

Sanford Prismacolor Premier® Colored Pencils:

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. 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. Chase the muse everywhere. Excited by nature. Love a challenge. August 2016 Issue

• Chestnut 1081 • French Grey 70% 1074 • Goldenrod 1034 • Jade Green 1021 • Lime Peel 1005 • Moss Green 1097 • Nectar 1092 • Sandbar Brown 1094 • Slate Grey 936 • White 938

Loew-Cornell® Brushes: • Series 3000, #10 round • Series 3050 #1 script liner • Series 8550 1” mixtique wash • Series 798 1” white nylon glaze wash • 1/2” DM stippler

Miscellaneous Supplies: • Spreader or credit card • Doily paper or plastic stencil

Preparation:

Lay book flat with covers up. Sand covers lightly; wipe away dust with damp paper towel. Gesso entire cover (front and back) plus the fold binding tape. Let dry. You might want to go over UPC and notebook header twice to add coverage. Let dry completely.

Instructions:

Pick 3 colors that compliment your papers; I used Pebble, Toffee, and Flesh Tone. Working one cover at a time, apply the 3 colors and slip slap them together, softly blending where they meet. Let your strokes show to add interest. (See Step 1) While wet, press in texture items in a couple places. Dip fingers into water and splash onto cover; let it penetrate down to the gesso layer by letting it set a couple seconds, then lightly blotting with paper towel.

Repeat on binding and other cover. Let dry. It will flatten out as it dries. Cut paper using the design or your favorite elements. I chose one to pencil over and one for the added decoration the paper displayed. Cut into squares or long rectangles to make a pleasing design.

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

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Rip some edges to lend softness to composition. Make sure no two pieces are the same shape or size. (See Step 2)

Apply decoupage to paper’s back and smooth with fingers and credit card to ensure even coverage. If you’re going to use colored pencils for your main motif, don’t decoupage on top – it will make colored pencils harder to do.

Step 1

Decoupage over the other pieces so you can paint there without it absorbing into the paper. (See Step 3)

With DM stippler and White Wash, add your favorite stencil or doily image. To make softer edges, dampen brush and blot dry. Load only half of brush then pounce on palette to remove excess. Then, with paint next to doily edge and water away from edge, begin pouncing up and down. When outer edge is complete, fully load brush, pounce away excess, and begin pouncing entire inside areas of stencil.

Step 2

Lightly transfer bird with Super Chacopaper and stylus. Base bird, beak (not wing) with two light coats of Gesso. Shadow around bird is Goldenrod.

Fill wing with Jade Green. Stencil pattern is French Grey 70%, deepened with Moss Green. Eye is French Grey 70%. Fill beak with Sandbar Brown; bottom is French Grey 70%. Heart is Nectar, shaded with Chestnut; string is Slate Grey. Flowers are Nectar, Chestnut, Jade Green, and Slate Grey (one color each). Fill leaves with Lime Peel and outline with Moss Green. Tiny buds are Nectar,

Step 3

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Alternating from paint to paper adds nice layer variety, but each addition should get smaller and smaller.

outlined with Chestnut. Strokes are Sandbar Brown. Dot eye with White Wash paint. (See Step 4)

Add smaller pieces of paper ephemera such as pattern, stamps, tags, and book pages that complement the design. When happy, decoupage into place. With Sandbar Brown, I made branches by following the

Step 4

paper’s design to start. Shade with French Grey 70%.

Leaves are Nectar. On back by tag, they’re Jade Green with a Moss Green outline. Paint on pattern on leaves with liner and Toffee. With edging from notebook paper or drywall

tape, apply white circles with Gesso and darker circles with Sandbar Brown pencil. Spatter entire book with Gesso or White Wash, whatever’s on your palette.

Finishing:

Spray varnish everything with 2-3 light mists.

I like to decoupage a piece of scrapbook paper to the inside front and back covers to hide the writing. Pick something you like!

August 2016 Issue

Painting World Magazine

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From Art Journal to Home Decor... by Tracy Weinzapfel

Like most artists, I create from the heart. This means not every piece will be a masterpiece, be sold, be in a museum or art gallery, or be part of my home decor. I go to my art journal for a safe place to create. The pages are ideas I want to try, a diary of my emotions, an avenue to try a new technique.

August 2016 Issue

Painting World Magazine Also, pages are perforated so you can remove the spiral end and easily mount and frame your pieces.

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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.

These pieces came to life through the backgrounds and textures that are easy-to-create with the DecoArt Media® Line. I love that I can work on each page individually on my workstation:

Recently, I started a 9”x12” art journal from Canson® that lets you go right from art journal to wall.

To see how I created these pages, visit my blog at www.tracyweinzapfelstudios.com blog. I share my materials, step-out photos, and more, so you can recreate similar pieces. I recommend getting an art journal that suits your needs; Canson has a lot to choose from. My art journals are my inspired space where I feel free to create. Often, I’ll take my ideas and teach them on Mixed Media Monday or at a DecoArt® Workshop. I hope this inspires you get an art journal and see where it takes you!

The pages are 9”x12” mixed media 138lb paper and are repositionable, meaning you can pull them out to work then put them back into the journal. August 2016 Issue

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Trick or Treat?

by Franca Marzi

Painting World Magazine

Surfaces:

Miscellaneous: • Tracing paper • Stylus • Gray graphite paper • Palette paper or plastic plate • Paper towels • Water basin • Baby wipes • Sand paper • Scissors • Tacky glue • Stamps: dots, lines, or any stamps you like. I used chicken wire, number, alphabet, and handwritten stamps • Black ink pad (I like Archival Ink™) • Old book pages • Assorted scrapbook papers • General’s® Sketch & Wash® Pencil • Old music paper sheets • Black snap • Plastic paint caps in different sizes (small and regular) • Old credit card • make up sponge • Cheesecloth, tea aged • Sharpie® black marker, fine point • Sharpie white marker, fine point, water based • DecoArt Americana Matte Spray DAS13 • 4 1-1/2” Classic Wood Wheels 01-X094 from Cupboard Distributing • 1 4” Maple Finial from Cupboard Distributing

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Witches… Spiders… Ghosts… Halloween and its “magic” fill the air. You can easily create this fun, mixed media Halloween decoration in one day using paper, paints, and stamps.

• I used a wooden block 6” x 8-1/4” x 1-1/4” • You can paint this project on a banner, canvas, or candy jar as well.

DecoArt Media® Fluid Acrylics:

• Cobalt Teal Hue DMFA10 • Titanium White DMFA39 • Primary Yellow DMFA28 • Vermilion DMFA45 • Primary Magenta DMFA29 • Carbon Black DMFA05 • Burnt Umber DMFA03

DecoArt Americana® Acrylics: • Purple Cow DA272

Caran d’Ache Neocolor® II:

About Franca

I live in Italy, in the Tuscan countryside. I love to paint and create, and my passion has become my job. I’ve been painting with acrylics for many years, and lately I’ve become a mixed media addict. I’m also in love with watercolors. I love learning new things!

I teach in my studio and around Italy. I love sharing my passion! Since 2013, I’ve been publishing my own projects on an Italian craft magazine, and two American painting e-magazines, Pixelated Palette® and Painting Ezine®. I’ve also published three painting books in Italy. I design my own projects, which you can find on my website (w.w.w.piccolepassioni.it), my Etsy, and at Cabin Crafters, The Decorative Painting Store, and Cupboard Distributing. August 2016 Issue

• Salmon • Ochre • Yellow Green • Carmine • Orange • Turquoise Blue • Light Blue • Malachite Green • Periwinkle Blue • Prussian Blue • Black

DecoArt Media Mediums:

• White Gesso DMM18

Loew-Cornell® Golden Taklon Brushes: • 7000 #3 Round • 7500 #4 Filbert • 7300 #12 #10 Shader • Old flat brush #16

© 2016 Painting Magazine Digital (All World suppliers are listed in theEdition. 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. directory at the back of the book) com. You may NOT reprint or make copies, even for non profit uses. Any violation of these terms will result in a nonrefundable cancellation of your subscription and possible prosecution with fines up to $150,000 USD. http:// www.copyright.gov/title17/ Please contact info@paintingworldmag.com if you have received this PDF illegally.

Painting World Magazine transfer the design and add more Gesso on witch’s face, bird, and pumpkin with the #10 flat brush or any works well for you.

#3 round, base hat, legs, arms, and bird with Carbon Black using. Let dry. Transfer details: hair, eyes, eyebrows, nose, mouth.

Painting Instructions Front:

Face:

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Hint: Using Neocolor II, apply enough color in the shadowed area or along the edges, then work with a wet brush to move the color where you need it. I hold my #4 filbert brush close to the design and move it with small circular movements. Pay attention while pasting the paper over Neocolor II. Apply glue to the back of the paper and paste; be careful not to get it on the piece of paper.

With #10 or #12 flat brush, paint the pumpkin with Vermillion

Apply a bit of Neocolor Salmon close to the hair and around the face. Using a damp #4 filbert or #3 round brush, go over colored area and move through the face’s center. Repeat on neck area, starting by left side. Let dry.

Preparation:

Sand your wooden block. Tear off your choice of patterned paper (i.e. scrapbook paper, old sheet music, old book/dictionary pages) in small pieces, and glue them on the block with the #16 flat brush. Glue a larger piece for the witch’s face.

Media Fluid Paint. (These paints are fluid, but you can thin them a little for more transparency.) While wet, add a little Primary Yellow on lighter areas, then soften to blend. With a #10 flat brush and

Stencil along edges with a make up sponge; I used Small Bubbles in Vermilion and Cobalt Teal and Brocade Motif in Burnt Umber. Apply a light coat of Gesso with an old credit card, then

With #3 round brush apply a very light coat of Gesso all over face and neck. Let dry. Apply Ochre under eyes and mouth, and on the neck (left side and under face). Create the nose shape with Ochre .

Apply a little Prussian Blue on left side of face and neck for extra shades. You can use the wet #4 filbert directly on the crayon (don’t use too much color), then apply. Apply a bit of Gesso on the face’s center, over the nose, and blend Neocolor you need a white

August 2016 Issue

Painting World Magazine

Pumpkin:

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area in the face’s center with #3 round or #4 filbert brush.

Apply Gesso on the neck’s right side and blend it with the Neocolor (you need a white zone on the right side). Let dry. With a pencil, reinforce eyeliner, and mouth, dot the nostrils. Take a drop of Yellow Green Neocolor II directly from crayon with a very wet #3 round brush and apply on pupils. Likewise, apply a little drop of Malachite Green on the left side. In the same way, apply Periwinkle Blue on eyelid.

With a #10 or #12 flat, apply a light coat Vermilion again. Shade the bottom and between sections with a mix of Vermilion, Primary Magenta, and a bit of Burnt Umber. I work with a wet color; if you prefer, you can make traditional floating. Apply more Primary Yellow to highlight.

To create cheeks and mouth, apply a bit of Neocolor Carmine and blend with a wet brush. Use #4 filbert brush for cheeks and #3 round brush for mouth and eyelid.

Hair:

Apply Neocolor Black and Prussian Blue and blend with a wet #4 filbert. Let dry. Apply Neocolor Yellow Green on lighter area; blend with wet #4 filbert brush.

can use a baby wipe to work with the paint if needed).

Apply the following Neocolors and blend with a wet #4 filbert brush: Periwinkle Blue over bird and top left; Orange under bird and along left edge; and Turquoise Blue and Light Blue along right edge.

Transfer eyes and paint with Carbon Black. Cut the mouth from an old book page and glue on. Apply a little Gesso on mouth.

With a Sketch & Wash Pencil, outline everything. Be careful to make a thin line on the eyes and eyebrows. Draw a line

Bird:

Paint beak and dot belly with Primary Yellow with the #3 round brush.

Hat:

Cut band from old book page and glue on; apply glue over paper, too (flat #10). Apply Neocolor Yellow Green and blend with a wet #4 filbert brush. Let dry. Paint stripes Purple Cow with #3 round brush.

Background:

Apply Cobalt Teal around the witch (Don’t coat heavily; you

August 2016 Issue

Tip: In the photo, I used Yellow Green on the left, but didn’t like it, so I removed it with a baby wipe. This is mixed media, so you can wipe off anything you don’t like and change it! In mixed media, there aren’t mistakes, just new starting points!

Painting World Magazine With #3 round brush paint two Spiders on the top left with Carbon Black. While wet, apply a touch of Titanium White and blend. If you prefer, you can make a floating step. Use the black fine point Sharpie to line hairs, eyes, mouth, nostrils and pumpkin mouth.

a Sketch & Wash Pencil, outline the paper and along the edge. Dampen #3 round and pass onto the pencil tracing lines, remaining close to the design. Stamp with black ink. Paint two spiders like those on front.

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border along the bottom and top. Dampen #3 round and rub into the pencil tracing lines, remaining close to the design.

With an old credit card and Titanium White, make some strips here and there. Use a bottle cap dipped in Titanium White and stamp here and there.

I love to use different stamps. Use one that inspires you and makes sense with the design. Inking the stamps on the pad, I used black ink and Titanium White Media Fluid. Start to stamp; refer to the picture. Tip: If you don’t ink the whole stamp, it can make your design more interesting. You can stamp several times after the initial inking.

Likewise, draw the bird tail and crest and the spider legs and thread. Line the bow and thread on the top hat, glue the black snap at the end, and line the spider legs. With the white Sharpie, dot on hair, hat, pumpkin, bird tail, and spiders’ eyes. Draw stripes on legs and arms. Draw eyes with white, then highlight on the pupils. Line nose and dab with finger.

Side A:

Apply Gesso with old #16 flat brush; let dry. Cut a scallop from scrapbook paper and glue on bottom, applying glue with an old #16 flat brush. From another paper, cut a narrow strip and glue on top. Apply a light Gesso coat. Let dry. Apply with #12 flat a thinned coat of Cobalt Teal and Purple Cow and work with the brush. With

Side B:

Apply Gesso with old #16 flat brush; let dry. Cut a scallop from scrapbook paper and paste on top. Cut a little piece from an old page and glue on bottom. Apply a light Gesso coat. Let dry.

Apply with #12 flat brush thin coat of Cobalt Teal and Purple Cow and work with the brush. Stamp with black ink. Draw a ghost figure on the bottom over the old paper. With a #12 flat brush apply Titanium White and little Burnt Umber on the head; work the paint down - the old page must show up. With a Sketch & Wash Pencil, outline the scallop, ghost, and along the edge, and draw ghost’s eyes and mouth. Dampen #3 round brush and pass onto the pencil tracing lines, remaining close to the design.

Top:

Paint like the sides. Cut a scallop from an old book page and glue on. Apply a light Gesso. Let dry. With a Sketch & Wash Pencil, outline the scallop shape. Dampen round brush and pass onto the pencil tracing lines.

August 2016 Issue

Painting World Magazine

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Finishing:

Print or stamp words you like. I chose “TRICK OR TREAT.” Cut and glue them on the front. Outline with the Sketch & Wash Pencil. Glue pieces of cheesecloth on top of each side and left front. Glue a little strip on the top left corner ( old #16 flat brush).

Glue two wheels together; paint with #12 flat brush and Purple Cow. Repeat with other two wheels for the other foot. Paint finial alternating Titanium White and Vermilion+Primary Yellow and top with Carbon Black. Paint checks in the white sections Carbon Black. Separate each section with a Purple Cow line ( #10 flat brush). Protect your work with Americana Matte Spray. Glue the pairs of wheels on the bottom and the finial on the top with Tacky Glue. Wrap finial with a piece of cheesecloth.

August 2016 Issue

Painting World Magazine

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August 2016 Issue

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SCARY!

by Judy Westegaard-Jenkins, CDA

Painting World Magazine 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.

Series 537FIL • 2” White Bristle Filbert Palmer, Series 538FIL • 3/4” Mini Mop, Series 400 • Large Flat Blend, Series IPC • #8 Decorator Drybrush, Series 200

Surface:

Miscellaneous Supplies:

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Glowing Pumpkins and a Big Black Cat,

An Old Hoot Owl and Three Scary Bats, Aglow Above is the Harvest Moon,

Halloween Night will be Here Soon!

Bewitch your brushes to paint this Halloween banner. You’ll use drybrushing and layered blending to create a spooky background.

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

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.

• 9-1/2” x 22” gessoed canvas, available by the yd. (or substitute Roc-lon®)

Paints by DecoArt Americana®: • Burnt Orange • Burnt Umber • Country Blue • Dioxazine Purple • Lamp Black • Light Avocado • Moon Yellow • Olive Green • Primary Red • Raw Sienna • Saffron Yellow • Snow White • Uniform Blue

Mediums/Other Products:

• Americana Soft Touch Varnish • DecoArt® Traditions™ Extender and Blending Medium

Brushes by Dynasty® Brush:

• 3/4” Flat Wash, 206FW • #3 Shader, 206S • #6 & #12 Filberts, 206FIL • #1 & #2 Rounds, 206R • 1/4”, 1/2” & 3/4” Angulars, 206A • #10/0 & #1 Script Liners, 206SL • 2” Taklon Filbert Palmer, (All suppliers are listed in the directory at the back of the book)

• General’s® Charcoal White Pencil, #558 • Craft glue • Disposable palette • White graphite paper • Jute twine 1 yd. each of 3 different sizes & colors • Kneadable eraser • Masking tape • Palette cup • Paper towels • Pencil • Plastic wrap • Transparent ruler • Scissors • Fine tip stylus • Toothbrush • Water basin

Preparation:

Use pencil and ruler to mark 9-1/2” x 22” canvas rectangle. Cut banner with scissors. Trace lower edge pumpkin shapes and shape them across bottom of banner with stylus and white graphite. Cut the edge. Load 2” Palmer bristle with Lamp Black to base coat banner’s back. Let dry. Clean brush thoroughly. With the same brush, base banner’s front Burnt Orange. Let dry. To get opaque coverage, apply extra coats of Burnt Orange as needed, letting banner dry thoroughly between coats. Make a glaze of extender + Burnt Umber + Lamp Black (4:3:1). Apply

August 2016 Issue

Painting World Magazine Purple areas - Dioxazine Purple, Dioxazine Purple + Country Blue (1:1), Country Blue; highlight Country Blue + Snow White (1:1)

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Base coat with a combination of appropriately sized rounds and filberts. Use as many coats as needed for opaque coverage, letting surface dry sufficiently between coats:

Tip: Only use the Large Flat Blend brush with extender. It holds the perfect amount of medium. Dip it into extender, pull it’s side along the palette cup edge, and blot gently on a piece of soft toweling. Apply extender to surface a bit beyond area to be painted.

The area should look shiny, but shouldn’t be dripping with extender. Touch extended area with your finger to test surface for the perfect amount of extender. Your finger should look slightly shiny, but shouldn’t be wet. After applying and blending paint, I usually blend with a mop brush for a soft look.

glaze to orange side of banner. Bunch a long length of plastic wrap into a ball, then open it. Lay slightly crumpled wrap onto the wet glaze. Gently press wrap onto surface, manipulating with your fingers. Carefully remove wrap. Let dry thoroughly. Lightly spatter background with a toothbrush and thinned Lamp Black. Trace and transfer basic shapes onto banner with graphite paper. August 2016 Issue

• Tree - Uniform Blue • Cat - Lamp Black • Pumpkin shapes - Lamp Black Base moon with one coat of Moon Yellow. Transfer facial details. Apply one or more base coats to moon, but don’t recoat eyes or mouth. Let dry.

Float Lamp Black shading with a 1/2” angle in holes, on sides, between drybrushed areas (to separate them), on lower side of each root, and on crotch areas where branches fork away from tree. Add a few random bark lines with #1 script liner and thinned Lamp Black.

Grassy areas:

Transfer remaining design details except “Scary” lettering. Apply extender onto background about 2” above pumpkins. Apply Primary Red shading around top of pumpkins with 3/4” angle. The area should gently fade upward about 1-1/2”. Soften with 3/4” mini mop. Let dry.

Painting Instructions: Tree:

Achieve the gnarly bark look with a gradual buildup of drybrushed paint, working from dark to light colors. Pick up a scant amount of paint on #8 drybrush. Apply paint from outside edge of tree, curving strokes onto tree, around holes, branches, and roots. The tree’s left side is darker with few highlights. Use highlight colors sparingly on tree’s right side and branch tops. Drybrush randomly in the following sequence:

Green areas:

Uniform Blue + Light Avocado (1:1), Light Avocado, Olive Green; highlight Olive Green + Snow White (1:touch)

Painting World Magazine with #10/0 liner and Snow White. Add Snow White reflection dots in upper left of each pupil and on nose.

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Extend areas to left and right of lower tree trunk. Pat Lamp Black + Burnt Umber + extender (1:1:1) onto each area, stretching them higher along outer edges. These areas should be soft and blend gradually without harsh lines. Soften with mop. While these areas are wet, wipe out random length grasses with water-moistened #2 round and the #1 script liner. Soften with mop. Let dry. Add random Lamp Black blades of grass with #1 script liner.

Bats:

Paint bat shapes with #1 round and thinned Lamp Black.

Owl:

Moon:

Float Saffron Yellow along outer edge of moon. Let dry. Deepen outer edge with Raw Sienna and Dioxazine Purple. Shade outer edge with #6 filbert and Raw Sienna; deepen with Dioxazine Purple. Let dry. Coat extender on moon. Pat Moon Yellow + Snow White (1:1) in face’s center with #12 filbert. Strengthen with Snow White. Soften with mop.

Add Raw Sienna shading to line below eyes, around mouth, and along lower edge of nose. Shade eyelids under eyeball and upper and left sides of mouth opening with Dioxazine Purple + Raw Sienna (1:touch). Add random Raw Sienna spots throughout face with #12 filbert. Soften with mop. Fill in pupils with Burnt Umber + Dioxazine Purple (2:1) and #2 round. Deepen each pupil’s left side with Lamp Black and 1/4” angle. Add Snow White reflection

dot in pupil’s upper right quadrant and a diffused “dash” in lower left quadrant. Highlight upper and lower eyelid areas, around mouth opening, and on lower edge of nose with a Snow White line.

Cat:

Paint inside of ears and nose Snow White + Lamp Black (1:touch). Highlight cheek and chin areas with Snow White + Lamp Black (1:touch). Paint mouth opening Primary Red with #1 round. Float Country Blue along jagged edge of arched back, on tail’s tip, along rump, on back of each leg section, and along right side of back knee with 1/4” angle. Add a few Country Blue lines defining back and leg fur with #10/0 liner. Base eyes Olive Green with #1 round. Paint pupil Lamp Black with #10/0 liner. Add whiskers and lines under eye and mouth

Base breast, crown of head, and brow with Raw Sienna strokes using #2 round. Highlight the areas the same way with Raw Sienna + Snow White (1:1). Define a few stronger Snow White feathers on brow with #10/0 liner. Base side of face and wings with Burnt Umber strokes using #2 round. Base eyes Burnt Orange + Saffron + Snow White (1:1:touch). Paint beak Raw Sienna + Snow White (2:1). Highlight with Snow White. Paint pupils Lamp Black. Add Snow White reflection dot to upper left quadrant and “dash” to lower right quadrant of each pupil. Outline eyes and beak with #10/0 liner and thinned Lamp Black. Shade Burnt Umber + Lamp Black (2:1) on upper breast, under eyes, and on lower belly with 1/4” angle. Add a few Lamp Black and Snow White lines to owl’s outer edges. Paint toes Lamp Black and highlight with Moon Yellow.

Pumpkin Faces:

Base eyes, noses, and mouths Moon Yellow with #2 round. Shade left side of each opening Burnt Orange with 1/4” angle. Deepen shading with Primary Red. Highlight a few of the large openings’ right sides with Moon

August 2016 Issue

Painting World Magazine Remove any remaining transfer lines with kneaded eraser. Use 2” Palmer taklon to apply a varnish coat. Clean brush thoroughly with soap and water. Let varnish dry one to two hours, then apply additional coats as desired.

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Yellow + Snow White (1:1). Float Country Blue reflected light on each pumpkin’s left side.

Scary Lettering:

Transfer lettering. Paint lettering Lamp Black with #1 script liner. Connect each letter to pumpkin stem directly below. Letters should be somewhat jagged and angular. Highlight top and left edge of each letter section with #10/0 liner and thinned Country Blue.

Atmosphere:

Coat atmosphere area with extender. Place a bit of Snow White on tip of #8 drybrush and lightly skim atmosphere shape. Soften with mop to look transparent and very soft.

Edge Rouging:

Coat banner edges with extender. Pull Lamp Black along left and right banner edges with 3/4” angle. Soften with mop by pulling the color toward banner’s center.

Finishing:

To form a rod pocket, measure 2” down from middle and corners of top edge. Draw chalk line across marks and fold banner back to form pocket. Place narrow glue bead on back of pocket’s lower edge only and secure with masking tape. Let glue dry.

Tie a small, overhand knot at one end of the jute strings and thread knotted end through rod pocket. Tie both ends of strings together to desired length. Trim excess strings and pull knot into rod pocket.

August 2016 Issue

Painting World Magazine

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August 2016 Issue

Painting World Magazine

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August 2016 Issue

Painting World Magazine

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August 2016 Issue

Painting World Magazine

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Autumn Leaves and Acorns By Nancy Scott, CDA August 2016 Issue

Painting World Magazine

Palette: DecoArt Americana® Acrylics

shape slightly larger than the design. Apply with solid coverage that fades into the background toward the outer edge, with no real discernable edge.

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I love painting fall! When I saw this charming tote, the surface just called me to paint it with autumn leaves. It can hold silverware and napkins for a fall party or cart your brushes to painting class!

• Antique Green • Burnt Umber • Desert Sand • Heritage Brick • Plantation Pine • Raw Sienna • Reindeer Moss Green • Soft Black • Spicy Mustard

Brushes: Royal® & Langnickel™ Aqualon Series

About Nancy

I have been a decorative painter for about 25 years and have loved every minute of it! In 1994, I earned my CDA at the SDP Pittsburgh Convention in the still life category. Walking around the convention wearing my “new” CDA ribbon and hearing congratulations from friends and strangers that entire week was a thrill I will never forget!

I began designing and teaching about 20 years ago for my local chapter, Capitolers. I currently travel teach for chapters and at New England Traditions and World of Color in Washington, DC. I am most grateful for all the wonderful painting friends I have made while teaching and taking classes!

Surface:

• 11-01407 Rusty Tin 3-Compartment Tote from Cupboard Distributing

• R2160-3/4”, 1/2”, 1/4”, & 1/8” angles • R2170-#12 filbert • R2250-#3 round • R2595-10/0 liner • Small mop

Supplies:

• Palette paper • Transfer paper • Tracing paper • Paper towels • Water basin • Stylus (to transfer pattern) • Scissors • Varnish of choice - I used Krylon® Matte Finish #1311

Preparation:

Trace pattern onto tracing paper and cut out around design, leaving about an inch border. When painting on a rounded surface, it’s easier to transfer if the tracing’s size is minimized.

Base coat background Soft Black with #12 filbert in an oblong

When dry, transfer pattern.

Leaves:

Base coat the three green leaves Reindeer Moss Green. Float leaf’s base and center vein with Antique Green with largest angle you’re comfortable with to achieve a nice, soft shade. Deepen shading at leaves’ bases with Plantation Pine. This won’t be as wide as the Antique Green shade.

Add vein lines with Plantation Pine and #10/0 liner; thin paint slightly with water and, staying on the tip of your brush, pull fine, narrow lines. Float tints of Raw Sienna and/or Heritage Brick to leaves’ outside edges. Soften with mop. Base coat the two yellow leaves Desert Sand. Float shading at leaves’ bases and place center vein areas with Raw Sienna. Deepen shading at leaves’ bases with a narrower Burnt Umber float. Float tints of Raw Sienna and/or Heritage Brick on outside edges. Add Burnt Umber vein lines, as with the green leaves.

Stems coming up from ribbon are Burnt Umber. With #3 round, drybrush a choppy Raw Sienna highlight. Add smaller, brighter highlight with brush mix of Raw Sienna/Desert Sand (1:1).

Acorns:

Base coat caps Burnt Umber. With Spicy Mustard and 1/8” angle, float little scallops over caps. Refer to large photo.

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

August 2016 Issue

Painting World Magazine

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When dry, softly float a Burnt Umber shade at right and left outside edges.

Base coat acorn’s body Raw Sienna. Shade body under cap and down left side with a Burnt Umber float. Float a tint of Heritage Brick over shading on left. Add a drybrush highlight of Spicy Mustard on each acorn body’s right side and a few Spicy Mustard streaks with liner.

Wheat:

Finishing:

With thinned Desert Sand and liner, draw center stems and fine grasses. With 1/8” angle, paint wheat with a “onestroke” of Desert Sand/Raw Sienna (1:1). With #3 round or liner, tap in a deeper value of Raw Sienna from base toward middle of each wheat kernel.

With Heritage Brick and #3 round, paint wooden handle and tote edges.

Erase any visible transfer lines. Let dry overnight, then varnish as desired following manufacturer’s instructions.

Berries:

Base coat Heritage Brick. With 1/4” angle, float a shade of Burnt Umber (per photo). Add a Spicy Mustard/Heritage Brick (1:1) highlight dot.

Ribbon:

Base coat Spicy Mustard. Float shading (per photo) with Spicy Mustard/Antique Green (1:1). Add highlights with a Desert Sand float. August 2016 Issue

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“BOO” Friends by Karen Wisner

Painting World Magazine

Surface:

bristles) (Series 206SL) • Decorator Collection: 1/2” and 3/8” mini mop (Series 400) • Fabric round #2 (Series B1500) • 1/4” Stencil Brush • #5/0, #10/0 Script Liners

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This project has a lasercut panel attached to the backboard with Velcro Dots, letting you switch panels in different seasons. Increasing the pattern’s size would be perfect for an ironing board design! Great to sell online or at craft fairs. Enjoy!

About Karen

I have loved art since I was a very young child. I remember getting an art set from Santa when I was 8, that was the beginning. I always wanted to be a cartoonist, so my style of painting is usually whimsical, but I still paint other styles when the mood hits. I travel teach but have spent most of my teaching time in Italy, which is now my second home with lots of people I love very much. I have authored many books, patterns and magazine articles. Just when I think my creative mind is sucked dry, it starts in again! I love sharing the love of painting with everyone I can.

August 2016 Issue

• Laser Cut BOO Panel #101807 • Mink Board 7” x 23” #100390 Find at Cabin Crafters

DecoArt Americana® Acrylic: • Antique Rose DA156 • Avocado DA052 • Blue Chiffon DA193 • Burnt Orange DA016 • Burnt Sienna DA063 • Cadmium Yellow DA010 • Canyon Orange DA238 • Dark Chocolate DA065 • Dioxazine Purple DA101 • Grape Juice DA236 • Graphite DA161 • Honey Brown DA163 • Jade Green DA057 • Lamp Black DA067 • Light Buttermilk DA164 • Milk Chocolate DA174 • Moon Yellow DA07 • Purple Cow DA272 • Snow (Titanium) White DA01 • Soft Sage DA207 • Tangerine DA012 • Uniform Blue DA086 • Matte Spray Sealer/ Finisher DAS13

Miscellaneous Supplies:

• Black Sakura® Micron® Pen 01 • Velcro® “Sticky Back” 5/8” Circles • 1/4” Star Stencil • Double-Ended Stylus • Dark Transfer Paper • Light Transfer Paper • Tracing Paper • Sand Paper • Old Toothbrush

Painting Hints:

Use round brushes to base coat. For script liners, use 5/0 to paint

Dynasty® Brushes: • Black Gold®: • 1” and 3/4” flat wash (Series 206FW) • #1, #2, #3, #5 and #8 round (Series 206R) • #14 and #20 shader (Series 206S) • #20/0, #10/0 and #5/0 script liners (long

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

Painting World Magazine Float Milk Chocolate onto frame; let dry and repeat. Transfer detail lines. Water paint slightly and paint Dark Chocolate cracks on frame and paint vines. Shade frame with Dark Chocolate. Paint leaves with Avocado; let dry. Highlight with Soft Sage. Deepen frame shading with Graphite (see photo). Paint “Friends Welcome” letters Lamp Black.

shade with Canyon Orange. Shade pumpkin areas with Burnt Sienna; let dry and deepen shading with Dark Chocolate. Float Moon Yellow highlights on pumpkin section edges and drybrush inside highlights.

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large vines and highlight strokes, 20/0 for fine detail lines, and 10/0 for cracks and details. Use 1” flat wash to base coat mink board; use 3/4” flat wash and shaders to float color, shade, and highlight. Use fabric round to drybrush highlights and mops to blend floated areas. Refer to pattern for shading (////) and highlights (::::).

Floating a wash of color: Wet surface, then load brush and apply in same manner as shading, but with more paint. Use mop to blend, let dry then do other parts. I work from top to bottom so I don’t run into wet paint.

Preparation:

Sand wood surfaces and wipe away dust. Cover panel and board with three coats of Light Buttermilk, letting paint dry between each. Lightly sand; wipe away dust. Trace patterns onto tracing paper using Micron pen. Transfer basic design lines onto surfaces using stylus’s small end and transfer paper. Transfer detail lines as needed (use light transfer paper for crow and hat).

Make nail dots on frame with stylus’s large end. Dip fabric round in a bit of Moon Yellow, pounce up and down on palette paper to work into brush, and drybrush frame highlights. Dip toothbrush into slightly water down Dark Chocolate, then splatter surface by running finger down bristles.

Pumpkin Areas:

Base coat head, body, and pumpkins Tangerine; let dry and apply another coat. Paint nose Cadmium Yellow; let dry and

Drybrush Burnt Sienna cheeks. Paint Lamp Black face features, let dry then highlight eyes with Light Buttermilk. Paint a Snow White highlight stroke on nose. Base coat lower pumpkin leaves Soft Sage; let dry. Shade with Avocado, let dry then paint center lines. Float Burnt Sienna onto leaves (see close-up photo).

Bandanna:

Base coat with Blue Chiffon; let dry. Paint cracks with Uniform Blue. Let dry. Shade bandana with Uniform Blue. Highlight with Snow White. Paint fold lines Uniform Blue.

Painting Instructions: Back Mink Board:

Using 1” wash brush, dampen half of board. Load brush as for shading, but have color at least 3/4 across brush. Pull color from top down and toward the center. Quickly use mop to blend out “stop-start” areas. Move to another area and repeat until entire board has a wash of Honey Brown; also float color inside the framed area. (Two or three washes allowed to dry in between are better than one thick one.)

August 2016 Issue

Painting World Magazine

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Twig Arms: Float Milk Chocolate, let dry, and paint cracks. Deepen shading with Dark Chocolate.

Hat:

Base coat hat Purple Cow and orange banner stripes Canyon Orange. Paint hat cracks and lines Dioxazine Purple; make dots with stylus’s large end. Stencil Moon Yellow stars. Shade hat with Grape Juice; let dry. Shade hat banner with Burnt Sienna. Deepen shading on hat with Dioxazine Purple. Float highlights on hatband and front hat rim with Snow White. Drybrush inside highlights.

Sunflowers:

Base coat petals Cadmium Yellow and stems and leaves Jade Green. Float Milk Chocolate onto centers. Shade leaves and stems with Avocado, let dry then paint lines. Shade petals with Canyon Orange, let dry then paint detail lines. Highlight leaves and stems with Moon Yellow. Highlight petals with Snow White, let dry then paint highlight strokes on petals and stems. Dot flower centers with Snow White and Dark Chocolate.

Crow:

Base coat with Graphite. Highlight with Blue Chiffon. Shade beak and dot eye with Lamp Black.

Ghost:

Shade with Honey Brown, let dry then deepen shading with a bit of Milk Chocolate. Drybrush cheeks with Antique Rose. Highlight with Snow White. Paint face features Lamp Black. Use Light Buttermilk for tiny eye highlights.

BOO:

Float color into “B” with Canyon Orange, first “O” with Purple Cow,

August 2016 Issue

and last “O” with Jade Green. Shade “B” with Burnt Orange, first “O” with Dioxazine Purple, and last “O” with Avocado. Paint lines and dot on “B” with Burnt Sienna. Paint Burnt Orange lines on first “O”. Dot last “O” with Dioxazine Purple. Highlight all letters with Light Buttermilk. Paint highlight strokes with Snow White. Paint space inside last “O” next to pumpkin body Lamp Black.

Vines and Tiny Leaves: Paint the same as on backboard.

Finishing:

Attach Velcro Dots in place on pumpkin panel’s back and backboard.

Spray all painted surfaces with Matte Spray; let dry then repeat. Attach hanger to Mink Board’s back if desired. Mine is just standing on it’s own!

Painting World Magazine

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August 2016 Issue

Painting World Magazine

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Directory of Artists & Suppliers Franca Marzi

Listed Alphabetically

franca.marzi@temasoftware.it

Artists:

Deb Antonick

Margaret Riley

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

designsbymargaret51@gmail.com

Nancy Scott

Rebecca Baer

arts@rebeccabaer.com facebook.com/RebeccaBaerdotcom

Laurie Speltz

lspeltz@aol.com facebook.com/laurie.speltz

Sharon Bond

sbond09928@roadrunner.com www.etsy.com/people/skb007

Tracy Weinzapfel info@ tracyweinzapfelstudios.com tracyweinzapfelstudios.com

Tami Carmody

wisteriapainting@aol.com http://wisteriapainting.com

facebook.com/tracyweinzapfelstudios

Judy Westegaard

Debbie Cole

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

Sharon Cook

CookSR@ldschurch.org facebook.com/sharon.cook.92

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

August 2016 Issue

artistns@icloud.com facebook.com/nancyscottcda

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

Suppliers: Artistâ&#x20AC;&#x2122;s Club

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

The Brush Guys

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

Cabin Crafters

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

Canson

Karen Wisner

http://en.canson.com facebook.com/canson

kdolls.designs@gmail.com facebook.com/karen.wisner.56

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

DecoArt, Inc.

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

Painting World Magazine

Krylon

Silver Brush Ltd.

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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.krylon.com 800-457-9566

Laurie Speltz Creative Coach

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

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

Stampendous

www.stampendous.com 800-869-0474 stamp@stampendous.com

Tracy Weinzapfel Studios

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

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

http://tracyweinzapfelstudios.com/ info@tracyweinzapfelstudios.com fax: 760.788.6455

Faber-Castell

Folk Art / Plaid Supplies

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

www.fabercastell.com facebook.com/FaberCastellUSA

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

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

www.plaidonline.com 800-842-4197

Royal Langnickel

Viking Woodcrafts, LLC.

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

Sanford / Prismacolor www.prismacolor.com facebook.com/prismacolor

Sharon Cook Creations www.etsy.com/shop/ SharonCookCreations

August 2016 Issue

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