June 2017 Summer Issue 08 Painting World Magazine by Loon Publishing, LLC.

Decorative Painting, Mixed Media, Fine Art & More!

June 2017

Painting World Issue 08

SUMMER ISSUE Where to Look for Ideas by Margaret Riley

Innovative Corner: Stamping! by Debbie Cole

Celebrating Doxie Keller... by Tracy Weinzapfel

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magazine Cover Artist:

Elaina Appleby

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June 2017 Issue

Painting World Magazine

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June 2017 Issue

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

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ALL RIGHTS RESERVED ON ENTIRE CONTENTS. June 2017, Issue 08 ©Magpie 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 successful results guaranteed. Subscription rate $29.99 for 7 Printed & Shipped Truax Printing®, Inc. Loudonville, OH. issues. Distributed in the United States and Digital worldwide. © 2017 Painting World Magazine Edition. All rights reserved. by Not LLCfor distribution, resale or reproduction. You agree to follow all international copyright laws as well as the terms and conditions outlined at paintingworldmag. June 2017 Issue 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. LLC copyright.gov/title17/ Please contact info@paintingworldmag.com if you have received this PDF illegally.

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June 2017 Issue

Contents Painting World Magazine

10 Fireworks! by Featured Cover Artist: Elaina Appleby

The Cat by Mabel Blanco, DACA

June 2017 Issue

Pretty-in-Pink by Marianne Andreazza

Happy Camper by Debbie Cole, CDA

Download all line drawings ready to print here: http://bit.ly/2q11rCW

Painting World Magazine

Just An Udder Day! by Sharon Cook

Rooster & Sunflower by Ursula Wollenberg

Mommy & Me by Chris Haughey

Starfish Wishes by Deb Antonick

The One My Soul Loves by Rebecca Baer

Country Home by Diane Trierweiler

MORE GREAT ARTICLES! Artful Journey 35 An by Sandy McTier Corner: Stamps! 44 Innovative by Debbie Cole, CDA to Look... 62 Where by Margaret Riley FEATURE: Celebrating Doxie Keller 71 SPECIAL by Tracy Weinzapfel 94 Directory of Artists & Suppliers Download all line drawings ready to print here: http://bit.ly/2q11rCW

SPECIAL FEATURE:

Celebrating Doxie! June 2017 Issue

Fireworks! by Elaina Appleby

Painting World Magazine

Light bulb fireworks... who would have thought? Well, you can set these faux fireworks out all year, as I do, along with my father’s Army blanket and flag. It makes a nice display on our bookshelves. Or, you may want to have the most unique display on the Fourth of July. These fireworks look vintage because I have used antiquing, texturing, splattering, and some sanding. They’re a wonderful way to honor our family members and celebrate the good old USA! About Elaina Elaina has a passion for creating, teaching, and sharing. She’s taught hundreds of students who love her work. She has experience in all things crafty and has many publications. Her goal is to be an inspiring light to the creative world, and she’s always willing to freely exchange ideas to encourage others. Helpful tips and decorative painting are her joy!

Surface: • 12-1/2” x 9-1/2” Darice® Wooden Tray #9158-87SM • Wooden Note Holder #2134, from JB Wood Products • Two 8-1/2” x 11” Wooden Star Frames #31L498, from Cupboard Distributing • 10” x 11” Wooden Waving Flag #31L497, from Cupboard Distributing • 3” Primitive Wooden Star • 2” Wooden Star • 1” wide x 80” long Wooden Dowel, cut into 8 lengths any sizes between 6” & 12” long • Recycled Light Bulbs, any shape or size (I have 5)

DecoArt Americana® Acrylics: • Navy Blue DA035 • French Grey Blue DA098 • Deep Burgundy DA128 • Dark Chocolate DA065 • Spicy Mustard DA284 • Natural Buff DA311 © 2017 Painting World Magazine Digital Edition. All rights reserved. Not for distribution, resale or reproduction. You agree to follow all international copyright laws as well as the terms and conditions outlined at paintingworldmag. com. You may NOT reprint or make copies, even for non profit uses. Any violation of these terms will result in a nonrefundable cancellation of your subscription and possible prosecution with fines up to $150,000 USD. http://www. copyright.gov/title17/ Please contact info@paintingworldmag.com if you have received this PDF illegally.

June 2017 Issue

Painting World Magazine

Mediums/Other DecoArt® Products: • Dazzling Metallics® Silver Sage DA249 • Americana Multi-Surface Satin™ Bittersweet DA547 • Americana Gel Stains - Walnut DS29 • Acrylic Gesso™ TXFP06 • Americana DecouPage™ Matte DS106 • Americana Matte Spray DAS13 • Americana Stencils Whimsical Delight ASC06 • Americana Stencils - Polka Dot Accent AS02 • Frame Stencils™ Happy Halloween PFS13 • Americana Gloss Enamels® StickOn Stencils™ Country AGS210 • Americana Wood Glue® DS104

Dynasty® Brushes: • 1/2” & 3/4” Faux Squirrel® Flat, 1827F • 1/4” Faux Squirrel Angle, 1827A • 10/0 & 2 Faux Squirrel Rigger, 1827RIG • 1/2” Black Silver Rake, 4945RK

Miscellaneous Supplies: • Old Large Flat Brush (for decoupaging) • Tim Holtz® Idea-ology® Postale Tissue Wrap #TH93181, from Cupboard Distributing • Wedge Sponge or Stencil Brush (for stenciling) • Sea Sponge • Old Toothbrush • #8 Pro Art® China Brush or Brush of Your Choice (for dry brushing) • 2 Buttons (about 1/2”- 3/4” or so) • 2 Strips of 1/2” x 2” Red and White Checked Fabric • Medium-Thick Jute (for the light bulb fuses) • Thin Jute (for the buttons’ strings) • Silver Wire, about 20 gauge (to twist together)

June 2017 Issue

• Large Nail File or Rough Sandpaper • Tracing Paper • Transfer Paper • Palette • Paper Towels • Lint Free Rag / Tack Cloth • Pencils • Water Bin • Hot Glue Gun • ~3/4” wide Clear Scotch® Tape or Your Favorite Masking Tape • 1-1/2” wide Masking Tape • Wire Cutters • Drill with Small Bit • Large Punks (optional)

Preparation: Sand and seal all of the wooden pieces as needed. Trace all of the patterns, and set them aside. Cut up the dowel into eight lengths between 6”-12”: 12”, 10”, 8”, 7”, 6”, etc. Drill a 1/2” deep hole down one end of each dowel for the wire fuse. Twist the wire together first, and then cut it into 2” and 4” lengths. Curl the 4” cut wires around a pencil, and set them aside. Cut and tear up the tissue wrap into pieces ready for Decou-Page, and set them aside as well. Use the old brush to basecoat all of the light bulbs with Gesso. Then, using the sea sponge, pounce on another layer to build a light tooth. Let the Gesso dry very well. (Figures 1-2)

Painting Instructions: Box & Tray: Basecoat the whole note holder box and the bottom of the tray with Natural Buff. Paint the box and tray edges with Silver Sage. Let them dry. (Figures 3-4) Tuck a paper towel inside and over the box, and use the old toothbrush

Helpful Hints: There are a lot of pieces to this set. To help with following instructions, refer to the photos often. All sizes and shapes of light bulbs make fun faux fireworks! The largest light bulb in my set is from my husband’s outdoor shop lamp. The Gel Stain instructions on the bottle say “To stain or antique; apply with brush then wipe back with cloth.” If the Gel Stain dries before you get it wiped back to the tint that you desire, it is okay to use a damp, lint free cloth to take off the dried antiquing to achieve the desired tint. I like to use a man’s old hanky because they are lint free and just the right size. You may put on and take off the Gel Stain as many times as needed, because it will not set up permanently until you’ve sealed it with varnish. Do not paint the flagpole; we will stain it to the desired tint. to splatter the background with Silver Sage. Let that dry, and stencil “4th July” on the background of the box in Navy Blue. (Figure 5) Decoupage the Postal Tissue to the front of the box and the bottom of the tray. Set them aside, and let them dry.

Painting World Magazine Figure 1

Figure 6

Figure 2

Figure 7

Primitive Star Cutout:

Figure 3

Base coat the primitive star with French Grey Blue. Shade it with Navy Blue.

Figure 8

Stencil, splatter, and line the primitive star with Natural Buff. Set it aside, and let it dry. (Figures 6-7)

Flag: Mask off the flagpole. Base coat the flag with Deep Burgundy, and let it dry. Figure 4

Figure 5

Transfer the design onto the flag. Base coat the square with Navy Blue. Paint the stripes with Natural Buff. With Spicy Mustard, basecoat the star and the poll top, and then line and dot the blue square. Line the star with Natural Buff. Use Dark Chocolate to float and shade in the folds, and then to line each white stripe. Use the smallest stars of the stencil to paint the starbursts on the flag with Spicy Mustard, and then dip-dots using the same color. Dot the center of each little star with Natural Buff. Carefully remove the tape from the poll. Set the piece aside, and let it dry. (Figure 8)

Star Frame with Stripes: Take one star frame, basecoat the whole star with Deep Burgundy, and let it dry. Tape off stripes by following the star cut, putting the first piece of tape across the right side, just under the frame’s hole. Then, tape off about every 3/4”. (Figure 9) Paint in the stripes with Natural Buff. Remove the tape. Paint around the edges and inside the oval rim of the whole star frame with Navy Blue. Set it aside, and let it dry.

June 2017 Issue

Painting World Magazine Figure 9

Star Frame with Stars: Base coat the whole other star frame with Navy Blue, and let it dry. Stencil the stars randomly using all of the sizes of stars on the stencil with Natural Buff. Let them dry. Paint around the edges and inside the oval rim of the whole star with Deep Burgundy. Set it aside, and let it dry. (Figure 9)

Figure 10

Spicy Mustard Wooden Fireworks: Base coat two dowels with Spicy Mustard. Using Natural Buff, stencil stars on one dowel, and paint hash marks on the other dowel using the Rake brush. (Figure 10)

Figure 11

Figure 12

For the star firework, paint the top end, float the rim, and line the stars with Dark Burgundy. Set it aside to dry. For the other Spicy Mustard firework, paint the top, float the rim, and line the curly circles with Navy Blue. Then, dipdot with Deep Burgundy. Let that dry, and then splatter both Spicy Mustard dowels with Natural Buff, Navy Blue, and Deep Burgundy. Set them aside.

Figure 13

Navy Blue Wooden Fireworks: Take two more dowels, and basecoat them with Navy Blue. Let them dry. (Figure 11)

Figure 14

June 2017 Issue

Tape off stripes around one of the dowels, and paint in the thin stripe with Spicy Mustard. Remove the tape, and set the dowel aside to dry.

Spicy Mustard, and Deep Burgundy. Set them aside.

Deep Burgundy Wooden Fireworks: Base coat two dowels with Deep Burgundy, and let them dry. Using Natural Buff, randomly stencil stars on one of the dowels, and paint its top and rim. (Figure 12) Line a thin stripe just under the Natural Buff one with Navy Blue. Dip dot the center of each star with Deep Burgundy. Set that firework aside. Randomly paint loose, 3/4” checks over the other Deep Burgundy dowel with Spicy Mustard, and then crosshatch over the yellow with Deep Burgundy using the Rake brush. Paint the top with Spicy Mustard, and then dipdot with Deep Burgundy. Let the paint dry, and then splatter both Deep Burgundy fireworks with Natural Buff, Navy Blue, and Spicy Mustard. Set them aside.

Natural Buff Wooden Fireworks: Base coat the last two dowels with Natural Buff. Let them dry. (Figure 13) Tape off 1-1/2” down from the top of one, and paint the top and down to the tape with Deep Burgundy. Remove the tape, and let the dowel dry. On the same dowel, tape off a spiraling pattern down to the bottom. Paint the stripes in with Silver Sage.

With Spicy Mustard, paint the top of the other Navy Blue dowel, and free hand a wiggling line around at a diagonal from top to bottom.

Remove the tape, and use Deep Burgundy to randomly stencil on stars and to splatter the dowel. Set that firework aside.

Let that dry, and then splatter both dowels with Natural Buff,

Tape off the other Natural Buff dowel to make thin lines, and

Painting World Magazine paint them in with Navy Blue. Splatter this last dowel with Navy Blue, Deep Burgundy, and Spicy Mustard. Set it aside.

Figure 15

Figure 18

Light Bulbs: Base coat the light bulbs so you have one of each of these colors: Deep Burgundy, Spicy Mustard, Navy Blue, Silver Sage, and Natural Buff. Let them dry. (Figure 14)

Figure 16

Deep Burgundy Bulb: Stencil the polka dots onto the Deep Burgundy bulb with Natural Buff. Stencil the large stars with Navy Blue, and line them with Natural Buff.

Figure 17

Stencil the small stars onto the bulb with Spicy Mustard, and line them with Navy Blue. With Spicy Mustard, paint a large spiral around the top, paint the other curved lines, and dip-dots. (Figure 15) Dip dot the bulb with Silver Sage. Rake around the bottom and line the top with Natural Buff. Let the bulb dry. (Figure 16)

Spicy Mustard Bulb: Paint in the banners on the Spicy Mustard bulb with Navy Blue. Float around the bottom banner with French Grey Blue. Line the alternating words “pop” and “pow” in the banner flags with Natural Buff. (Figure 17) Stencil the stars with Deep Burgundy. Dip dot and line the stars with Natural Buff. Rake around the plump edge of the bulb with Silver Sage. Using Deep Burgundy again, line the swirls. Let the bulb dry. (Figure 18)

Navy Blue Bulb: Stencil the top of the Navy Blue bulb using one large country

Figure 19

star stencil and Natural Buff. Dip dot the star’s center with Deep Burgundy. (Figure 19)

Figure 20

Stencil a row of small country stars around the first large star with Spicy Mustard. Dip dot their centers with Deep Burgundy. Line a zigzag around the bulb with Silver Sage. Stencil a polka dot with Deep Burgundy at the bottom tip of every other point of the zigzag. Use Spicy Mustard to dip-dot all of the other zigzag points and to paint the tassels. With Deep Burgundy, line a curve over each dip-dot, and paint a 1/2” strip around the bottom of the bulb. Inside the strip, paint small squares with French Grey Blue. Dip dot in the blue squares with Silver Sage. Let the bulb dry. (Figure 20)

Figure 21

Silver Sage Bulb: Line two stripes around the bottom of the Silver Sage bulb with Deep Burgundy. Using a small brush,

June 2017 Issue

Painting World Magazine Figure 22

Figure 23

Figure 24

Figure 25

Figure 26

Figure 27

Deep Burgundy, and highlight them with Spicy Mustard. (Figure 21)

paint the little firecrackers with Navy Blue and the little topcaps with Spicy Mustard. Line and float each of the firecracker top-caps with Deep Burgundy. Stripe the little firecrackers with Natural Buff. Line the little fuses with

With 1-1/2” wide tape, mask off around the bulb’s center, leaving the top open, and splatter the top well with Navy Blue. Remove the tape, and let the paint dry.

Wood Surfaces, Pattern Packets and More...

Using Navy Blue, stencil some polka dots on top of the splattered area, and paint a wiggling line around the center. Let the bulb dry.

Natural Buff Bulb:

Oriental Poppies Designed by Anne Hunter

Springtime Palette Designed by Lauré Paillex

www.jbwood.com

Dry brush a 1-1/2” circle on the top center area of the Natural Buff bulb using Deep Burgundy. Then, pull some strikes (lines ending in sharp points, see the photo) down and around with the same color. Pull some additional strikes around with Navy Blue.

Using the small flat brush, make a checkerboard on the bulb with Navy Blue fading into French Grey Blue. Line each square with Spicy Mustard. Stencil the stars onto the bulb at random with Navy Blue, and line them with Spicy Mustard. Dip dot the dry brushed area with Spicy Mustard, and then pull a strike down from each dot. Fill in the white area around the stars with more strikes of Navy Blue and Deep Burgundy. Line tiny x’s with Deep Burgundy around the top of the checkerboard pattern. Let the paint dry.

Staining/Antiquing: Before antiquing the wood pieces with Gel Stain, sand their edges and rough them up. Completely stain over all of the pieces. Follow the manufacturer’s steps on the bottle, and see the tips above. Get messy - it washes off!

Fuses: To create the fuses, put a thick coat of Decou-Page on the metal part of each bulb. Wrap the jute around the bulb’s end until it’s

agree•to(508) follow222-5790 all international copyright laws as well as the terms and conditions outlined at paintingworldmag. PO Box 3081 • So.Issue Attleboro, MA 02703 June 2017

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 Figure 28

Figure 29

completely covered, leaving a long fuse stem. Let them dry. Coat all of the jute fuses with Bittersweet Multi-Surface Satin. Set them aside, and let them dry well. After the fuses have dried some, wrap the long stem around a pencil, and let it dry, then remove the pencil.

Due to the large size of this project, the drawing has been reduced by half. Enlarge 200% for full size project.

Finishing: Glue on both star cutouts with the Wood Glue. Tie the thin jute in the buttonholes. Take the 2â&#x20AC;? strips of fabric, and hot glue one to each star. Hot glue a button on top to finish. Use Wood Glue to set the wires in the drilled holes of the dowels. Paint over and fill in the holes with Deep Burgundy. Let everything dry very well. You can get some large punks from your local fireworks stand to use in this display. I dipped the tips of the punks into Deep Burgundy to make them look more interesting. Give everything a coat of Matt Spray Finisher. Wow, you are done and have a unique Fourth of July display! Enjoy! Download all line drawings ready to print here: http://bit.ly/2q11rCW

June 2017 Issue

Painting World Magazine

The Cat by Mabel Blanco, DACA

June 2017 Issue

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

Painting World Magazine In this project, I’ll teach you to paint a beautiful cat using traditional painting techniques. This piece is great for decorating your home or giving to the cat lover in your life.

Surface:

Painting Instructions:

• 9” x 11” Wood Plaque, or other surface

Background:

DecoArt® Traditions™ Acrylics: • Burnt Sienna DAT44 • Burnt Umber DAT46 • Carbon Black DAT42 • Phthalo Blue DAT24 • Permanent Alizarin Crimson DAT51 • Prussian Blue DAT25 • Raw Umber DAT45 • Titanium White DAT35 • Ultramarine Blue DAT26

DecoArt Dazzling Metallics®: About Mabel Mabel is an Argentinian artist, and a Senior Lecturer on drawing and painting. She’s a member of the National Society of Tole and Decorative Painters and the Tango Decorative Artists of Argentina. In 2013, she was an honorary member of Decorative Painter Italia. She’s also a member of the board of directors of the National Museum of Decorative Painting in Atlanta, Georgia. Mabel has been a Helping Artist and a Traditions Artist for DecoArt®, and Jansen Art gave her the title “Traditions Artist” in 2004. She’s taught many classes, including classes at seminars and conventions. She participated in a national TV program in Bolivia in 2011, and taught at some seminars in Milan, Italy in 2011 and 2012. Mabel has won several awards over the past twenty years, and is the founder and coordinator of a school that helps artists become decorative painting teachers.

• Teal DA322 (optional: for the frame)

Silver Falcon Onyx Taklon Brushes: • #8 & #12 Shader, Series 4150 • #1 & #3 Round, Series 4250 • #1 Long Script Liner, Series 4585

Miscellaneous Supplies: • #6 Worn Bristle Round Brush (for dry brushing) • Sandpaper • Wet cloth • Tracing Paper • Transfer Paper • Pencil • Pen or Stylus

Using the #12 flat and Prussian Blue + Phthalo Blue (1:1), base the background (except where you’ve transferred the cat).

Fur Basecoating: Before starting to paint the cat, prepare the following mixtures and colors: • Mixture 1 (Base Color): Raw Umber + Titanium White (1:2) • Mixture 2 (Light Areas): Raw Umber + Titanium White + Titanium White (1:2:2) • Shaded Areas: Raw Umber With the #8 flat and Mixture 1, basecoat the cat, keeping in mind that the edge is irregular. Follow the direction of the hairs as indicated in the pattern. Let the paint dry. (Figure 1)

Nose & Muzzle: Using the same brush and Mixture 2, paint the nose area, the chin, and above and below the eyes. Once the surface is dry, add a touch of Permanent Alizarin Crimson to Mixture 2, and paint inside the ear with the #8 flat. With the #3 round and Burnt Umber + a touch of Titanium White, paint the nose. Using the same brush and mixture, outline the mouth. Let the paint dry. (Figures 2-4)

Wood Preparation:

Hairs in the Fur:

Sand the piece thoroughly with sandpaper. Wipe off the dust with a wet cloth.

Before beginning the furry hairs, look at the steps for painting it:

With a #12 flat brush, apply two coats of Titanium White. Once the piece is dry, transfer the design using tracing paper.

• Wet the liner, and thin the mixture to an inky consistency. • Blot out the excess paint. • Place the brush on the surface. • Slide and lift.

June 2017 Issue

Painting World Magazine

Figure 1

Figure 2

Figure 3

Start to paint the first layer of cat fur using the liner and Mixture 2, following the direction and length of the hairs as indicated in the pattern. Paint several layers of fur, lightening the mixture with more Titanium White for each additional layer. With the liner and Burnt Umber watered down to an inky consistency, paint the small hairs inside the ears, moving from the outside edge of the ear toward the center. Accent these hairs with the same brush and Burnt Umber.

June 2017 Issue

Figure 4

Ears:

Eyes:

After painting a few coats of fur, use the #6 worn bristle round brush and Burnt Umber to paint all the inner edges and the inner bases of the ears with the dry brush technique. Make sure you don’t paint over the work you’ve already done. (Figures 5-6)

Outline the eyes with the #1 round and Carbon Black. Base the eyes with the #3 round and a mixture of Ultramarine Blue + Prussian Blue + Titanium White (4:1:2), and let them dry. With the same brush and Carbon Black, paint the pupils, which are seed-shaped. (Figure 9)

Once the surface is dry, use the liner and Carbon Black to paint hairs on the inner and outer edges of the ear. Make several layers of hairs with Burnt Umber. (Figures 7-8)

With the #8 flat and a mixture of Ultramarine Blue + Prussian Blue (4:1) diluted with water to make a float, shade at the top and left

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Figure 5

Figure 6

Figure 7

Figure 8

June 2017 Issue

Painting World Magazine

Figure 9

areas of the eye, and let the paint dry. It is very important that the shade follow the shape of the eye. Lighten the previous mixture with diluted Titanium White, load it into the #3 round, and tap it around the pupil. Let the paint dry. With the same brush and watered down Titanium White, paint in the upper right area of the eye, creating a cloud over the iris. Let this dry. (Figure 10)

Figure 10

Still using the #3 round, strengthen the light by painting a comma-shaped stroke in the right area of the eye with Titanium White. (Figure 11)

Final Touches to Fur: To finish the cat, paint with Burnt Umber + Carbon Black. Make sure to look at the photo and follow the direction of the fur as shown in the pattern. Figure 11

June 2017 Issue

With the #8 flat and Burnt Sienna + Titanium White, paint the cat’s nose. Lighten the mixture with Titanium White, and highlight the nose. Finally, with the #3 round and Carbon Black, outline the shape of the nose and paint the nostrils. Use the liner and Burnt Umber to darken the fur on the nose. With the liner and Titanium White, strengthen the design in the chin area with several layers of white fur to shape it and separate it from the cat’s body.

Finishing: Once you’ve finished the first coat of fur, use the #3 round and Carbon Black to draw a line under the nose to define the muzzle division. Also, paint small dots forming the bases of the whiskers. Using the liner and Titanium White + Burnt Umber watered down to an ink-like consistency, paint some short hairs between the whisker line dots. With the liner and Titanium White, paint the whiskers on the left side, starting at the black spots and going out. Also use Titanium White for the whiskers on the right, pulling them out from near the mouth. With Titanium White, paint fur on the top of the head, on the side, under the chin, and on the neck, closely following the correct direction, as shown in the sketch. When the surface is dry, make another layer of fur in these areas.

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June 2017 Issue

Pretty-in-Pink Peonies by Marianne Andreazza

Painting World Magazine Who doesn’t fall in love with the peonies of late spring and early summer? Follow me down the peony path to learn a simple, layered method for successfully painting them so you can enjoy them all year long. This project will also teach you a simple method to paint a glass vase, which you can later incorporate into any other glass element you may want to paint in other projects. While I designed this project on canvas, you can easily paint it on a wood plaque or a Roc-Lon® banner. Wouldn’t this make a unique welcome sign or banner for your summer garden? Or a nice painted tray for summer entertaining? You can even paint a single flower from this lesson to personalize a notebook cover, a smartphone case, a makeup case, a piece of luggage… the possibilities are endless!

About Marianne Marianne first picked up a brush over 20 years ago, taking a tole painting class in Southern California. After moving to Orlando, Florida, Marianne picked up a brush again after meeting Donna Dewberry at the Extrav Convention. She expanded her painting horizons to many other techniques, medias, and instructors by attending conventions across the country as a student, refining her own style over the years. Marianne’s journey continued into designing and teaching. She most recently became an instructor on the national level. In the last year, Marianne has taught at Creative Painting™ in Las Vegas, Heart of

• #2 or #3 Black Gold Round, 206R • 10/0 Black Gold Liner, 206L • 1/4” & 3/8” Black Gold Angle, 206A • #12 Black Silver Filbert, 4890 • Small Mezzaluna, 23075 • #12 Eye of the Tiger® Shader, 610

Miscellaneous Supplies:

Ohio Tole Convention in Ohio, and the NW Decorative Artists Convention in Seattle. Until she retires from working with the U.S. Navy’s cost estimating competency, Marianne paints part time from her home studio in Temecula, California with a full time attitude.

Surface: • 11” x 14” Primed and Wrapped Cotton Canvas or Canvas Board, available at most local craft stores or Dick Blick®

DecoArt Americana® Acrylics: • Spa Blue DA277 • Desert Turquoise DA044 • Snow (Titanium) White DA01 • White Wash DA02 • Payne’s Grey DA167 • Peony Pink DA215 • Baby Pink DA031 • Soft Heather DA306 • Marigold DA194 • Pineapple DA06 • Avocado DA052 • Olive Green DA056 • Teal Green DA107 • Burnt Umber DA064

Dynasty Brushes: ®

• 3/4” Black Gold® Wash, 206FW • #6 & #10 Black Gold Shader, 206S

• DecoArt Media® SoftTouch Varnish DMM26 • Paper Towels • Gray Palette Paper (optional, see Helpful Hints) • Water Basin • Pencil/Stylus • T-square Ruler • Painter’s Tape

Preparation: Use the project pattern to mark the table line on the surface. Use a T-square to be sure the line is straight. Mask off the table line using painter’s tape, placing the tape so that you can paint the area above the table line. Paint the background with Spa Blue loaded onto the 3/4” flat wash brush. You will need two coats. Remove the painter’s tape while the background is still wet, but do not proceed until it’s dry. Next, place a clean piece of tape at/above the table line, and paint the tabletop below it with Desert Turquoise in the same fashion. Remove the tape, and let the canvas totally dry. Do not worry too much about a little bleeding of either color of paint at the table line. Shading later on will take care of that. Hint: Our background is solid Spa Blue, but if you wanted to add “wallpaper,” perhaps with a stencil, to this Spa Blue background, you would do it right after completing the

June 2017 Issue

Painting World Magazine background basecoats and before tracing or painting the vase. Why? Because backgrounds show through clear glass, so you need to paint them under and before the glass.

Painting Instructions:

Lastly, load some inky Snow (Titanium) White onto the 10/0 liner brush. Paint subtle, brokenline highlights on the left sides of the stems. This is another way to separate the stems from each other.

Tracing Step 1: You will notice that the vase line is darker on the line drawing. I purposely did this so you could pick the outline of the vase out easily, because you are going to paint the entire empty vase first.

Be sure the stems are totally dry before moving on. (Figure 2)

Ignore the leaves and flowers that overlap the vase for now. Take your time tracing the vase. Also trace the stems that will go into the vase. Do not trace the flowers at this time. (Figure 1)

Stems: You are going to paint the stems first, before you touch the vase; this way, you don’t have to rework them later to make them appear as though they are inside the vase. Load the #10 shader with Avocado, and basecoat the stems using the chisel edge of the brush. It is important that you pick a center point where many of the stems will cross over each other. Start at the top of the stem, and be sure you stop just short of the thick bottom inside of the vase. While the stems are still wet, wipe the excess paint out of your brush on a paper towel, and pick up some Burnt Umber. Work the Burnt Umber into the brush, and then into the right side of the stems, but don’t blend it so much that the green disappears. Peony stems are more like sticks than green stems. Use the Burnt Umber shading to separate the stems and determine which stems are on top of or crossing over others.

June 2017 Issue

Again, without washing the brush, pick up some Teal Green, and work some of that into the shaded side of each stem. This creates the reflective light, which is usually a shade of blue, on the stem.

Vase Step 1 (Shadow Layer): Before you start this next step, if you’re not comfortable with the floating technique, have paper towels at the ready so you can blot the brush or the canvas if you get too much paint or water on the canvas. Load the very tip of the toe (long end) of the 1/4” angle brush with Payne’s Grey, being sure there is significant water in the heel (short end). Work the paint in on your palette. Lay the bristles down along the tracing line with the toe of the brush. Using the tracing as a guide, float a very thin line of Payne’s Grey on the entire vase. If you get too much Payne’s Grey onto the piece, there is an easy fix: Clean your angle brush, and use it to erase some of that paint by dragging the clean, wet brush along the line again, blotting with a paper towel if too much water comes out of your brush. I suggest you start with one of the outer lines to get the feel of this very light float before you paint the tight, inside lines of the vase. Paint the detail at the bottom of the vase last, once you have a good feel for the float; the paint at

Helpful Hints: While you do not have to run out to buy gray palette paper, it really does make painting glass, or any other element containing a lot of white, so much easier, because you can tell if you have too much paint on your brush before you get to your project. If you don’t have a gray palette pad, be sure to have clean paper towels or wet wipes at the ready for those instances when you take too much paint or water to the canvas and need to make a quick correction. I am in love with the Dynasty Black Gold 206 series of brushes, particularly the angle brushes, because Dynasty designs them with a big reservoir. That means the brush will hold more water than some other angle brushes, which will make floating color easier. The larger water reservoir is helpful for painting the vase in this project where the lines in the design, on which you will float color, are rather long.

the inside base of the vase should be lighter, because the lines or cuts in the crystal are inside the vase. Let this dry completely. Begin to build the shadow under the vase by loading the 3/8” angle

Painting World Magazine Figure 1

brush with thinned Payne’s Grey. The goal is to add a little shadow under the vase and build the beginning of the shadow that the vase is casting onto the table. Lay the bristles down on their sides to distribute the paint evenly. Don’t worry about it being ugly. You will go back to it at least one or two more times. (Figure 3)

Vase Step 2 (White Layer):

Figure 2

If you have too much white on it, or the float is not consistent across the vase, there is a fix!

Figure 4

The vase is supposed to be clear, so you can erase some of the harsher white areas by loading a dampened #6 shader brush with Spa Blue or Desert Turquoise (depending on where you want to correct) to touch up the background where it needs it.

Again, load the 1/4” angle brush with a tiny bit of White Wash in the same fashion as when you painted the Payne’s Grey in the prior step. Paint over the outside edge of the Payne’s Grey line.

Backgrounds do show through the glass, which is why we painted the entire background, including the area under the vase, first. Blend the touched up areas with the pad of your finger so the edges are not harsh.

This should leave you with a little shading of Payne’s Grey underneath the White Wash. We are using White Wash because it has lighter coverage.

You can also use this same brush to separate some of the stems if you feel you have something in the vase that looks like a tree trunk instead of nice, airy stems.

Continue painting until you have gone over the entire vase. Remember, use less paint on the inside crystal cuts on the bottom of the vase to keep those lines lighter.

Adding a touch of Spa Blue on the chisel edge of the same #6 shader will separate some of the stems to make them look more natural. Basically, you’re adding some background to the wall that you might have erased by painting the stems too solidly. (Figure 4)

Before you move on, assess how much paint you have on the vase.

Figure 3

Vase Step 3 (Water Line Ellipse): Load the 1/4” angle brush with Snow (Titanium) White in the toe and water in the heel to add the water line to the vase. Float the color the same way as you painted the rest of the vase. Be mindful that the back portion of the water line ellipse will go behind the stems, not in front of them. You can create that illusion in tight spaces by using the tip of the brush. You also need to float a tad bit of white in front of the stems to

June 2017 Issue

Painting World Magazine push those stems into the center of the vase. When you next look at flowers in a vase, notice the stems are not up against the front part of the vase. They sit within the vase. Lastly, you need to do a tad bit of work on the area of the ellipse creating the water line. With a dampened #6 shader brush, mix a smidge of Spa Blue into some White Wash on your palette. Load the brush, work the paint into it on the palette, and then tap it lightly onto the area creating the ellipse. Blend with the ball of your finger if necessary to smooth out the color. When you look into a real vase, you will see that the top of the water line is indeed a little darker than the rest of the water because of the reflection of the tabletop, stems, etc.

Vase Step 4 (Vase Highlighting): Load the Eye of the Tiger #12 flat brush with Snow (Titanium) White. I use this brush because the bristles are longer and I can get a cleaner and longer highlight with it. Blend the paint on the palette a few times so the brush is loaded, but not dripping with paint.

Figure 5

June 2017 Issue

Stand the chisel edge on the water line on the left edge of the vase. Using a light touch and a straight, sweeping, and downward motion, add a subtle highlight on the left side of the vase. Where the first highlighting stroke ended, begin the second. Continue to the right until you reach the center of the vase. Make the strokes shorter as you progress to the middle, because as you approach the center of the vase, you are losing the light coming from the left. Avoid the temptation to go over these strokes while they are wet. If you want to strengthen the highlight, wait until the strokes dry, and then go over them. Add a stroke to the top left part of the vase along the curve.

Leaves Step 1: Peonies are such voluptuous flowers that you want to be sure you place some leaves underneath them without having to repaint any part of the flower. So, I paint most of the leaves first (see the picture for the ones that are complete with shading, highlighting, and veins), and then paint the flowers. After I paint the flowers, I repaint some of the leaves to push some of the flowers behind them. I’d rather repaint leaves than retouch these flowers. So for now, basecoat all of the leaves with the #10 flat brush loaded with Avocado. A second coat will be necessary. Let the basecoat dry completely.

Finally, load the 10/0 liner brush with Snow (Titanium) White. Add some broken accent lines on the very edge of the vase’s left side, favoring the light source on the left. Do not concentrate on the top of the vase, because the flowers will cover most of it up.

Leaves Step 2 (Highlights):

Tracing Step 2:

Load the Eye of the Tiger #12 flat brush with Olive Green. Work the paint into the brush on the palette.

Trace the flowers and leaves onto the canvas. Figure 6

You will quickly notice that I’m bending the highlighting rules by putting the highlight on the left edges of the leaves instead of the centers. It is just what I prefer doing on most pieces.

Figure 7

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Figure 8

Figure 9

Figure 10

Leaves Step 4 (Veins):

Stand the chisel edge of the brush on the outer edge of the leaf, starting at the tip, and sweep the brush in a curved motion consistent with the shape of the leaf. Work toward the center, but not to the center. Wipe the excess paint on a paper towel. (Figure 5)

Leaves Step 3 (Shadows): I’m a fan of bold color, so I use Teal Green to shade my greenery. Using the same Eye of the Tiger #12 flat brush loaded with Teal Green, add the shading to the leaves in the same fashion as you added the highlight. Start at the tip, and work the shading into the opposite side of each leaf. (Figure 6)

Figure 11

Create an inky 50:50 mix of Snow (Titanium) White and Olive Green on your palette. Load the paint onto the 10/0 liner brush, and paint the vein lines.

The shadow peonies are all side view. They are intended to be impressions of peonies, and not flowers with all the details.

Start at the base of the leaf with light pressure, releasing that pressure to almost nothing as you progress to the tip. If the brush is dragging, there is not enough water in the mixture. (Figure 7)

The intent is to fool the eye that something is there, but keep the viewer’s eye on the subject, which is the detailed peonies and the vase. They also create the illusion that the bouquet is fuller than it is.

Peonies:

Transparent Peonies:

There are three views of peonies in this project. Of the predominant flowers, there are three fully open flowers and two almost open from a side view.

Make a small 50:50 mix of Baby Pink and Peony Pink on your palette. Then, thin it down to a consistency that is thinner than inky paint.

There are also “shadow” flowers, which are painted very loosely and transparently in an Impressionistic manner. I do this so that the bouquet has depth. Because the shadow flowers lay under the main bouquet, you’ll paint them first.

Load the #10 shader with the thinned paint, but not so much that it is dripping off the brush. Stand on the chisel edge, and quickly pull some strokes from the outside of the flower in toward the center.

Figure 12

June 2017 Issue

Painting World Magazine

Figure 13

Figure 14

Open Peonies Step 2:

This is similar to painting an almost bloomed daisy, where all strokes go to the point where the petals meet the stem. Pick up some inky Peony Pink into the toe of the 1/4” angle brush, and float some color gently in between some petals for depth, but do not hit every petal with the shading. (Figures 8-11)

Open Peonies Step 1: An open peony is similar in structure to a rose. It has a skirt and a cup, just as the rose does, and all strokes are painted in a direction so that they lead the eye to the part of the flower that meets the stamens. Think of a bicycle tire with all strokes pointing to the center. For the base painting of the peony petals, it is wise to pick up paint with every stroke or two. Load the #12 filbert brush with Baby Pink, swipe it through a puddle of Peony Pink, and go right to your canvas with the brush to fill in the outside skirt of petals. To make sure there is sufficient dry time, move on to the other two open peonies, and paint in the first layer of petals on all of them. Now you have three flowers with the outside skirt painted, and the first flower should be dry. (Figure 12)

June 2017 Issue

Go back to the flower you chose to paint first, and be sure it is dry. You are now going to add the curls to the petals of the first ring on each of the three open peonies. Notice in the picture that the curls are not all the same and they vary somewhat in direction. You will paint some with the flower curving in at the top, some at the left, and some at the right. You can stray from the pattern here and choose how you want the petals to curl, but try not to paint them in a uniform pattern. (Figure 13) Load the 10/0 liner brush with Soft Heather. Paint the direction of the curl by exerting pressure on the tip of the brush, moving it in the direction of the curl, and releasing it on the petal’s edge. The paint may be thick, so let it dry before moving to the next step. Load the 1/4” angle brush with a touch of Peony Pink in the toe and water in the heel. Shade ever so delicately inside the petals, under the curls. Do this for all petals, and try to avoid uniformity in your shading. Repeat these steps for Row 2. Begin by dropping the brush a little ways from the first row. Begin painting the petals about 1/4” lower than the outer ring.

For Row 3, repeat these steps for the back and side petals only, not the ones in front. (Figure 14)

Open Peonies Step 3 (Center): Use the 10/0 liner brush loaded with full strength Marigold to fill in the center by using cross-hatched strokes, making sure your strokes start inward and go out to shape the fuzzy edge of the center. While the paint is still wet, pick up Pineapple on the same brush, and weave in some lighter color with short strokes going outward from the center. It’s important that you try to avoid a hard, even edge between the petals and the flower’s center. Let that totally dry.

Open Peonies Step 4 (Front, Center Petals): Base in the three or four center petals, pulling the strokes from the center of the flower down into the flower’s cup. These petals have curls, but you are looking at the back of these front petals, so the curls are on the other side of them and are not visible. Instead of painting the curl, you’re going to paint a highlight on top of the petal. To do this, load the 10/0 liner brush with Soft Heather, and apply some paint to the top edge and sides of the petal.

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Figure 15

Before that dries, pick up the small Mezzaluna brush, and tap into the color, dragging it in the direction of the petal. Gently blend the Soft Heather into the Baby Pink/Peony Pink of the petal. If these front petals look too uniform, give them a haircut with the 10/0 liner brush by adding a few strokes of the yellows in between them. Cutting into the petals lets more of the center show and gives some variety to the shape or direction of those front petals. (Figure 15)

Open Peonies Step 5 (Frilly Petals): Finally, you can add the frilly little petals to the flower using the #2 or #3 round brush with Soft Heather. If you want those frilly, daisy-like petals to be bold, do not dilute the Figure 17

Figure 16

paint, and make sure the brush is dry. If you want them softer, use a wet brush to begin painting them. They will be even softer and more translucent if you use inky paint.

Side View Peonies: You’ll paint all of the petals the exact same way as the full and open peonies, with a couple of exceptions. There is no center to them. But, you’ll paint them all in the direction of the imaginary center. Because the flower is not totally open, you see the full back of the outside layer of petals. First, you will base in the back petals just as you did before, with a mixture of Peony Pink/ Baby Pink using the #12 filbert brush. Next, you will basecoat the front petals with Peony Pink.

Finally, you will use the 10/0 liner brush loaded with Soft Heather to apply curls to the back petals and paint to the tops of the front petals. Then, you will blend that paint in the direction of the front petals using a small Mezzaluna brush. When applying the Soft Heather paint on these side view flowers, use a little more paint than you used before on the open peonies’ center petals, simply because these petals are bigger. (Figures 16-18)

Peony Buds: There are six peony buds. Three are in the bouquet, and three are on the tabletop. Base coat the round ball buds in Snow (Titanium) White, and let them dry. Next, load the #6 shader with Peony Pink to paint the right side of the

Figure 18

June 2017 Issue

Painting World Magazine bud. Start at the top/center of the bud, and pull the first stroke to the right, going around the outer edge of the circle to the bottom, where the stem meets the bud at the stamens. Paint the second stroke next to the first one, starting it a little lower and to the left of the first stroke. To finish the right side of the bud, add two or three more strokes in the same fashion, each one lower and more to the left than the prior. Without cleaning your brush, pick up Snow (Titanium) White, and repeat the process on the left side while the Peony Pink is still wet to complete the bud. Start at the top of the bud, and stand the brush right into the Peony Pink. Some Peony Pink will blend into the Snow (Titanium) White and create a nice variation of color for the overlapping petals as you paint each new stroke. Let that dry. No two buds will look the same. If you prefer a lighter bud, use more Snow (Titanium) White. If you prefer a darker bud, use more Peony Pink. (Figure 19)

Leaves: Earlier, I mentioned that I repaint leaves at the end of a painting to push flowers behind them, or do nothing if I want the leaves to stay behind the flowers.

Figure 19

There should be variation in your design. Some flowers should be in front, some should be behind leaves. Look at the entire project to decide which flowers you want to push behind leaves, and then repaint those leaves on top of the flowers. Also, add some less prominent leaves using the Eye of the Tiger #12 flat brush loaded with watery paint. I alternate between Avocado and Teal Green when I add these minor leaves, and sometimes I even add some Olive Green to the mix for a lighter color. Be careful with those shadow leaves to ensure they do not overpower your painting.

Bud Calyx:

Shading:

Use the picture for reference. Using the #6 shader loaded with Avocado, paint the calyx around the bud.

Use the 3/8” angle brush loaded across the chisel edge with Payne’s Grey to deepen the shadow of the vase on the table. Work in layers, letting each dry in between, until you reach deep, but not total, coverage.

Wipe the brush clean. Pick up a small amount of Olive Green, and highlight the left side of the calyx. Shade the right side with Teal Green. For the sprig of buds on the tabletop, paint the leaves and stems exactly like you painted the buds, leaves, and stems earlier in the project.

Finishing: Use the project’s total picture to assess the following...

June 2017 Issue

Final Shading: Stand back, and evaluate what else in the painting needs some separation. Create separation using the 3/8” angle brush with Payne’s Grey in the toe and water in the heel. Separate leaves that are touching other leaves, leaves that are touching flowers, and buds that are touching leaves. Also, shade a little bit between the vase and the bouquet and between the vase and the wall.

Varnish: On acrylic canvas paintings, I use DecoArt® Soft-Touch Varnish in a matte finish. One coat will be fine for protecting it, but I use two. I hope the instructions were easy to understand and flowed naturally throughout the project, so you can create your own version of Prettyin-Pink Peonies. Do not hesitate to contact me if you have questions.

If the edge between the Payne’s Grey and the Desert Turquoise on the tabletop becomes harsh, wipe out the brush, add some Desert Turquoise to it, and blend it into the wet Payne’s Grey. Always remember: when working weton-wet, sticky is icky, so don’t work the wet paint so hard.

Painting World Magazine

Download all line drawings ready to print here: http://bit.ly/2q11rCW

June 2017 Issue

Painting World Magazine

June 2017 Issue

Download all line drawings ready to print here: http://bit.ly/2q11rCW

An Artful Journey by Sandy McTier

I think there are some true statements regarding almost everything in life… The more you do something, the better you’ll become. The more you seek to learn and educate yourself about something, the more you’ll know.

Have you ever looked at a piece of art and thought to yourself, “I really want to paint like that”? Or have you ever taken a class and thought, “The teacher sure does make it look easy – I’d love to paint like them”? You’re not alone! On my artistic journey over the years, I’ve said those same things to myself. And over those same years of searching, I found that the answer (for me) to these thoughts comes down to a few key words: “Learning,” “Growing,” “Education,” and “Practice”!

Applying these statements to your art journey when using a wide variety of mediums will not only make your journey fun, but will help you grow and become a better artist.

While on this journey, it’s important to be happy and take pride in what you’ve accomplished up to this point. Be PROUD of YOU! It certainly will make the journey more enjoyable. Forget comparing yourself with others. Admire their work, but remind yourself of your accomplishments and

Sometimes the journey can be frustrating and exhausting, so I hope this encourages you to keep at it. Continue seeking those things mentioned previously. Continue being inspired and motivated to create. One of my early pieces!

where you’re heading. Let those things encourage and motivate you to continue creating! I wanted to share two of my early paintings with you to emphasize this point. I painted the welcome sign and jar of pomegranates eleven years ago. At the time, I was pleased with them, and the recipients loved the gifts – which, as an artist, is always rewarding. Both represented what I knew at the time and where I was in my journey. I was always eager to learn more, but I was also having fun painting and making gifts for family and friends. I can look at these now and see that learning, educating myself, and practicing has certainly helped me grow as an artist. I loved watching painting shows on TV – Bob Ross, Priscilla Hauser, Donna Dewberry, and Jerry Yarnell, just to name a few.

Painting World Magazine and sold approximately 1,500 flowerpots of various sizes between January and May that year. That sure was good daily painting practice! It also allowed me to pay for a family vacation to Disney World. For my birthday in 2005, my husband sent me to a One Stroke™ certification in Florida. I was hooked on painting! I started teaching at my local Hobby Lobby® in 2006, and I’m thrilled to still be teaching classes there. In 2011, I took a leap of faith, and focused on my own designs and style of painting, which led to Sandy McTier Designs. I took my first oil painting classes at the Creative Painting™ Convention in Las Vegas, and fell in love with oils.

They made it look so easy, and I started to believe Priscilla Hauser when she’d tell Carol Duvall, “You can paint it Carol” and “Anyone can paint.” I also subscribed to magazines, and loved reading about the different ways artists created. All of that educated me on the “how-to” while inspiring me to pick up the brush and paint. With today’s technology and magazines like this incredible publication, the opportunities to learn from the best have never been greater! Let me back up just a moment to give you a better picture of my art journey’s timeline. I had never taken a painting class. I was living overseas and painting souvenirs for USOs and base gift shops. I also loved ceramics, and started painting unique pieces to match customers’ china sets. In 2003, I painted flowerpots with a variety of flowers for a friend’s birthday gift and for my boy’s teachers at Easter. With only word of mouth for advertising, I painted

June 2017 Issue

Download all line drawings ready to print here: http://bit.ly/2q11rCW

Painting World Magazine In 2012, I attended my first Heart of Ohio Tole Painting (HOOT) Convention. I decided to sign up for classes that included mediums I wasn’t used to – colored pencils, watercolors, and oils – to stretch myself as an artist. Taking classes from six incredible teachers who shared their techniques with the different mediums was mind-blowing. I started seeing my journey in a whole new light. In fact, I started “seeing” art in a very different light. It sounds cliché, I know, but the lightbulb went off so many times, it was like a fireworks show.

It should come as no surprise that I learned that attending painting conventions was an incredible way to learn from some of the best in our industry. If you are looking to broaden your artistic range, I highly recommend attending painting conventions! This leads me to where I am today, wanting to share with you two paintings that I’ve done in the last few years. I taught the Parisian Peonies at the HOOT Convention in 2014, and the Sunflowers at the SDP Conference in 2016. I clearly see my years of practice and effort to learn new techniques have helped improve my paintings. I’m PROUD of them, and, although I see some things I would do differently based on what I’ve learned since then, they’re a part of my artistic journey and remind me that I’m growing, learning, and continuing to seek more! From 2014 to 2016, I was honored to have been the Editor-in-Chief of Interactive

Artist Magazine, an online publication. I cannot begin to tell you the amount of knowledge I gained from reading the artists’ lessons and putting many of the techniques into practice. I anxiously await Painting World Magazine’s arrival in my mailbox, and even if I don’t have time to create every project, I love reading through the instructions to see how an artist achieved their piece.

It’s important to practice and put what you’ve learned to the test; after all, it is just paint! You can paint over it, sand it off, or manipulate and change it based on the medium. Remember to be proud of where you are now in your journey, but also be excited about what’s to come! The more you create daily, the better you will become. The more you learn and stretch your abilities, the more you will grow into your own as an artist. I’m anxious to see where my journey takes me this year. What new and fun techniques will I learn that will help me grow and change as an artist?

While I’ll continue to admire and love seeing others’ artwork, I will remind myself not to compare my artwork to it or compare my journey to theirs. I will, however, let the art continue to inspire and motivate me to WANT to learn more, grow more, educate myself more, and, in the end, create MORE!

Download all line drawings ready to print here: http://bit.ly/2q11rCW

June 2017 Issue

Happy Camper by Debbie Cole, CDA

Painting World Magazine My inspiration for this project was the Campground stamp set. I fell in love with the little camper and other images in the set. I thought it would be fun to add one of my signature teddy bears that so many of you have requested.

Surface:

Miscellaneous Supplies:

• 12” x 12” Wood Canvas Panel, from Cupboard Distributing

• Basic Acrylic Painting Supplies • DecoArt® Americana DuraClear® Matte Varnish DS60 • DecoArt Americana MultiPurpose™ Sealer DS17 • Cheesecloth • Foam Roller • Martha Stewart Crafts™ Specialty Sponges • Heavyweight Paper • Painter’s Tape or Any Removable Tape

Stampendous® Stamps: • Sweet Tweets Set #CRS5095 • Campground Clear Cling Set #SSC1253 • Small and Large Acrylic Handles

DecoArt Americana® Acrylic Paints:

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 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.

• Antique Gold DAO9 • Black Plum DA172 • Blue Haven DA318 • Burnt Umber DAO64 • Calico Red DAO20 • Camel DA191 • Cocoa DA259 • Cranberry Wine DA112 • Foliage Green DA269 • Graphite DA161 • Grey Sky DA111 • Grey Storm DA328 • Honey Brown DA163 • Lamp Black DAO67 • Leaf Green DAO51 • Napa Red DA165 • Navy Blue DAO35 • Ocean Blue DA270 • Prussian Blue DA138 • Snow (Titanium) White DAO1

Silver Brush Ltd® Brushes: • 1/8” Ruby Satin™ Filbert Grass Comb, 2528S • 1/2” Golden Natural™ Square Wash, 2008S • #4 & #6 Golden Natural Shader, 2002S • #3 Golden Natural Round, 2000S • #00 Golden Natural Liner, 2007S • #0, #2, & #4 Monza® Short Round 2629S (for dry brushing) • 1/4”, 1/2”, & 3/4” Flat Brushes • A Good 2/0 Liner • #2 Round

Helpful Hints: During the stamping process, you will use masks from the Sweet Tweets set. There will be times when you’ll need more than one. You can create the additional masks from paper. Simply stamp the image onto a piece of heavyweight paper, and then cut that image out or use the companion dies to cut the image out. You can then place the paper over the based area to use as an additional mask.

Preparation: Seal the panel with Multi-Purpose Sealer. Allow it to dry, and sand it lightly. Remove any particles with a lightly dampened cheesecloth.

Use a foam roller to basecoat the entire exterior of the surface with Snow White. Repeat until you’ve achieved a smooth and even base. Transfer on the line drawing for the bear and hills very lightly.

June 2017 Issue

Painting World Magazine

Stenciling Basecoat Steps

Next, apply the mask over both of the leaf sections. Refer to the Helpful Hint for creating multiple masks. Tape the branch stencil into position, and base with Snow White + Burnt Umber (2:1).

areas on the stamp, load the stamp with paint, and then remove the tape, and stamp the image.

Remove all of the masks. The campground images do not have stencils or masks, and you will stamp them to begin their painting process.

Stamp the campfire in front of the camper.

Stamping: Apply the leaf clump stamp to a small acrylic handle. Load the specialty sponge with Lamp Black, working the paint into the sponge completely.

In the same manner, stamp a small tree and then a full tree on the right hill, leaving a space for the tent. Create a mask for the tree, and then stamp the tent.

Painting the Background & Stamped Images: Create a wash of Blue Haven by adding water to thin the paint until it becomes semi-transparent.

Stamping Steps

Apply the paint to the stamp, and stamp over the basecoated leaves. Repeat this step to the other leaves.

Painting Instructions: Basecoat Stenciling: Refer to the stenciling and stamping diagrams. Begin by taping the bird stencil that comes with the stamp set into position.

Place the masks over the leaves, apply the branch stamp to a large acrylic handle, and stamp the branch. Apply the mask over the branch, and stamp the bird.

Using a specialty sponge loaded with Ocean Blue + Snow White (1:1), base in the bird section of the stencil. Allow it to dry.

Now, stamp the camper using Lamp Black, referring to the photo for its position. Stamp again onto paper to create a mask for the camper. Cut it out, and apply it over the camper.

Apply the mask over the bird, and stencil the leaf section twice with Snow White + Leaf Green (2:1), referring to the step one photo for placement.

Stamp the trees behind the camper. Stamp the two trees on the hilltop, leaving space in between. To create the smaller tree, simply tape over the lower

June 2017 Issue

Painting World Magazine

Figure 1

Wash in the sky and left hill with this transparent color using a large brush. Allow it to dry. In the same manner, create a wash of Foliage Green. Apply it over all of the hills. Allow the surface to dry, and apply tape above the bottom line. Base coat underneath the tape with Navy Blue + Ocean Blue (3:1). Repeat until it’s smooth and even. Once it’s dry, apply tape over the Navy Blue to keep the line crisp while painting the bear and hills. When you’ve completed the bear, remove the tape, and stamp the lettering with Snow White in the same manner as for the other images. Repeat this two more times to cover the entire bottom. Float to shade the hills with Foliage Green. Reinforce this with a second shade of Leaf Green. Refer to the photo for placement of the shades. There are no highlights.

Figure 2

Base the bird’s beak with Antique Gold. Float to shade the bird with Ocean Blue and the beak with Honey Brown. If necessary, add a highlight to the bird’s eye with a dot of Snow White. Float to shade the leaves with Leaf Green + Snow White (1:1). Reinforce this with a second shade of Leaf Green. Float to shade the branch with Burnt Umber. Base the campground images with washes of color, allowing the background color to glow through. Create washes of Leaf Green, Calico Red, Ocean Blue, Grey Storm, Burnt Umber, and Antique Gold. Wash in the red areas with the Calico Red wash, the blue areas with the Ocean Blue wash, the tires and stones with the Grey Storm wash, the trees with the Leaf Green wash, the logs and tree stumps with the Burnt Umber wash, and the windows and fire with the Antique Gold wash. Float to shade all of these areas with full strength paint of the same colors as the washes.

Float the white areas of the camper with Grey Sky reinforced with Grey Storm. Reinforce the tires with Lamp Black and the fire with Calico Red. Base coat the bear’s body with Honey Brown, the vest with Calico Red, the hat with Navy Blue + Ocean Blue (3:1), the binoculars with Grey Storm, and the binoculars’ glass with Ocean Blue. Line the bear’s facial features with Burnt Umber, and base the nose and eyes with Lamp Black. Float to shade the bear with Burnt Umber. Dry brush to highlight with Cocoa. Wash over the bear with thinned Raw Sienna if it has gotten too light. Refer to the second photo. Using the 1/8” Ruby Satin filbert grass comb, pull lines of thinned Cocoa in the mid-tone and dark areas of the bear. Pull lines of Cocoa + Camel (1:1) over the highlight areas. Add additional fur lines using a 2/0 liner brush with Camel in the lightest areas, Cocoa + Camel (1:1)

June 2017 Issue

Painting World Magazine

Figure 3

Figure 4

in the mid-tone areas, and Cocoa in the darkest areas. Glaze the darkest areas of the bear with Burnt Umber. Pull lines of Ocean Blue as irises along the outer edges of both eyes. Pull Lamp Black lines horizontally over the irises.

Haven (2:1) using the same highlighting techniques as before. Add stitch lines with Blue Haven. Float to shade the vest with Napa Red. Dry brush to highlight it with Calico Red + Antique Gold (1:1).

Use Grey Storm to float the nose and tap in glints on the eyes. Use Grey Sky to make a star glint by the main glint of each eye and reinforce the highlights to the nose. Tap Snow White as the final glint to the eyes and nose. Float to shade the hat with Prussian Blue. With Navy Blue + Ocean Blue (1:1), float to highlight the brim and dry brush the top of the hat.

Finish with 1-2 light coats of Matte Varnish and enjoy!

Add a second shade of Cranberry Wine, and highlight with Calico Red + Antique Gold + Snow White (1:1:1). Paint the buttons with Snow White. Allow the paint to dry. Add dots of Lamp Black for the buttonholes and lines of Calico Red for the thread lines. Glaze Black Plum in the darkest areas of the vest.

Add the holes to the side of the hat, and fill them in with Lamp Black. Highlight around these holes with Navy Blue + Ocean Blue (1:1).

Line the binoculars with Graphite. Float to shade them with Graphite, and highlight them with Grey Sky. Reinforce the shades with Lamp Black and the highlights with Snow White.

Reinforce the darkest shade areas of the hat with a float of Lamp Black. Reinforce the highlighted areas with Ocean Blue + Blue

Float to shade the binocularsâ&#x20AC;&#x2122; glass with Navy Blue + Ocean Blue (3:1), and highlight with Ocean Blue + Blue Haven (1:1).

June 2017 Issue

Reinforce the shades with Prussian Blue and the highlights with Blue Haven.

Painting World Magazine

Download all line drawings ready to print here: http://bit.ly/2q11rCW

June 2017 Issue

Painting World Magazine

Innovative Corner

with Debbie Cole, CDA

Stamping! This is the last of a three-part series in which I have been focusing on how to create interest to designs. In this issue, I am discussing the use of stamps. Stamping has become a very well-known tool for painters all around the world in many different genres of art. Using stamps began in about 3000 BC when people created them from carved wood or seals. They used them to create impressions in clay tablets or clay bricks. As time progressed, people used these carved stamps with dyes to print onto cloth, which lead to printing onto papyrus. This led to printmaking, wood blocking, and using stamps in art. While stamps are well-known tools for paper crafting, stamping has become very hot in the painting community as well. It has evolved to become a very popular art form where some type of ink, dye, paint, or pigment is applied to an image that has been carved, molded, or laser engraved onto rubber or wood.

June 2017 Issue

The most popular stamps are those that are commercially made from rubber. There are two basic types of rubber stamps: wood stamps, which are mounted to wood, and cling stamps, which are not mounted, but will stick to transparent acrylic handles. While both types have benefits, cling rubber stamps are much more versatile and cost effective for painters. Because the acrylic handles are clear, artists can position the stamp onto a painting with greater accuracy than they could a wood mounted stamp. Cling stamps can also be hand-held and used to make impressions on three-dimensional objects because of the flexibility of the rubber.

Painting World Magazine Photopolymer stamps are also called clear cling stamps. These have gained popularity because not only are they clear to aid in the application, but companies generally sell them in sets of related images. Painters can also carve their own stamps from wood, foam, and rubber. Speedball® makes a variety of tools for handmade stamps, including Speedy-Carve™ Blocks and Linoleum Cutters. These tools make it easy, and it is so much fun to create your customized stamps. Simply draw out a pattern or use clip art. Transfer the design onto the carving block, and then select the correct size tips to cut out the pattern. There is another product by Clearsnap®, called the Magic Stamp®, that allows you to create reusable stamps. Magic Stamps are foam blocks that you heat and impress with found objects. The image will remain until you reheat the block.

it is difficult to use them with paint. Permanent inks, such as StazOn®, dry immediately and will not bleed. You can also use markers to colorize the stamps, but many of them are water-based and will bleed. When using markers, it helps to use a spray fixative to set them before continuing to paint. Another type of ink you can use with the stamps is embossing inks, which can add a wide range of effects to a painting. Apply these inks to the stamp in the same manner as other mediums, and then sprinkle embossing powders over them. The effects are limitless because of the variety of embossing powders on the market. While they are fun to use, you do need to heat set most embossing inks. However, you can hold the gun further away to melt the powders without lifting the paint.

You can use stamps with many different mediums. Acrylic paints, permanent inks, embossing inks, and markers can create different effects. I love using acrylic paints with stamps. To do so, simply load a high-density sponge with the acrylic paint, and work it into the sponge. Working quickly, pounce the sponge over the stamp, and then press the stamp evenly to make an impression. Do not rock the stamp. If you’re making another impression, reload the stamp, and then make the impression. Inks are also fun to use with painted projects, but many inks will not dry unless you heat set them. The guns used to heat set inks were created to remove paint from buildings; therefore, © 2017 Painting World Magazine Digital Edition. All rights reserved. Not for distribution, resale or reproduction. You agree to follow all international copyright laws as well as the terms and conditions outlined at paintingworldmag. com. You may NOT reprint or make copies, even for non profit uses. Any violation of these terms will result in a nonrefundable cancellation of your subscription and possible prosecution with fines up to $150,000 USD. http://www. copyright.gov/title17/ Please contact info@paintingworldmag.com if you have received this PDF illegally.

June 2017 Issue

Painting World Magazine I love text stamps, and they can make wonderful backgrounds. In my Blue Hydrangea project, I stamped the background behind the flower with a text stamp. I then stamped that same stamp on the frame and paired it with another stamp to add the interest to the frame. In my Butterfly Collage, I created the background by combining and repeating text, flower, and leaf stamps. I then added the butterfly stamps, and colorized them to complete the collage. I created the borders by simply repeating the same stamp multiple times.

When stamping, it is important to choose a surface that is smooth and even. You can easily impress wood, glass, MDF board, Masonite®, and paper with stamps. You can also stamp canvas, but it is important to gesso it first to eliminate some of the texture. Also, because canvas can be flexible, it is important to place a hard board behind the canvas before stamping. You can stamp fabric, but the type of paint or ink you use is very important. It is best to use fabric paints, such as SoSoft® by DecoArt®, so that bleeding does not occur. You should use permanent inks on fabric for the same reason. Once you have your stamps and mediums selected, there are many applications in using them. Obviously, you can make an individual impression, but where the variety comes in is pairing the images with other images, or repeating the same image multiple times to create a pattern. June 2017 Issue

Not all stamped designs need to be that complex. In the last example on page 44, I used very whimsical butterfly and flower stamps individually. I then added the stems, black background, and patterning to add interest to the design. Thank you for joining me for this series on creating interest in designs using decoupage, stencils, and stamps. Now, look through the pattern packets that you have, and think about how adding one of these techniques could change the design and give it a more updated look. Also, all of the projects accompanying this series had each technique isolated. Try combining the three techniques together, or any two of them. Have fun and experiment. You will be amazed how much it can add to the overall look of your paintings.

Painting World Magazine

Just an Udder Day in Paradise!

by Sharon Cook

June 2017 Issue

Painting World Magazine This udderly adorable perpetual calendar makes the perfect accent for any décor! Since it can be displayed year-round, it would also make a great gift for family or friends. Interesting mixed media techniques you’ll use in this project include image transferring for all the letters and numbers, sculpting with modeling compound to create flowers and an adorable bee button, using Glazing Medium as part of a blended background, and using a bit of shimmery mister spray. Grab your brushes, and settle in for this project. Your next grand adventure awaits!

painting conventions, various society meetings, and at church and community events. Teaching painting brings Sharon much joy, as she learns just as much from her students as they do from her! She has been fortunate enough to host booths at trade shows throughout the U.S., and is the author of four books on decorative painting, a magazine article, and about 100 pattern packets of her original designs. She has even designed a bit of scrapbook paper, as well. It’s Sharon’s hope that the joy of painting will bring a smile to your lips and great happiness to your heart. After all, isn’t this what the great hobby of decorative painting is all about?

Surface: • Udder Day in Paradise Wood Kit #22-WL030 (includes an 11” tombstone plaque, 6 month tiles, & 7 date tiles), from Cupboard Distributing

DecoArt Americana® Paints:

About Sharon Sharon has been decorative painting since 1990 and absolutely loves it. She has spent many a late night with her brushes, imagination, and current project, along with a cup of hot chocolate, yummy-smelling candles, and Christmas music playing in the background to set the mood for a great painting experience. Sharon has enjoyed teaching painting classes for many years, and has taught at local craft stores, national

June 2017 Issue

• Bright Green DA054 • Calypso Blue DA234 • Dragon Fruit DA300 • Fawn DA242 • Forest Green DA050 • Hauser Dark Green DA133 • Lemonade DA252 • Light Buttermilk DA164 • Melon DA251 • Milk Chocolate DA174 • Moon Yellow DA007 • Orange Flame DA315 • Peacock Teal DA326 • Pebble DA303 • Razzle Berry DA276 • Saffron Yellow DA273 • Soft Black DA155 • Warm White DA239 • Whispering Turquoise DA305

Other DecoArt® Products: • Americana Decor® - Image Transfer Medium ADM10 • Media® Misters - Shimmer Turquoise DMM09 • Glazing Medium DS18 • Multi-Purpose™ Sealer DS17 • DuraClear® Satin Varnish DS21

Brushes by Loew-Cornell®: • 10/0 & 18/0 La Corneille® Golden Taklon Script Liner, Series 7050 • #3 La Corneille Golden Taklon Round, Series 7000 • 1/2” La Corneille Golden Taklon Angular Shader, Series 7400 • 1/2” Crescent Golden Taklon, Series 247 • #12 Soft Comfort® Taklon Filbert, Series 24500 • 3/4” La Corneille Golden Taklon Glaze/Wash, Series 7150

Miscellaneous Supplies: • Aves® Super™ White Apoxie® (Parts A & B) 62642 01202 & 62642 01372, from www.avesstudio.com or www.amazon.com® • Creative Arts Lifestyle Stretchy Tape 1/2” TOOL113_3, from Creative Arts Lifestyle® • Paper Towels and/or Soft Cloth • Aluminum Wire, your choice of color • Silk Blossom or Flower, approx. 2” in diameter • Needle and Thread (your choice of color) • Hot Glue Gun and Glue • Three 1/2” Nails • Water Basin • Pencil • Thick Black Marker or Pen • Stylus • Gray and White Transfer Paper • Parchment or Wax Paper • Plain White Paper • Sanding Sponge & Emery Board (or use Light Grit Sandpaper)

Painting World Magazine

Preparation: Sand the surfaces lightly, and use a tack cloth to remove dust. Seal the surfaces with MultiPurpose Sealer. Lightly sand again, and tack to remove dust.

Instructions: Plaque Background: Base the front of the plaque with Whispering Turquoise. Mix two large puddles on your palette; one puddle will be a mixture of 70% Glazing Medium/30% Calypso Blue, and the second puddle will be a mixture of 70% Glazing Medium/30% Whispering Turquoise. Once the Whispering Turquoise basecoat is dry, apply a very generous application of Glazing Medium over the front of the plaque. While the Glazing Medium is still wet, use the 3/4” glaze/ wash brush to stroke the Glazing Medium/Calypso Blue mixture very lightly upward from the bottom of the plaque into the center, gently lifting the brush up slightly to taper the stroke off the plaque at approximately 3/4 of the way up the plaque. Working quickly while the Glazing Medium/Calypso Blue mixture is still wet, apply strokes of the Glazing Figure 1

Medium/Whispering Turquoise mixture from the top of the plaque downward into the center area until they meet and gently blend with the Calypso Blue strokes. Use a light pressure on the brush when creating these strokes, and intentionally leave a few streaks of color up and down the background to keep it interesting. (Figure 1) Repeat these steps as desired, until you have a balance of color that you are pleased with. On my plaque, I preferred more dark color in the bottom area, so I stroked the Calypso Blue mixture upward several times. (Figure 2) Please note that the grassy area painted on the bottom of the plaque will cover approximately 2-1/2” of the Calypso Blue area, so you will want to adjust the darkest area of Calypso Blue accordingly. (Figure 3) Shake the bottle of Turquoise Shimmer Mister vigorously to ensure the contents are well mixed. You’ll use the Turquoise Shimmer to spatter the background of the plaque. There’s more than one way to do this. If desired, you could simply spritz the Turquoise Shimmer directly from the bottle onto the plaque using the spray nozzle. This method, however, Figure 2

Helpful Hints: When using the image transfer process, tear out the area of the paper that you will transfer onto your surface, rather than cutting it out with scissors. A torn edge will slightly “feather,” and will blend more easily into the background and leave less of a ridge after you’ve removed the paper from the image transfer. An edge that has been cut with scissors tends to leave a slight ridge on the surface.

tends to produce several large splats and a few very fine ones. For this project, I preferred my splatters to be a little more consistent in size and evenly spread across the entire plaque. To accomplish this, pour a small amount of the Turquoise Shimmer onto your palette, dip a soft bristled brush into the Shimmer, and, while holding the brush above your project, lightly tap the brush with your finger. Figure 3

June 2017 Issue

Painting World Magazine Move the brush around the plaque as you splatter, reloading the brush as needed to achieve even coverage.

Figure 4

Figure 5

After the plaque has thoroughly dried, trace the cow, the bee, and the flowers and stems onto the plaque.

Modeling Compound: Mix a small amount of White Apoxie Parts A and B together until they are well blended. (Refer to the manufacturer’s instructions for further detail on how best to handle the compound during the blending process.) (Figure 4) Form the flowers by rolling small balls of compound in your palm, and then gently press them down onto the plaque over the flowers, including the smaller flowers on top of the cow’s head. (Figure 5 Sculpt a snout for the cow, and attach it to his face. Once it is adhered to the face, use a stylus to carve out two nostrils lightly, one on each side. Form a small ball into a body for the bee on the plaque; squeeze one end of the ball to make a point, and then slightly flatten the ball to match the shape on the line drawing. Make a smaller ball for the bee’s head, and lightly press it onto the body to attach it. Make a tiny bit of compound into a ball, and put it on the front of the bee’s head for his nose. (Figure 6) Form the bee button in the same way as you formed the bee on the plaque, except make it larger. Add wings to the bee button by

June 2017 Issue

forming two small, oblong balls of modeling compound, gently flattening them in your palm, and then adding them to the upper part of the bee one wing at a time.

Figure 6

Use a stylus to make two holes in the body of the bee button that would be large enough for a needle and thread to pass through. Lay the bee button on a piece of parchment or wax paper to dry. (Figure 7) Allow 24 hours for the compound to cure fully to a rock-hard, semi-gloss appearance before painting. If needed, you may sand or drill the compound after it’s cured. (This modeling compound is pretty amazing stuff!)

Figure 7

Basecoats: Base coat the cow with Light Buttermilk, the wreath and the leaves on the flowers and head with Bright Green, the udder and muzzle with Melon, the horns with Moon Yellow, the hooves with Soft Black, the hair at the end of the tail and the curly hair on the head with Pebble, and the leaves on the wreath with Lemonade. Base coat the flowers in the grass, on the wreath, and in the hair with Dragon Fruit.

Using the pattern and gray transfer paper, transfer the rest of the design onto the cow and wreath. Note: This is a little tricky to do since the molded flowers, bee, and muzzle do not allow the pattern to lay flat against the surface. Line the pattern up as closely as you can,

Painting World Magazine Figure 8

and only worry about transferring one small section of the design at a time; then, realign the pattern as needed, and continue to transfer the rest of the design. (Figure 8)

Month & Date Tiles: Base coat the front, back, and sides of the tiles with Melon (as an undercoat for Dragon Fruit). Then, basecoat each tile with Dragon Fruit. Stipple, and then dry brush, the center of each tile with Melon. Dry brush the center of each tile again with Orange Flame to brighten it. Use Razzle Berry to stipple, and then dry brush, around all the edges of the tiles. Allow the paint to dry thoroughly. (Figure 9)

Image Transferring for Letters & Numbers: All letters and numbers used in this process must be printed on a laser printer in mirror image (or in reverse), and not on an inkjet printer. Note that prints from an inkjet printer will likely run or smear when they become wet, and will not produce dark, crisp images. I’ve provided both mirror images and regular images of the lettering and numbers for you in this article. Use inexpensive, lightweight copy paper for printing the letters and numbers. Thicker paper or extra high quality paper is not desirable, and will actually be more difficult to remove from your surface. The reason you need mirror images of the lettering and numbers for image transfer techniques is so that they read correctly after you’ve removed the paper from the surface they were attached to. Turn the print of the “Just An Udder Day in Paradise” lettering over so that it is upside down on your table. Slip a blank sheet of

white paper beneath it; this should make it possible for you to see the lettering slightly on the upside down piece of paper. Draw a faint pencil line around the lettering, approximately 1/2 inch around it. Following along the pencil line you drew, tear out the lettering from the paper, being careful not to tear away any portion of the lettering. Set it aside. (In the progression photo of mine, I cut the lettering out with scissors rather than tearing it out. This resulted in leaving a slight ridge from the cut edge of the paper. By tearing the paper, you will have less chance of leaving a ridge on your plaque, as a torn edge is more “feathered” than a cut edge.)

Figure 9

On a blank piece of paper, trace around one of the month tiles and one of the date tiles with pencil. Trace over the pencil lines with a thick black marker or pen. Lay one of the pages that has the months printed on it upside down on the table, and slip the paper with the traced tiles beneath it. You should lightly be able to see both the printed month lettering and the outline of the month tile. Center the month lettering over the tracing of the month tile, and trace the outline of the tile shape on the backside of the paper with the months printed on it. This will help to ensure that the month will be centered on the tile once you’ve attached the paper to the tile. (Figure 10)

Figure 10

Figure 11

Repeat this process for each of the months. Also repeat this process for the numbers, using the tracing of the smaller tile as the guide for them. (Figure 11) Apply a thick and generous amount of Image Transfer Medium to the area of the plaque where you’ll place

June 2017 Issue

Painting World Magazine Figure 12

the “Just An Udder Day” lettering. Also apply a thick application of the medium over the “Just An Udder Day” lettering, going to the edges of the torn paper. (Figure 12) Lay the paper print side down on the plaque where you have applied the Image Transfer Medium. Try to make sure the image is centered and straight before you lay it down on the plaque. (Figure 13)

Figure 13

Figure 14

Figure 15

Gently remove any excess medium or air bubbles with your fingers or the straight edge of a credit card, pushing from the center of the lettering outward toward the torn edges of the paper. Be careful not to stretch the paper while you do this.

Note: It is important that you have TWO tiles with a number 1 on one side and a number 2 on the reverse side of the tile. You also will need ONE tile with a zero on one side and the back blank. If you don’t do this, you will not be able to display all of the dates within a month correctly. Allow the image transfer to dry for a full 8 hours. (Figure 17)

Now, let the fun begin!

Wipe away any excess medium with a damp paper towel, being careful not to get any of the transfer medium ON TOP of the paper, or you will not be able to remove paper in that area afterward. If you do get any medium on the paper, quickly wipe it away with a damp cloth. (Figure 14)

Start by using a sanding pad or emery board to sand the edges of the tiles, which will basically cut away any of the paper that is hanging over the edges of the tiles. Don’t worry if the sanding removes a bit of the paint on the tiles - we will touch up the edges of the tiles at the end of this process, anyway. (Figure 18)

Apply a thick and generous amount of Image Transfer Medium to one of the month tiles and to the black lettering of one of the months. Cover ALL of the black lettering and the entire piece of paper all the way to the cut edges. (Figure 15)

Removing the paper from the tiles and plaque to reveal the text and numbers is a process that takes several steps and is a little messy. But just be patient, because the end result is well worth it, and saves you from having to line all of that text! (Figure 19)

Lay the paper print side down onto the tile, but do not press down yet. Pick up the tile, and hold it between you and either a window or a light so that you can see the tile behind the paper. Using the pencil line that you drew on the back of the paper as a guide, line up the tile with the pencil line. This will ensure that your text will be centered and straight on the tile. Remove any air bubbles by gently pushing from the center of the tile outward. Remove any excess medium with a damp paper towel. (Figure 16)

June 2017 Issue

Do the same process on the opposite side of the tile, so that each tile has a month attached to both the front and back of it. Repeat this process with the rest of the month tiles and with the number tiles.

Begin by lightly sanding the paper with sandpaper or a sanding sponge; this will remove the smooth surface of the paper and help it to absorb water so it will peel away more quickly. Start first with the plaque, and then move on to do three or four tiles at a time. Dampen the paper with water until it is translucent and you can see the text clearly. Begin to remove the paper by gently rubbing it with your fingers and/or a soft, damp cloth.

Painting World Magazine Figure 16

The main layer of the paper will peel away very quickly. Re-wet the paper, and keep softly rubbing to remove more of the paper; repeat as needed. If you rub with too much pressure, you could possibly remove part of the text, as well as the paper. If this does happen, do not panic! You can always touch up afterward with a fine liner brush and Soft Black.

Figure 17

After you have rubbed away as much of the paper as you can, set it aside to dry, and move on to the pieces of tile. Once the plaque and tiles are dry, they will probably have areas that look a little cloudy or milky. This is because there is still paper on the wood.

Figure 18

Re-wet the surface, and continue to rub gently. You will notice that the particles that come off are getting smaller and smaller. Eventually, you will not be able to get any more off. On the plaque, if you end up with any small patches of cloudy or milky areas, remember that we will be stippling and floating some clouds in the sky area, and you can always disguise or cover up the white patches with paint.

Figure 19

Figure 20

On the tiles, you may see a few cloudy areas as well. Youâ&#x20AC;&#x2122;ll disguise these by dry brushing over the centers of the tiles with Orange Flame (right over the text and lettering), and by dry brushing around all the sides of each tile again with Razzle Berry. The Orange Flame dry brushing will not obscure the black. Also, once you varnish the project with two or three coats of DuraClear varnish, you will no longer be able to see any cloudiness that may have still been visible. (Figure 20)

Cow: Dry brush between the spots on the cow, including on the face, with Warm White. Base the eyes (below the eyelids) with Warm White. Using Fawn, float to shade the cow on the eyelids, the sides and bottoms of the legs, the indents in the knees, and the bottom of the tummy. Continue using Fawn, and float to shade the cow around each of the spots, around the back and tail, against the wreath, below the head, around and above the muzzle, around the eyes, around the head and ears, and next to the hair. Dry brush a bit of Fawn on the tummy, particularly by the back leg. Deepen the Fawn shading with a sheer float of Milk Chocolate. Dry brush the hair on the tail and head with Light Buttermilk; shade both with Milk Chocolate. Float the pupils in the eyes with Milk Chocolate. Float the tip of the horns with Light Buttermilk. Shade the bottom of the horns with Saffron Yellow, and then with a mixture of Saffron Yellow and Milk Chocolate. Base the spots on the cow and the hooves with Soft Black. Dot the pupils with Soft Black. Dry brush the top of the muzzle and the center of the udder with a mixture of Melon and Warm White. With the same color mixture, float the top of the muzzle to brighten the highlight. Dry brush the bottom of the nose, the center of the ears, and the cheeks lightly with Dragon Fruit. Very lightly, dry brush a bit of color on the backsides of the legs and on the rump using Dragon Fruit. Float the udder, the bottom of the muzzle, and the inside of the ears with Dragon Fruit, and then with

June 2017 Issue

Painting World Magazine a sheer float of Razzle Berry to deepen the shading. (Figure 21)

Black. Stroke across the noses with Warm White. (Figures 22-23)

Wreath, Flowers, & Leaves:

Black Lining:

Highlight the tops of the leaves of the flowers standing in the grass and in the hair with Lemonade; shade the bottoms of the leaves with Peacock Teal, followed by Forest Green. Shade the wreath around the edges and against the Lemonade leaves with Peacock Teal, followed by Forest Green. Shade the bottoms of the Lemonade leaves in the wreath with Bright Green. Create tiny flowers on the wreath by stroking five petals per flower with Warm White, and then dotting the centers with Dragon Fruit. Dry brush the centers and tops of the dimensional flowers with Melon, and then again with Dragon Fruit to brighten them. Dry brush the bottom of each dimensional flower with Razzle Berry. Line a swirl pattern on each flower with Moon Yellow.

Bee & Bee Button: On the plaque, float the inside of each wing with Warm White. Base the bee bodies and heads with Moon Yellow. Dry brush the centers and tops of the bodies and heads with Light Buttermilk. Dry brush the bottoms of the bodies with Saffron Yellow mixed with a bit of Milk Chocolate. Using the same color mixture, float the bottoms of the bodies to deepen the shading, and float on the bodies and heads where they connect to each other. Base the noses with Dragon Fruit. For the bee button, shade the wings with a sheer float of Whispering Turquoise.

June 2017 Issue

Using an 18/0 liner brush, slightly thin a pool of Soft Black with water until it is the consistency of ink. Thinly line around the edges of all the tiles with a “dot and long dash” pattern. Line around the wings of the bee and along the flight pattern of the bee with a dashed line. Line and dot the bee’s antennae on the plaque. Line the cow, the hair in the tail, the stems for the flowers, all the leaves, and a few hairs inside of the ears. Line around the eyes, and stroke a few lashes. Stroke the eyebrows.

Figure 22

Grass: Following the shape and direction of how the grass is growing, dry brush Peacock Teal here and there all over the grass. Dry brush with Forest Green all over the grass, but especially around the bottom of the plaque. Dry brush with Lemonade here and there on the grass. Lightly float with Lemonade on one side of a few of the grass blades. (Figure 24) Mix in a little Bright Green with the Lemonade, and float a few more grass blades. Float a few grass blades with Forest Green, focusing especially on the blades at the bottom of the plaque. (Figure 25)

Figure 23

Figure 24

Figure 25

Deepen the Forest Green shading with floats of Hauser Dark Green. Dry brush Hauser Dark Green around to the bottom of the plaque and a little bit up each side of the grassy area. (Figure 26)

Border:

Dot the eyes with Soft Black. Line the smiles and stripes with Soft

Figure 21

Figure 26

Mask off the border around the plaque (above the grass) with the stretchy painter’s tape. Base the border with Dragon Fruit.

Painting World Magazine Float to highlight the inside edge of the border with Orange Flame. Shade the outside of the border with Razzle Berry. Gently remove the tape before the paint completely dries.

Clouds: Dry brush a few puffy clouds in the sky here and there with Warm White. (Note: if you have any cloudiness left over from the transfer medium process, be sure to paint a fluffy cloud, or two, over that area!) Float a few “U” strokes in the bottoms of the clouds to give them a bit more definition. Mix in a tiny amount of Dragon Fruit with the Warm White to form a very light pink. Dry brush in a bit more color in the clouds, and make two or three “U” strokes with this mixture.

Finishing Steps: Varnish the fronts and backs of the plaque and tiles with two or three coats of DuraClear Satin Varnish, allowing it to dry well between applications. Hammer in the three 1/2” nails in the spots indicated on the pattern. Hang the tiles from the nails as desired. To create the hanger, wrap the aluminum wire around a bottle of paint to form the loop at the top, and then twist three or four times to create a stem or area large enough that you can glue your flower onto. Thread the ends of the wire through the drilled holes on the top of the plaque, and secure them behind the plaque. (Figure 27) Attach a flower of your choice with hot glue to the wire stem you created. Using a needle and thread, sew several times through the buttonhole you created, so that it will appear that you’ve sewn the button onto the flower. Attach the bee button with hot glue to the flower. Enjoy!

Figure 27

June 2017 Issue

Painting World Magazine

June 2017 Issue

Download all line drawings ready to print here: http://bit.ly/2q11rCW

Painting World Magazine

Download all line drawings ready to print here: http://bit.ly/2q11rCW

June 2017 Issue

Painting World Magazine

Rooster & Sunflower June 2017 Issue

by Ursula Wollenberg

Painting World Magazine As a mixed media artist, I love creating texture in my pieces. For this piece, I wanted to try a more primitive approach and create a barn-inspired background. We will explore color, texture, and various mediums using acrylic paints, collages, and stencils. You can paint this project on a variety of surface textures and sizes. My inspiration for this piece came from my students, who wanted a rooster and a sunflower class. I love the combination!

Surface: • 12” x 12” Ursula Wollenberg Wood Floater Frame, or substrate of your choice

DecoArt Media® Paints: • Raw Umber Antiquing Cream DMM151 • Sap Green Fluid Acrylics™ DMFA07

• Palette Knife • Small Dot Stencil and/or Small Square Stencil (see Helpful Hints to make your own) • Scissors • Paper Towels • Acrylic Varnish (optional)

Preparation:

DecoArt Americana Acrylics:

• Dark Scarlet Multi-Surface Satin™ DA508 • Spicy Mustard DA284 • Bleached Sand DA257 • Sky Blue Multi-Surface Satin DA522 • Burnt Umber DAO64 • Burnt Sienna DAO63 • Zinc DA304 • Raw Sienna DAO93

Golden® Acrylics: • Ultramarine Blue 77007 • Permanent Maroon 73903

With the palette knife, loosely apply gesso to the surface, leaving some areas thicker than others. Allow it to dry. When the surface is dry, apply a coat of Zinc, followed by a small amount of Sky Blue and Bleached Sand, wet-on-wet. Follow this with thin, watered down Dark Scarlet, and allow the paint to drip down the background from the top. Repeatedly stencil onto the moist paint with the Dot Stencil using Bleached Sand, Zinc, and a small amount of Burnt Umber. Brush mix the paint as you apply it.

DecoArt® Mediums:

About Ursula Painting and drawing have always been passions of mine. I began my creative journey 30 years ago, after my son was born. It wasn’t long until I discovered decorative painting and began to design and teach. I even managed to have a few books published. I took a little detour as an interior designer for a few years. I am now back full circle, and love spending countless hours in my home studio. You can find me at uswoll@aol. com and Light Lovely Designs by Ursula uwoll.blogspot.com

• Media - Gesso - White DMM18 • Americana Decou-Page™ Antique DS121 • Americana Drying Time Extender™ Medium DAS1

Loew-Cornell Brushes: ®

• #6 & 8 Simpatico® Filberts, 822S • #2 Simpatico Round, 821RS • #12 (or larger) Simpatico Flat, 821FS

Miscellaneous Supplies: • DecoArt Traditions™ Carbon Black DAT42 • #4 (or Medium) Stencil Brush • Graphite Paper • Vintage Book Papers • Artist or Printed Tissue Paper of Your Choice

Helpful Hints: This project works best on a hard surface. Brush mix to create more color and synchronicity within the piece. Wipe the brush off on a paper towel in between colors rather than rinsing it. You can make your own dot stencil with a playing card and hole punch. Tap the stencil brush out on a paper towel so only a small amount, a hint, of color shows on the background.

June 2017 Issue

Painting World Magazine Wipe the brush off, shade the darkest areas of the head with Permanent Maroon, and blend. Apply Bleached Sand highlights in the same manner. Tint the head areas with a small amount of Spicy Mustard. Work until you’re satisfied. Add a Carbon Black eye and beak. Apply a small amount of Drying Time Extender to the Spicy Mustard back area. Apply more Spicy Mustard, and shade the area with a brush mix of Dark Scarlet, followed by Permanent Maroon. Apply some Drying Time Extender to the body, and begin shading Carbon Black to the dark areas and Bleached Sand to the highlighted areas. Tint with Dark Scarlet, then with Sap Green, and finally with Burnt Sienna. Work in choppy strokes to give a feathered texture.

Painting Instructions: Apply the rooster pattern onto the background with graphite paper. To begin painting the rooster, block in all of the head areas, including the wattle and comb, with Dark Scarlet. While that’s still moist, apply Spicy Mustard, and blend. Block in the neck and back areas with Spicy Mustard. Add a small amount of Dark Scarlet to the bottom of that area, and blend. Wash the remainder of the body and the legs with Ultramarine Blue. Apply Drying Time Extender to a clean area of the palette. Pick up a small amount of it, and brush it onto the head areas. Make sure you don’t use too much.

June 2017 Issue

As a background for the collage, apply Ultramarine Blue tail feathers. Cut and tear book and art pages into tail feather shapes. Apply approximately 11 feather shapes to the tail design using Decou-Page. Alternate between painted, vintage paper, and art paper feathers. Apply feather shapes to all of the other areas. For the best results, use a filbert or round brush with a small amount of Drying Time Extender, and wipe the paint off in between colors. Do not rinse the brush.

Wash the book paper feathers in with Sky Blue. Next, shade them with Ultramarine Blue, and then tint them with a small amount of Sap Green. You’ll make the sunflower with washes of color. Create a contrast from the rooster by keeping the sunflower less defined. Wash the center of the sunflower in with Raw Sienna. Wash the petals in with Spicy Mustard. Highlight the petal edges with a brush mix of Bleached Sand and Spicy Mustard. Tap Raw Umber Antiquing Cream onto and around the center of the flower. Tint the area with Dark Scarlet. Follow with Burnt Umber shading.

Finishing Touches: Using a small amount of Drying Time Extender, antique the edges of the canvas and the underneath edges of the rooster and the tail feathers with Raw Umber Antiquing Cream, followed by Burnt Sienna. Antique anywhere else that you would like softer, muted colors. Add a few more dot stencils where they’re needed. Spray the piece with acrylic varnish if you would like to.

The feathers should give more depth and color to each area. Blend the colors along the way. The back feathers are a combination of Spicy Mustard, Raw Sienna, Bleached Sand, and Dark Scarlet.

Painting World Magazine top of feet

Download all line drawings ready to print here: http://bit.ly/2q11rCW

June 2017 Issue

Painting World Magazine

Where to Look... Has anyone ever asked you, “How do you come up with these ideas?” Or, do you ask yourself, “What can I create now?” In days long ago, we searched through volumes of books at the library, thumbed through magazines, and went to craft shows to get inspiration to create something. We used to get catalogs to see what we could buy and what could go into our home décor. We would purchase magazines to see what was going on around us in the design field. Most towns had “Mom & Pop” craft stores available, where you could go to purchase published books, along with available supplies, in your one-stopshopping craft facility. You might be one of those who can’t come up with an idea. So where do you turn? And if you are one who can come up with an idea, do you feel like you are in a rut and can’t think of any new designs? Are you totally stressed on where to turn?

I go to the search engine I use the most… Google®. Within the search engine bar, I type what I want to know. And now, you can just ask for info with the new Google apparatus that you can set on your shelf in your home. If I want to find a specific pattern, for example, a pattern of birds, I type in “Images of line drawings of birds.” Poof! Instantly, you can find drawings of hundreds of birds.

When you need to see an actual item, for example, hummingbird photos, type into that search engine bar “Images of hummingbirds.” Poof! You have many photos of hummingbirds right in front of you! I am always amazed at the quantity of photos and drawings right there at my fingertips. But, beware of copyrights and using items off the Internet in your creating by researching the copyright laws.

Today, research is easier than ever. Hooray!

So, where do you find patterns for decorative painting already created for your use by another artist?

30 years ago, who would have thought that we could hold a small box in our hands that could find anything we wish to research to its fullest? And this means artwork, too! Even those who were born with an art talent will head to the computer for inspiration and ideas.

Those are abundant on the Internet. Some artists have their own websites, where you can purchase pattern packets directly from them. You can go to the Society of Decorative Painters’ website (www.decorativepainters.org) and

June 2017 Issue

by Margaret Riley

view various information that might direct you to artists and suppliers to help you find projects to create or to inspire your creative juices. You can find patterns at www.decorativepaintingstore. com, and no doubt, there are many others out there.

This magazine, Painting World, is presenting us with ideas, information, and creativity - a welcome sight in the publishing world! There are also online painting magazines, such as the Pixelated Palette® and Painting E-Zine®. Again, there are probably more, but all these sites I have mentioned are the ones I am pulling from my overloaded gray matter.

Painting World Magazine Plus, I have been to all of these and researched them. We also have Facebook®, where friends and family share projects and ideas. One of my favorite sites is Pinterest®. Just type into the search bar what you are looking for, and poof! You have thousands upon thousands of ideas and inspirations.

I wish I had more time to create so many of the things I love on that site! You create categories, and store your favorite finds to use at a later date. Just try it, and you’ll be hooked. Now, there are videos to view online. You can find thousands on YouTube®. Also, many artists have videos on their own websites. You can search and search to your heart’s content to find a video on painting almost anything.

people to “talk” to and to exchange thoughts with. Also, it is beneficial if you are having problems with a specific project or product.

Wooden objects include tables, chairs, and chests, including hope chests, toy boxes, and jewelry boxes.”

I can’t imagine how I managed to design, create, and research my work prior to the Internet. What a great source of information!

Wikipedia says the following about decorative painting:

Gone are the days of the encyclopedia and the yearly supplement directory/book. I seldom go to a library, but do miss the walls of books that took me away from a small town and gave me dreams of future expectations. And now… everything with a touch of the keys before me. My forte and love has been painting - not fine arts, but decorative painting. So, I researched it to pass this on to you. I started when people referred to it as “tole painting.” Wikipedia® states this on tole painting: “Tole painting is the folk art of decorative painting on tin and wooden utensils, objects, and furniture. Typical metal objects include utensils, coffee pots, and similar household items.

“Decorative painting is a diverse art form utilizing a variety of techniques and media to decorate functional and non-functional surfaces. Because of the systematic methods employed, contemporary decorative painting is a highly teachable art form.” I remember my mother used to do paint-by-number on tin objects. I never knew it was a form of tole painting, but found as I advanced in the painting world that anything you paint on falls into an art category of some kind. Art includes all kinds of mediums and all types of surfaces. So, there you have it! Go to that keyboard at your computer, and research! Be lost in the maze of creativity and the unlimited source of information. I have barely skimmed the surface of what is available, but shared with you what little I know. Enjoy, and be inspired (or overwhelmed!). Love every moment of color and every object that is in front of you, and express yourself through your brush!

And now you know Where to Look!

There are also blogs on the Internet that you can join in on. If you have a Facebook account, you can seek these Facebook Groups: Tole Painters Unite and The Decorative Buzz. You have to be accepted into these groups, but once you are in, there are lots of good © 2017 Painting World Magazine Digital Edition. All rights reserved. Not for distribution, resale or reproduction. You agree to follow all international copyright laws as well as the terms and conditions outlined at paintingworldmag. com. You may NOT reprint or make copies, even for non profit uses. Any violation of these terms will result in a nonrefundable cancellation of your subscription and possible prosecution with fines up to $150,000 USD. http://www. copyright.gov/title17/ Please contact info@paintingworldmag.com if you have received this PDF illegally.

June 2017 Issue

Mommy & Me Under the Sea by Chris Haughey

Painting World Magazine Imagine the fun this mommy seahorse and her baby will have frolicking under the sea!

• Tim Holtz® Dot Fade Layering Stencil 09-70805

DecoArt Americana® Acrylics: • Aqua Sky 13-DA333 • Foliage Green 13-DA269 • Hauser Dark Green 13-DA133 • Lemonade 13-DA252 • Payne’s Grey 13-DA167 • Peacock Teal 13-DA326 • Sapphire 13-DA099 • Snow (Titanium) White 13-DA01 • Whispering Turquoise 13-DA305

DecoArt® Mediums: About Chris The Andy Griffith Show and Bewitched are the two TV shows I recall from my childhood. With only three stations to select on our black and white TV, I spent most of my time playing with crafts. My older sister was an oil painter and I drooled over her supplies and talents. In college I majored in Fine Art (Oil Painting), but soon found out that making a living by selling oil paintings was not all fun and games. After the pitter patter of little feet went to school (BTW, oil and kids do not mix 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.

Materials: All supplies from Cupboard Distributing.

• 18 x 8-3/4” Large Seahorse Plaque 31-L525 • 12-1/2” x 5-3/8” Small Seahorse Plaque 31-L524

• Matte Spray Sealer/Finish 13-41370 • Multi-Purpose™ Sealer 13-07930 • Media® Liquid Glass 13-DMM14

Jo Sonja’s® Sure Touch Brushes: • #1/4 & #1/2 Angle 03-1345-1/4, -1/2 • #5/0 Script Liner, 03-1365-5/0 • 3/4” Oval Wash, 03-1318-3/4 • #10 Oval Drybrush, 03-2010-10

Miscellaneous Supplies: • Scharff Brushes #4 Theorem Stencil Brush 03-205-4 • Specialty Sponge Set of 2 29-32227 • Speedball® Sanding Pad 29-10611 • Loew-Cornell® DoubleEnded Stylus 03-11183 • Tombow Mono® Zero Eraser 18-57305 • Black Graphite Transfer Paper 28-31011

Preparation: Using the large specialty sponge, seal the surface with Multi-Purpose Sealer. Lightly sand it, and wipe it clean. With the same sponge, basecoat the large seahorse with Whispering Turquoise and the small seahorse with Lemonade. Trace the pattern onto tracing paper. Transfer the main pattern lines using the transfer paper and stylus. Transfer details as needed.

Helpful Hints: Using plenty of water to float layers of colors will create the transparent water effect of sea creatures. Allow the transparent colors to build depth and interest.

Painting Instructions: Mommy Seahorse: The body consists of two back and two tummy sections. (Figure 1)

Back Left Section: Starting with the left section, you’ll paint each segment the same. Shade Aqua Sky along the top edges, down the right sides, and across the bottoms of each segment. Deepen the shading with Peacock Teal, keeping the top and right edge shading darker. Repeat with Sapphire. Each layer of shading should be translucent enough to allow all colors to be visible.

• 3/4 in. Scotch® Safe-Release Masking Painters Tape 16-03680

Load the oval drybrush with Whispering Turquoise. Wipe the brush on a paper towel to remove excess paint, and dry brush the left sides and centers to brighten them.

• Ranger Splatter Brush by Tim Holtz® 46-04784

Highlight the bottom right corner with a float of Whispering Turquoise.

• 12 in. Canary Yellow Sketching & Tracing Paper 28-03838

June 2017 Issue

Painting World Magazine Figure 1

Figure 2

Load the script liner with thinned Whispering Turquoise to pull a line between each segment. Brighten in the right corners and up the right sides with Snow White.

Back Right Section: These colors will be slightly lighter. Shade Aqua Sky across the tops, down the right sides, and across the bottoms of each segment. Deepen the shading with Peacock Teal, allowing the bottom and right sides to be lighter. Repeat with thinned Sapphire. Follow the instructions above to highlight the bottom right corner with Whispering Turquoise and Snow White.

Float Lemonade across the tops and down the right sides of each section. With thinned Whispering Turquoise, softly float across the tops and down the right sides. Brighten the top right corners with Snow White.

Right Tummy Section: Float Foliage Green down the left sides and across the bottoms of the segments. Highlight along the top edges and down the right sides with Lemonade, and brighten with Snow White. Load the script liner with thinned Whispering Turquoise to line between the segments on both tummy sections.

Load the script liner with thinned Whispering Turquoise to line between each segment on both back sections.

Face:

Middle Tummy Section: Heavily float down the left sides and across the bottoms of each segment

June 2017 Issue

with Foliage Green. Float a smaller shade of Aqua Sky, and deepen the shading with Peacock Teal. (Figure 2)

Load the #1/2 angle with Aqua Sky to float along the bottom edge of the nose and up the side of the face. Deepen the shading along the bottom edge of the face and nose with Peacock Teal.

Figure 3

Float Lemonade in the eye area. Pick up Foliage Green on the same angle brush, blending around the eye area and into the teal sections. Highlight the top of the head with Whispering Turquoise. Brighten the top of the head, the bump on the nose, and the nose with Snow White. Base the eye with Aqua Sky. Float Whispering Turquoise along the bottom and up the right side. Deepen the top and left side with Peacock Teal. Paint the pupil and line around the outer edge of the eye with Payne’s Grey. Float Whispering Turquoise along the bottom and up the right side of the pupil. Add a Snow White dot in the top left of the pupil and a Snow White comma stroke in the bottom right of the iris. Shade Sapphire below the eye, and deepen with Payne’s Grey. Float Payne’s Grey along the bottom of the nose and up the left side of the face.

Painting World Magazine Figure 4

Figure 5

Head:

Back Fin:

(Figure 3) The three sections to the left of the face have the Whispering Turquoise base. Float Aqua Sky down the left sides of each, and deepen with Peacock Teal. Float Foliage Green down the right sides.

Float Aqua Sky down each rib of the fin and against the back of the seahorse. Repeat with Peacock Teal, making it darker along the bottom edges and against the back. (Figure 4)

Highlight the top-middle of each section with Lemonade. Brighten the highlights with Snow White, pulling them down the middle.

Shade Sapphire against the back of the seahorse and a quarter of the way up the fin ribs. Darken the shading against the body with Payne’s Grey.

Deepen the shading with thinned Payne’s Grey along the bottom of the head and about one third of the way up the left side of each section.

Float a wash of Foliage Green from the outer edge down the center of each section. Highlight the same areas with Whispering Turquoise, and brighten them with Snow White.

Head Fin:

Eye:

Float Aqua Sky along the bottom edge, deepen with Peacock Teal, and darken again with Payne’s Grey. Pull Foliage Green from the top, following the contour of the fin.

Base the eye with Whispering Turquoise. Float Aqua Sky around the top and down the left side, and deepen with Peacock Teal. Highlight along the bottom and up the right side with thinned Snow White. (Figure 5)

Highlight the top edge with Whispering Turquoise, pulling it down into the fin. Brighten the highlights with Snow White.

Shade below the eye on the face with thinned Payne’s Grey. Using the same color, paint the center pupil.

Figure 6

Float Whispering Turquoise along the bottom and up the left side of the pupil. Using Snow White, add a dip-dot highlight in the top left of the pupil, pull a tiny comma stroke, and dip-dot on the bottom right of the iris.

Stenciling: You’ll use the dot fade stencil to add texture design to the left back sections of the seahorse. Position the stencil, and secure it with painter’s tape. Load the stencil brush with Payne’s Grey, and wipe the excess paint on a paper towel. Dry brush dots on each segment of the far left back section. If the dots become too dark and bold, allow the paint to dry slightly, and gently rub the dots with a damp paper towel to remove excess paint. Add dots around the eye and along the bottom edge of the nose. Using the same stencil and technique, apply Peacock Teal dots to the right back sections. These will be much lighter and more subtle.

June 2017 Issue

Painting World Magazine Figure 7

Figure 8

Speckling: To add fine speckling, load the splatter brush with thinned Snow White. Splatter over the surface, keeping the eye area clean. When that’s dry, repeat with Payne’s Grey on the tummy, tail, and back fin.

Side Edges: Paint the side edges (and the back if desired) with Payne’s Grey.

Baby Seahorse: The body consists of two back and one tummy section.

Figure 10

Load the oval drybrush with Lemonade, wipe the brush on a paper towel to remove excess paint, and dry brush the right sides and centers. Highlight the bottom left corner with Lemonade. Load the script liner with thinned Lemonade to pull a line between each segment. Brighten the bottom left corners with Snow White.

Head:

Back Right Section: (Figure 7) Starting with the right section, you’ll paint each segment the same. Shade Foliage Green along the top edges, down the left sides, and across the bottoms of each segment. Deepen the

June 2017 Issue

shading with Hauser Dark Green, with the top and left edge shading darker. Repeat with Peacock Teal. Each layer should be translucent to allow all colors to be visible.

Figure 9

(Figure 8) The three sections to the right of the face have the Lemonade base. Float Foliage Green along the right sides, deepen softly with Peacock Teal, and darken with Hauser Dark Green.

Painting World Magazine Highlight the top-middle of each section with Whispering Turquoise. Brighten the highlights with Snow White. Deepen the shading with thinned Payne’s Grey along the bottom of the head and about one third of the way up the right side of each section.

Face: Load the #1/2 angle with Foliage Green to float along the bottom edge of the nose and up the side of the face. Float a transparent wash of Peacock Teal, and then deepen the shading along the bottom edge of the face and nose with Hauser Dark Green. Highlight the top of the head, the bump on the nose, and the nose with Whispering Turquoise, and brighten with Snow White.

Head Fin: Float Foliage Green along the bottom edge, and deepen with Hauser Dark Green. Pull Lemonade from the top, following the contour of the fin, and brighten with Snow White.

Back Fin: Float Foliage Green against the back of the seahorse and along the bottom edge of each fin. Repeat with Hauser Dark Green. Shade Peacock Teal against the back and a quarter of the way up the fin ribs. Darken the shading against the body with Payne’s Grey. To highlight the centers of the fin sections, float with a wash of Whispering Turquoise. Highlight the same areas with Snow White.

Middle Back Section: (Figure 9) These colors will be slightly lighter. Shade Foliage Green across tops, down right sides and across bottoms of each segment. Deepen shading with Hauser

Dark Green, allowing the bottom and left side to be lighter. Repeat with thinned Peacock Teal. Line between sections and segments with thinned Lemonade and script liner. Follow instructions above to highlight bottom left corners.

Tummy Section: Heavily float down right sides and across bottoms of each segment with Foliage Green. Load script liner with thinned Lemonade to line between segments and sections. Float Lemonade across tops and down left sides of each section. Highlight left sides with Whispering Turquoise. Brighten bottom left corners with Snow White.

When dry, coat eyes with Liquid Glass. This will create a crystal, dimensional eye that will look wet and glossy. **Optional - Attach colored raffia and decorative beads, charms or shells around necks. Easily tint raffia using zip lock baggies and paint. Place raffia in baggie, squirt some paint in the bag and a couple drops of water. Close bag tightly, removing air, and work paint into the raffia. Allow the raffia to soak in the paint for at least an hour in the closed bag. Remove raffia from bag and allow to dry on a paper towel.

Eye: (Figure 10) Follow instructions above to paint eye. Shade Hauser Dark Green below eye and deepen with Payne’s Grey. Float thinned Payne’s Grey along bottom of nose and up right side of face.

Stenciling: To add the dot texture, position stencil and secure with painter’s tape. Load stencil brush with Hauser Dark Green and wipe excess paint on a paper towel. Drybrush dots on each segment of right back section, across bottom of nose and around eye. Add dot texture in the middle back section using Foliage Green.

Finishing Touches: Follow instructions above to add speckling and paint side edges.

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

June 2017 Issue

Painting World Magazine

Due to the large size of this project, the drawings have been reduced by half. Please enlarge 200% for full size drawings.

All Supplies for Chrisâ&#x20AC;&#x2122;s projects are found at Cupboard Distributing!

June 2017 Issue

Download all line drawings ready to print here: http://bit.ly/2q11rCW

Painting World Magazine

Celebrating Doxie Keller

I could give you a biography of Doxie Keller, but I probably would fall short of all she has done. She is an accomplished decorative painter who teaches all levels, a past president of the Society of Decorative Painters (twice!), an author, and a designer of so many popular patterns and projects. Doxie has worked with DecoArt®, Inc. for over 30 years, and one of her many jobs was starting and editing their magazine, Let’s Paint!, for five years. She has more accomplishments in her career than I can list here, but I want to talk about my celebration of Doxie… I have been fortunate to meet and work alongside the small but mighty and talented Doxie Keller for the past 3 years. I’ll never forget the first morning I met Doxie, when I went down

to set up the booth at Creative Painting™ in Las Vegas. There was a slight (my mom said it is never polite to say “short”) lady with a box cutter aggressively taking off all the plastic from the shipment for the DecoArt booth.

I’d made it a point to get down there early, as I had heard of this stellar lady. I figured I needed the head start. She was already in the middle of unpacking, and box after box, we unloaded the booth contents. For those who have not set up or torn down a booth, it is like setting up your living room or kitchen in a small space for three days, and then packing it all back up. This includes furniture, decorations, boxes of catalogs, and more. My parents also taught me to respect those who have come before me and offer a hand. There was no hand to be offered. I understood right away how much I liked this lady, and how lucky I was to get to work with her.

Tracy Weinzapfel, Doxie Keller and Darla Foreman

by Tracy Weinzapfel I saw person after person come up to Doxie at the trade show and say how they met her, how many classes they have had with her, and how she remembers and gives a hug to all who come by. Her feet are firmly planted on the ground. Doxie also has a great relationship with vendors and those running the shows. She took me around to shake artists’ and owners’ hands and to quip with each one.

Over the next few days of demonstrating in the booth, I realized just how fortunate I was. Upon watching Doxie paint, I was in awe; I felt like I literally got to watch the best, and she explained things so well. Our styles vary, but our love for what we do shines through.

June 2017 Issue

Painting World Magazine

She sees the need to embrace those younger in the industry and to invite those with the creative passion who care about the decorative painting world. I have seen through her eyes and experience how giving the decorative painting industry is. Now, I have the honor to work with Doxie on several shows (Creative Painting, SDP, Painting Palooza, and more), and we work great together. With my height and her leadership, we complement one another and have fun. I get the pleasure of sharing creative space with her. I have had lunches and been to meetings with Doxie, and have gotten to see not only how much this industry means to her, but also what she means to the industry.

June 2017 Issue

Painting World Magazine We have even adorned pajamas together for a theme night at OKC Painting Palooza. When I was first given the opportunity to work with Doxie, I was not sure what we would make of one another. Now when I get that opportunity, I jump at it. I

also have her on speed dial on my phone, should the need arise. My parents had the pleasure of meeting her as well, and they feel the same. When Doxie speaks, I listen, and there is always so much to learn. I have told her this many a time, much to her chagrin, but thank

you, Doxie, for being my mentor and a mentor to many others. We celebrate you and all you continue to do for the decorative painters.

Please raise your paintbrush with me to celebrate Doxie Keller!

June 2017 Issue

Starfish Wishes by Deb Antonick

Painting World Magazine

Miscellaneous Supplies:

Combine mixed media and decorative painting in this charming little mermaid!

• Andy Skinner Stencils Bubbles ANDY09

Americana Decor Stencils

• DecoArt Americana MultiPurpose™ Sealer

You’ll use everything from nets to glitter on this project. What a great addition to your summer decor!

• Ocean Life ADS205

• Palette Knife

DecoArt Media®:

• Stylus

• Texture Sand Paste DMM23 • Liquid Glass DMM14

• Aleene’s® Fast Grab™ Tacky Glue®

DecoArt Americana® Acrylics:

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.

Surface: • 23” x 7” x 1/4” Board, #2868 from Bear With Us® or #2011434 from Viking Woodcrafts®

DecoArt Stencils: ®

• Andy Skinner Stencils Shedded ANDY08

• 4” Ranger® Brayer • Piece of Fish Netting, from any craft store • Assorted Small Sea Shells

• Mocha DAO60 • Raw Sienna DAO93 • Burnt Sienna DAO63 • Buttermilk DAO3 • Indian Turquoise DAO87 • Sour Apple DA275 • Spa Blue DA277 • Sea Breeze DA256 • Cotton Candy DA347 • Warm White DA239 • Terra Coral DA286 • Antique Rose DA156 • Naphthol Red DA104 • Peacock Teal DA326 • Mustard Seed DA264 • Snow (Titanium) White DAO1 • Sunny Day DA325 • Canyon Orange DA238 • Lamp Black DAO67

Firmly hold or tape the stencil in place. Use a palette knife or an old credit card to apply a thin coat of texture over the stencil. Carefully lift the stencil straight up.

Dynasty® Brushes:

Float/Shade:

• #4 & #10 Black Gold Shaders, 206S

• 10/0 Black Gold Liner, 206L

I always float my color with the angular shaders. Mop to soften the float with a mop.

• #2 Black Gold Round, 206R

Line:

• 1/4”, 3/8”, & 1/2” Black Gold Angle, 206A • 1” or 5/8” Decorator Series Mini Mop, 400 • X-Large, Large, Medium, & Small Mezzaluna Brushes • 1/2” Stencil Brush, 22183

• 4 or more Flat Back Crystals

My Basic Techniques: Tip: Refer to the color photo for shading and detail placement.

Stenciling with Paint: Load the stencil brush with paint, and then tap it onto a paper towel to remove the excess; use as little paint as possible, so as not to bleed under the stencil. Pounce the surface, working from the center outwards.

Stenciling with Texture:

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

Basecoat: Use the brush that best fits the size of the area to be painted.

June 2017 Issue

Painting World Magazine Add more drops of the colors as required. Pour a small amount of Sea Breeze onto a dry palette, and roll the brayer through it to pick up paint. Make sure you do not have gobs of paint on the brayer. Quickly roll the brayer over each panel from the bottom up or the top down. Reload as required. This will give the board a choppy, distressed look. Repeat this step with a little Sour Apple, then with Warm White, and finish with a little Cotton Candy. Let the paint dry. Trace on the pattern.

Textured Coral: Use the palette knife and the large coral from the Ocean Life stencil to add texture to the lower part of the board with Media Texture Sand Paste. Note: avoid the mermaid area. Start with Peacock Teal mixed 1:1 with the Texture Sand Paste. Clean the stencil, and repeat for each of the Spa Blue corals. Let that dry. Repeat this step with another layer of Sour Apple mixed 1:1 with Texture Sand Paste. Finish with Cotton Candy mixed 1:1 with Texture Sand Paste. Dry brush all of the coral when itâ&#x20AC;&#x2122;s dry with Warm White.

Preparation:

Bubbles:

Background: Base coat the background with a mix of MultiPurpose Sealer and Indian Turquoise. Let that dry. Use the brayer to add some texture to the background. Add five or six drops each of Indian Turquoise, Sea Breeze, Sour Apple, and Warm White to the surface. Roll with the brayer to smooth the paint.

June 2017 Issue

Softly stencil the bubbles using the Bubbles Stencil and Warm White. I stenciled random sections, picking mostly the larger bubbles, and creating a few small patches of the tiny bubbles. Highlight all of the bubbles with Titanium White. Shade (tint) the bottoms of all the bubbles with Sea Breeze, Cotton Candy, Indian Turquoise, and Sunny Day.

Painting World Magazine

Painting Instructions: Head & Body:

Dot the flower centers with Sunny Day. Dot the flower petals with Indian Turquoise, Sour Apple, and Warm White.

Base coat with Mocha. Shade with Raw Sienna. Dry brush and float highlights with Mocha mixed with a touch of Warm White. Deepen the shading with Burnt Sienna. Dry brush the cheeks with Terra Coral. Base the eyes with Warm White. Shade them with Raw Sienna. For the eyeballs, base with Indian Turquoise. Shade under the eyelid with Peacock Teal. Highlight along the bottom of the irises with Spa Blue. Base the pupils with Lamp Black, and dot them with Warm White. Line the eyes and the lashes with Lamp Black. Highlight the nose with Buttermilk. Brighten it with Warm White. Use Antique Rose to base the lips. Shade them with Naphthol Red. Line highlights with Warm White.

Hair: Base coat the hair with Raw Sienna. Shade with Burnt Sienna. Dry brush and float highlights with Canyon Orange. Deepen the shading with Russet. Float highlights with Mustard Seed.

Crown: Base the crown with Mustard Seed. Shade with Canyon Orange. Dry brush and float highlights with Sunny Day. Deepen the shading with Burnt Sienna.

Mermaid Top: Base coat the little top with Cotton Candy. Shade with Antique Rose. Dry brush with a brush mix of Cotton Candy and Warm White. Deepen the shading with Naphthol Red. ÂŠ 2017 Painting World Magazine Digital Edition. All rights reserved. Not for distribution, resale or reproduction. You agree to follow all international copyright laws as well as the terms and conditions outlined at paintingworldmag. com. You may NOT reprint or make copies, even for non profit uses. Any violation of these terms will result in a nonrefundable cancellation of your subscription and possible prosecution with fines up to $150,000 USD. http://www. copyright.gov/title17/ Please contact info@paintingworldmag.com if you have received this PDF illegally.

June 2017 Issue

Painting World Magazine

Mermaid Tail:

Starfish:

Base coat the tail with Terra Coral. Shade with Antique Rose.

Trace on the starfish. Mix a small puddle of Buttermilk 1:1 with Texture Sand Paste. Base the starfish with the mixture. Let it dry, and repeat.

Stencil the tail with Antique Rose using the Andy Skinner Shedded stencil. Deepen the shading with Naphthol Red. Stencil the tail again with random patches of Cotton Candy, Sour Apple, and Indian Turquoise. Base the skirt with a thin wash of Cotton Candy. Mop to soften it. Highlight along the bottom of the mermaid’s little over top with Titanium White. Then, dot it with Titanium White.

June 2017 Issue

Shade the starfish with Raw Sienna. Dry brush with Warm White. Dot with Raw Sienna. Line the string on the starfish the mermaid is holding with Lamp Black.

Finishing: Outline as you desire with Lamp Black. Dot the pearl necklace and the top of the tail with Warm White. When the paint is dry, dot with Liquid Glass.

Stencil random patches of Liquid Glass onto the tail using a palette knife and the Shedded stencil. Float under some of the larger bubbles with Peacock Teal to enhance them. Then, use the Bubbles stencil and your palette knife to apply Liquid Glass over these bubbles and to add a few random smaller bubbles. Use Liquid Glass to adhere the flat back crystals to the belly button and the crown. Adhere a piece of fish netting to the upper right corner with Aleene’s Glue. Note: I put little drops under the knots of the fish netting a couple knots at a time, and let that dry before doing more. Finally, adhere some sea shells with Aleene’s Glue.

Painting World Magazine

Download all line drawings ready to print here: http://bit.ly/2q11rCW

June 2017 Issue

Painting World Magazine

June 2017 Issue

Download all line drawings ready to print here: http://bit.ly/2q11rCW

The One Whom My Soul Loves

by Rebecca Baer

Painting World Magazine While “wedding” may invoke images of lace and trendy color schemes, when painting a gift for the happy couple, consider using the couples’ décor colors rather than matching the wedding party.

Surface:

This canvas is not only perfect as a wedding gift but is also suitable for anniversaries, a couples’ first Christmas, or your own love nest.

• Quinacridone Gold DMFA32 • Burnt Umber DMFA03 • Titan Buff DMFA38 • Raw Umber DMFA37 • Green Gold DMFA14 • Interference Gold DMFA100

• 10” x 20” Deep Profile Wrapped Canvas • Rebecca Baer® Fanciful Ornament Kit XXVII

Deco Art Media Fluid Acrylics:

Deco Art Media: • Shimmer Mister White DMM12 • Shimmer Mister Yellow DMM11 • Shimmer Mister Turquoise DMM09 • Clear Crackle Glaze

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 via www.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.

June 2017 Issue

• Stenciling Gel • Brushes Rebecca Baer®: • 3/8” RB Classique™ Angle 1100 • #3 RB Classique™ Round 1000 • 0 RB Classique™ Script Liner 1050 • 20/0 RB Classique™ Liner 1020 • #2 RB Artiste™ Stenciler 500

Miscellaneous Supplies: • Rebecca Baer® Stencil: Harlequin Damask Medium ST-8012 • Paper Towels • Water basin • Palette Paper • Small spray bottle filled with water • Small spray bottle filled with Alcohol • Talcum Powder • Palette Knife • Water Soluble Blue (Chaco) Transfer Paper • Saral White Transfer Paper • Stylus • Ruler

Helpful Hints: Register for video access during the free enrollment period (June 15-July 15, 2017) then watch the video as needed to paint the canvas. Once enrolled, your access to the video is not limited. The free enrollment window has an end date of July 15, 2017. Enrollment after this time will be available for a fee. http://rebeccabaerecourses.teachable. com/p/the-one-whommy-soul-loves/ If you have a lovely manicure or don’t like getting your fingers dirty then you may want to wear gloves while using DA misters. Otherwise, Clorox wipes will get your hands clean. • Coarse Sanding Sponge (Sherwin Williams)

Preparation: The canvas is pre-gessoed and requires no further preparation.

Painting Instructions: Canvas Background Treatment: 1. Use a ruler, water-soluble Blue Chaco paper and a stylus to measure and mark the text panel on the surface. From the top, measure down three (3) inches and draw a line. Then, from this line measure another thirteen and five-eighth (13-5/8) inches. From

Painting World Magazine the right side measure in one (1) inch and draw a line. Then, from this line measure another six inches to establish the panel. (Figure 1)

Gold and Burnt Umber. Mix each on opposite sides of the gel so that you have two separate colors rather than together. (Figure 2)

2. Place the Harlequin Damask Stencil in one end of the text panel with the diamonds at the corner. You may want to tape the stencil to avoid shifting but tape does not hold well on the canvas; I usually just hold it in place.

4. Varying between the colors, use a palette knife to gently spread the gel over the stencil. Do not use pressure or you will force the gel under the stencil. Rotate the stencil 180 degrees and repeat the process at the opposite end of the text panel. (Figures 4-5) Clean the stencil immediately with water. If you must delay cleaning submerge the stencil in water. Allow the gel to air dry then emboss the central portion of the panel in the same manner.

3. Combine RB Stencil Gel (visually estimate about four tablespoons) with talcum power to create a paste then tint with one drop each of Quinacridone Figure 1

Figure 2

Figure 3

Figure 4

Figure 5a

Figure 5b

5. Combine RB Stencil Gel (visually estimate about six tablespoons) with talcum power to create a paste then tint with a small amount of Titan Buff. Spread the tinted mixture over the dry embossed layer. Fill the gaps and cover the embossing with a thin layer over the top. This application should extend beyond the text panel outline by three-eighths to one-half inch on each side. (Figures 5a-b) Allow this to dry overnight. 6. Use a coarse sanding pad to aggressively sand the text panel to exposed the embedded stenciling and smooth the panel. Avoid sanding the canvas.

June 2017 Issue

Painting World Magazine Figure 6

Figures 7-9

Figures 10-11

Figures 12-13

(Figure 6) Remove sanding dust with a damp paper towel. 7. Cover your work surface to protect it from overspray. Lightly mist the canvas with water then spritz with Shimmer Mister, Turquoise. Tilt the canvas so that the mist travels and creates drips. If you find that the color is not moving you can lightly mist again with water. Add small touches of Yellow mist. Blot the color off of the text panel. Flick or spritz the damp mists with alcohol. Using your fingers to flick the alcohol will produce lager spots. Spritzing will create smaller spots. I used a combination of both. Allow this to dry before continuing. (Figures 7-9)

with the water on your palette. Then touch the edge of the bristles into the color(s) and swirl on the palette to soften. Swirl the color(s) onto the canvas to unify, warm (Quinacridone Gold) and antique (Burnt Umber). Wipe the brush on a paper towel and swirl over the edge of the paint application to soften and blend as needed. (Figures 12-13)

Script: 10. Transfer the text pattern with water-soluble Blue Chaco paper and a stylus. 11. Thin Raw Umber to an inklike consistency with water. Use a 0 script liner the paint the script with the thinned color. Likewise,

8. In the same manner apply white mist and flick or spritz with alcohol while damp. Figures 14-15 (Figures 10-11) Allow this to dry before continuing. 9. Place one drop each of Quinacridone Gold and Burnt Umber along with a spritz of water on your palette. Dampen the tips of a #2 Stenciler

June 2017 Issue

use a 20/0 liner to paint “Song of Solomon”. (Figure 14-15) Allow this to cure before attempting to remove the pattern lines. When removing the pattern, blot with a damp paper towel, do not rub.

Floral Grouping: The elegant script is the focal point of the canvas with the floral grouping playing a supportive role. As a result the floral grouping is very simplistic. Avoid the temptation to add a lot of detail and layered values. 12. Transfer the pattern with water-soluble Blue Chaco paper and a stylus. Depending on the depth of color your background, in some areas, you may or may not be able to see your pattern transferred with blue chaco paper. In that case substitute a different transfer paper. I prefer the water-soluble transfer paper for ease of removal so I have only used (Saral) White where necessary for visibility. Avoid using dark papers.

Painting World Magazine Figures 16-17

Figures 18

The painting techniques used to complete this piece are translucent and you run the risk of trapping visible lines within the painting.

strokes. Brush mix and under blend so that there is plenty of variety and no further shading/highlighting will be necessary. (Figure 16)

13. Use brush-mixed variations of Phthalo Green (cool), Green Gold (warm) Raw Umber (dark) and Titan Buff (light) to paint the larger leaves with a #3 round. Thin the paint slightly and apply with shapefollowing strokes pulled the length of each leaf. To do this, begin at either the tip or base of a leaf and apply pressure to the brush to widen the stroke at the widest part. Release pressure as you approach the opposite end to narrow the stroke. Each leaf should fill in with just two

14. Paint the stems of the larger leaves with thin, brush-mixed Burnt Umber + Quinacridone Gold on a 0 script liner. (Figure 17)

Figures 19

15. Use a #3 round to paint the hypericum berry leaves with brush-mixed variations of Quinacridone Gold + Phthalo Green and Titan Buff. Apply the stems with thinned Quinacridone Gold + Phthalo Green on a 0 script liner. Try to create variety so no further shading/highlighting will be necessary. (Figure 18) Figures 20

16. Paint the berries with a coat of Titan Buff + Quinacridone Gold 1:tch on a #3 round. (Figure 19) 17. Establish the flowers and bud with Titan Buff on a #3 round. To do this, thin the paint slightly and pull tip to base or vice versa and fill each petal with shapefollowing strokes. (Figure 20) 18. Paint the flower stems with thin, brush-mixed Quinacridone Gold + Phthalo Green on a 0 script liner. While the color remains wet, add a touch of Titan Buff to the brush to lighten and pull a highlight down the center of each flower stem Carry this onto the base of the flowers and bud. (Figure 21) Figures 21

June 2017 Issue

Painting World Magazine the assembly to dry; the gel will turn clear. (Figure 24)

Figures 22-23

24. Spritz color on the ensemble in the same manner as the background treatment for the canvas as described in steps seven and eight. (Figure 25-27)

Accessories:

19. Float shading using a 3/8â&#x20AC;? angle at the base of each berry with Titan Buff + Quinacridone Gold 1:tch. (Figure 22) 20. Float shading on each of the petals with Titan Buff + Quinacridone Gold 1:tch. Repeat in a more narrow area using less Titan Buff so that the color is a little darker. (Figure 23)

Finishing: 21. If you would like to apply a finish to the canvas do so prior to adhering the accessories. I did not apply a finish to my canvas.

22. Use a stencil brush to apply primer to both sides of each component of the Fanciful Ornament Kit. To do this, place the components on your work surface and pounce over them with the brush. This will get the primer on the sides and into crevices. When dry, basecoat both sides with Titan Buff in the same manner. (Figure 24) 23. Use RB Stencil Gel as an adhesive to assemble the layers as shown. Remove excess gel with a damp brush. Allow

25. When dry, apply crackle glaze and allow to air dry. A thin coat produces fine cracks while a thick coat results in coarse cracks. I applied a thick coat. Any large brush will do. (Figure 28) 26. Antique the assembly as described in step nine. (Figure 29) 27. Use a #3 round to puddle iridescent gold on the scrolls of the ensemble. (Figure 30) 28. Use RB Stencil Gel as an adhesive to mount the assembly on the upper left corner of the canvas as shown. You can either mount directly to the canvas or add spacers beneath to raise the assembly off of the surface.

Figures 24-27

Figures 28-30

June 2017 Issue

Painting World Magazine Due to the large size of this painting, the drawing has been reduced by 50%. Enlarge by 200% for the full size drawing.

Download all line drawings ready to print here: http://bit.ly/2q11rCW

June 2017 Issue

Impressions of a Country Home by Diane Trierweiler

Painting World Magazine One of the benefits of living in the country is getting to see all the beautiful plants blooming in the spring and summer. Even if you don’t live in the country, though, you can still experience it by painting this lovely scene. Hang it in your home, or give it to a loved one to enjoy.

DecoArt Americana® Palette: • Hi-Lite Flesh DAO24 • Avocado DAO52 • Pineapple DAO6 • Evergreen DAO82 • Dragon Fruit DA300 • Dioxazine Purple DA101 • Victorian Blue DAO39 • Soft Black DA155 • Burnt Sienna DAO63 • Country Blue DAO41 • Olive Green DAO56 • Graphite DA161 • Black Green DA157 • Burnt Umber DAO64 • Slate Grey DAO68

DecoArt® Traditions™ Paint:

About Diane I have been painting for about 40 years. I first started painting in oils in the fine arts. My love of painting evolved into watercolors and acrylics. I also enjoy teaching people how to paint, so 32 years ago, I opened a shop called the Tole Bridge in Norco, California. I teach classes all year long in my shop, and I have a full line of painting supplies. From there, I began to teach decorative painting as well, and to publish books, magazines, packets, and DVDs. I also travelteach throughout the United States and Canada. The joy of painting has allowed me to meet many wonderful people and to share my passion for the arts.

Surface: • 14” x 18” Diane Trierweiler Polyester Canvas

• Opaque White DAT58 • Aquamarine DAT29 • Light Violet DAT34 • Blue Green Light DAT20 • Diarylide Yellow DAT13 • Naphthol Red DAT02 • Vermilion DAT09

Loew-Cornell Brushes: ®

• #6 & #12 Flat, #7400 • 1/2” Angle, #7050 • 3/4” Flat Glaze, #798

Diane Trierweiler’s Signature Brushes: • #4 & #8 Long Petal (long handle, bristle tongue) • 3/8 Landscaper (long handle, bristle foliage) • 10/0 Striper • Petal Set #2, #4, & #8 red sable tongues, short handle; optional

Miscellaneous Supplies: • DecoArt Media® Modeling Paste - White DMM21 • Palette Knife • Table Easel

• Gloss Varnish • Tracing Paper • Graphite Paper • Pencil • Pen or Stylus

Preparation: Use your palette knife to spread Media Modeling Paste + a little Hi-Lite Flesh over the entire canvas. Move the knife around to create some texture. Let the paste thoroughly dry, and use your glazing brush to base the entire canvas with Hi-Lite Flesh. Let it dry, and place the basic pattern lines on with no detail. Use graphite paper to do this.

Techniques: To create a more Impressionistic painting, you will need to use long-handled brushes and work off of an easel. Holding your brush toward the back end of the brush handle will loosen up your work. You lose control, and the pressure you put on the work is much less. Try not to go back to fix things that aren’t perfect. That’s the beauty of Impressionism. “Tinting” is a term that indicates using watered-down paint to add splashes of color in an area that you used in another area. Thus, you are carrying your palette throughout the painting. Painters usually create “backlighting” with a lavender color. Dry brush this on to indicate reflected light or backlights. Actually, it is the highlights for the shadow areas. When you use the textural paste, it will look pasted on and unfinished for a while. When it dries, you will use tints here and there and shadows around the edges of the paste to settle it back into the background.

June 2017 Issue

Painting World Magazine to your dirty brush to give the illusion of a few clouds. Use the flat of your brush in a circular motion to fluff them in. Shade the bottoms of the clouds with a little Slate Grey.

pile of Media Modeling Paste with Slate Grey, and use your palette knife to pull the paste horizontally onto the shingles on the roof. The color will be one or two values lighter than the background paint.

Let the sky dry, and then tint here and there with Light Violet. Highlight the tops of the clouds with a little more Opaque White.

Building Walls:

Trees Between the Houses:

On this painting, I have left open areas where the flowers will be. If you stipple the entire area with the greens, when you proceed to place the flowers on, they will look dull. By leaving open areas of white, your flower colors will be bright and not dull at all. If you were painting with oils, this would not be necessary, because of the high pigment in the oils.

Procedure: Use your #8 long petal to scumble (slip-slap) the sky colors on. Use a brush mix of Victorian Blue, Aquamarine, and Opaque White. Get lighter in value as you reach the horizon. Add a little more Opaque White

June 2017 Issue

Use your 3/8 landscaper brush to stipple in Blue Green Light and Olive Green. Add a few branches at the base of the back layer of greens with Burnt Umber. Wash in some shadows at the bases of the trees with Black Green. Use an 80% water to 20% paint mixture for all of the washes in this project. Stipple the next layer of bushes with the same greens, making the top edge a little lighter by adding Diarylide Yellow to the Blue Green Light/Olive Green mix. Add the same branches to the bases of these bushes. Soften the first layer of bushes at the top by stippling some of the sky colors onto the top edge.

Building Roofs: Use your #12 flat brush to base in the roofs with Slate Grey. Mix a

Let this dry, and shade all of the roofs with a wash of Graphite. Shade a second time using your angle brush and Soft Black. Backlight with Light Violet.

Wash over the walls with Slate Grey. It is all right to let some of the base flesh color show through the wash. Do not paint the trim or the window frames. Mix a pile of Media Modeling Paste with Opaque White. Just use enough paint to tint the paste. Use your palette knife to spread the paste onto the walls. Make sure that you let some of the background gray show. Let it dry. With your #8 short petal brush, wash in shadows on the walls with Graphite. Next, dry brush more Opaque White in the lightest areas on the walls. Shade the shadow areas a second time with your angle brush using Soft Black. Notice how the shadows fall into the triangle areas of the walls. Dry brush Light Violet into the shadow areas for backlight.

Windows & Trim: With your #8 short petal brush, wash inside the windows with Burnt Umber. Shade inside the windows with Graphite using your angle brush. Use your striper brush to paint in the windowpanes with Hi-Lite Flesh. Highlight them with Opaque White. Line the bottom and right sides of the panes with Soft Black.

Painting World Magazine Loosely paint the window frames with Opaque White. It is all right to have a little of the background color still showing. Shade the window frames at their corners with Slate Grey. With Opaque White, loosely paint the trim on the houses. Shade the trim with Slate Grey. Tint the walls with Light Violet in the shadow areas.

Trees in Front of the Houses: Use your #2 short petal with Burnt Umber to paint in the tree trunks and branches. Shade with a little Soft Black. Use your landscaper brush to stipple in the greenery using Blue Green Light, Evergreen, and Olive Green. Tint with touches of Aquamarine. The trees with the gold colored leaves have additional stippling of Diarylide Yellow and Vermilion.

Pathway: Scumble the path with Slate Grey, making sure to leave some of the background color still showing. Dry brush a little Opaque White into the center of the pathway for a highlight. Use your angle brush to shade the sides of the path with Burnt Sienna. Shade a second time with Burnt Umber. When that’s dry, backlight with Light Violet. Tint here and there with Dragon Fruit.

Plants & Flowers: Use your landscaper brush and Black Green + a small amount of water to stipple all of the areas designated as green, as shown on the underpainting photo. • Dabble in the flower colors using your #4 long petal brush.

• The pink areas are Dragon Fruit and Dragon Fruit + a little Opaque White. • The yellow areas are Diarylide Yellow and Diarylide Yellow + Opaque White. • The purple areas are Light Violet and Country Blue. • The white areas are Opaque White. Notice that you don’t need to fill everything in with solid color. Shade the pink flowers at the bottom edges with Naphthol Red. Shade the yellow areas with Burnt Sienna. Shade the purple flowers with Dioxazine Purple. You are not done with the flowers at this point. We will put in the stems, grasses, and green bushes first. Stipple in some of the small bushes with a brush mix of Blue Green Light and Olive Green. With the chisel edge of your flat brush, pull in the long grasses throughout the flower patches using Evergreen and Avocado.

Now, go back to soften all of the flower edges, to set them on top of the greenery. Highlight the yellow areas with Pineapple. Tint them with Vermilion. Highlight the purple areas with Country Blue + Opaque White. Tint them with Naphthol Red. Use your #4 short petal brush to dab in some small Pineapple flowers here and there. Do the same with the purple colors. Tint the Blue Green Light areas with Aquamarine.

Finishing: Notice how I do not go too far throughout the painting without repeating a color. This is a subtle thing. Tints can take care of that very easily. Stand back, and look at your painting to see if you have not gone too far without repeating a color. Varnish with one coat of gloss varnish. This will lift the colors on the painting, and the painting will not be too shiny.

Add a little Olive Green to your dirty brush to add a bit of variety and lightness.

June 2017 Issue

Painting World Magazine

June 2017 Issue

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Directory of Artists Marianne Andreazza marianne@mariannepaints.com www.mariannepaints.com

Chris Haughey chris@cdwood.com chrishaughey.wordpress.com

Deb Antonick adeb@shaw.ca www.paintingwithdeb.ca

Sandy McTier sandymctierdesigns@aol.com sandymctierdesigns.com

Elaina Appleby geapples@aol.com facebook.com/elaina.appleby

Margaret Riley designsbymargaret51@gmail.com

Rebecca Baer arts@rebeccabaer.com www.rebeccabaer.com Mabel Blanco mabelblanco25@gmail.com www.mabelblanco.com Debbie Cole, CDA debbie@debbiecole.com www.debbiecole.com

Diane Trierweiler tolebridge@aol.com www.dianetrierweiler.com Tracy Weinzapfel info@tracyweinzapfelstudios.com www.tracyweinzapfelstudios.com Ursula Wollenberg uswoll@aol.com uwoll.blogspot.com

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

June 2017 Issue

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Directory of Suppliers Aves® Apoxie® www.avesstudio.com Creative Arts Lifestyle® www.creativeartslifestyle. com 740-441-1564 Cupboard Distributing® www.cdwood.com 937-652-3338 Darice® www.darice.com 866-4-DARICE Debbie Cole Designs® www.debbiecole.com Diane Trierweiler® www.dianetrierweiler.com 951-272-6918 Dick Blick® www.dickblick.com 800-828-4548

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Dynasty® Brushes www.dynastybrush.com 718-821-5939

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June 2017 Issue