August 2017 Autumn Issue 09 Painting World Magazine

Decorative Painting, Mixed Media, Fine Art & More!

August 2017

Painting World Issue 09

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Newbies & Oldies: Suppliers You’ll Love!

by Margaret Riley

Innovative Corner: Colored Pencils

by Debbie Cole

Turn Your Passion Into Your Profession

by Tracy Weinzapfel

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Cover Artist:

Deb Antonick

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August 2017 Issue

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Painting World Magazine

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August 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.

Painting World Magazine

From the Editor Who We Are Painting World Magazine is owned and operated by Magpie Publishing, LLC., which is an independent publishing company.

We are completely dedicated to the joy of creating delivered to our readers! We select only the best articles from the top designers in the industry and will be featuring all the hottest new techniques, products and artists.

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

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

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ALL RIGHTS RESERVED ON ENTIRE CONTENTS. August 2017, Issue 09 ©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.

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Conventions & Events New England Traditions Regional Convention October 3-8, 2017 Best Western Royal Plaza Hotel & Trade Center

181 Boston Post Road West, Marlborough, MA 01752

Imagine • Create • Inspire! with painting friends old and new.

100+ classes, demos, special events, and the best decorative arts shopping experience in the Northeast.

Thank you painters, teachers, and business partners!

Get registered: www.newenglandtraditions.org

OKC Painting Palooza!

“Witchy Wonders” October 23-28, 2017 Sheraton Hotel / Reed Center Midwest City, OK

Bring your painting friends, best Halloween costume and be spellbound with fun, laughter and great classes!

Sign up at: http://okcpaintingpalooza.com

Art of the Carolinas November 10-12 2017 Hilton North Raleigh/Midtown, Raleigh, NC Sign up at: www.artofthecarolinas.com

Creative Painting™ Las Vegas!

February 25 - March 2, 2018 Tropicana Hotel, Las Vegas, NV Sign up at: http://vegaspaint.com/

© 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.

August 2017 Issue

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Contents Painting World Magazine

10 Halloweenie Party! by Featured Cover Artist: Deb Antonick

18

Umbrella Girl by Theresa Prokop

August 2017 Issue

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Bella Fleurs Perfum

by Diane Trierweiler

34

Crow Tombstone

by Debbie Cole, CDA

Download all line drawings ready to print here: http://bit.ly/2t84M5X

Painting World Magazine

41

Autumn Nights

by Bobbie Takashima

52

Racoon Express

by Peggy Harris

60

Funky Pumpkins

by Shara Reiner, CDA

72

Fall Pitcher

by Tami Carmody

76

Baby Lop & Daisies by Sherry C. Nelson, MDA

86

Leaf Letterbox

by Elaina Appleby

MORE GREAT ARTICLES! Corner: Colored Pencils 31 Innovative

by Debbie Cole, CDA & Oldies; Suppliers You’ll Love 48 Newbies

by Margaret Riley Your Passion Into a Profession 68 Turn

by Tracy Weinzapfel

93 Directory of Artists & Suppliers Download all line drawings ready to print here: http://bit.ly/2t84M5X

August 2017 Issue

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Halloweenie

by Deb Antonick Party Hat

Painting World Magazine

Inspired by Terrye French, Painting With Friends® This charming little hooty owl invites you to a fabulous Halloweenie Party! Hang out with his buddies and get your best hat, this bright happy group will make you smile every time you see them.

Surface:

Dynasty® Brushes:

• Tall Scallop Dome Plaque 31-L452, from Cupboard Distributing®

• #4, 6, 8, & 10 Black Gold® Shaders, Series 206S • #5/0 Black Gold Script, Series 206SL • #0 Black Gold Liner, Series 206L • #2 Black Gold Round, Series 206R • 1/4”, 3/8”, & 1/2” Black Gold Angular Shaders, Series 206A • 1” or 5/8” Dynasty Decorator Series Mini Mops, Series 400 • Small, Medium, Large, & X-Large Mezzaluna Brushes • #6 Duets® Duet the Salsa Brush, Series DBGW-3001 • A Stencil Brush, Series 2218

DecoArt Americana® Acrylics: • Aqua Sky DA333 • Bright Yellow DA227 • Bright Orange DA228 • Brilliant Purple DA353 • Cinnamon Drop DA308 • Dragon Fruit DA300 • Electric Pink DA231 • Lamp (Ebony) Black DAO67 • Light Buttermilk DA164 • Festive Green DA230 • Margarita DA299 • Napa Red DA165 • Napthol Red DA104 • Orange Flame DA315

About Deb

• Peacock Teal DA326

I live in beautiful Penticton, British Columbia, Canada with my recently retired husband and two fur children.

• Petal Pink DA214

My husband and I have spent the past two years renovating my husband’s childhood home that was built by his father in 1946.

My painting journey began in 1990. From the first time I picked up a brush I was hooked. I painted for craft sales and taught classes at Michaels® for five years.

Since then I have gone on to be one of the originalfounding members of Painting with Friends®, the brainchild of my friend Terrye French.

• Prussian Blue DA138 • Royal Purple DA150 • Sour Apple DA275 • Sunny Day DA325 • Scarlet DA345 • Vivid Violet DA232 • Wedgwood Blue DAO38 • Whispering Turquoise DA305 • Warm White DA239 DecoArt® Americana Neons™: • Torrid Orange (Neon) DHS2 • Scorching Yellow (Neon) DHS1 • Knockout Blue (Neon Lights®) DA344 • Pink Explosion (Neon Lights) DA340

Miscellaneous Supplies & Stamps: • DecoArt Media® Gesso DMM18 • DecoArt Americana MultiPurpose™ Sealer DS17 • Stampendous® Damask Bats Background Stamp CRR206 • Stampendous Andy Skinner Industrial Stamp ASCR503 • Makeup Sponge • Heat Gun • Black Ranger® Emboss IT™ Pen EMP20653 • Stampendous Vintage Embossing Powder Aged Silver FREK 01 • Tracing Paper • Transfer Paper • Pencil or Stylus • Painter’s Tape

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

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Painting World Magazine

Helpful Hints: I am using bright colors in this design, so for easy coverage, I basecoat my first coat with a brush mix of my basecoat color and Gesso.

Basic Techniques: Tip: Refer to the color photos 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 outward.

Float/Shade: I always float my color with the angular shaders. Mop to soften with a mop.

Line: Unless otherwise stated, do all lining using the #5/0 liner with the paint watered down to an ink-like consistency.

Basecoat: Use the brush that best fits the size of the area you’ll be painting.

Background Preparation: Basecoat the entire surface with Wedgwood Blue mixed 1:1 with DecoArt August 2017 Issue

Multi-Purpose Sealer. Let it dry. Gently sand the surface.

Next, basecoat with a finish coat of Wedgwood Blue, picking up little bits of Aqua Sky and slip-slap blending them into the Wedgwood Blue. Let the paint dry.

Stamp with the Bats Background stamp and Lamp Black. Let this be imperfect, so it looks distressed.

Trace on the design. Shade around the designs with Prussian Blue. Spatter lightly with Knockout Blue.

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

Painting World Magazine

Undercoat all the design’s shapes with Gesso.

Painting Instructions: Pumpkin:

highlights with Petal Pink.

Whispering Turquoise.

Dot the hat with Sour Apple, Aqua Sky, Electric Pink, and Bright Yellow.

Deepen the shading with Prussian Blue. Dot with Electric Pink.

Base the pumpkin with Orange Flame.

Candy Corn Moon, Candy Corns on Hatband, & Star:

Transfer on the patterns. Shade around the designs with Scarlet.

Blue (Hatband):

Dry brush and then float a highlight around the outer edge of the pumpkin with Bright Orange.

Basecoat the blue parts of the hat band with Indian Turquoise.

Shade with Turquoise Blue. Highlight with

White Stripe: Base the white stripes with Light Buttermilk. Shade with Sunny Day. Highlight with Warm White.

Yellow Stripe & Star: Basecoat the yellow stripes and the star with Bright Yellow.

Shade with Bright Orange.

Deepen the shading with Napthol Red. Float highlights with Torrid Orange.

Base the sunglasses with Prussian Blue. Shade with Lamp Black. Highlight with Knockout Blue.

Mask off the sunglasses with painter’s tape. Stamp the sunglasses using the crackle look Industrial Stamp and Knockout Blue.

Line the mouth with Lamp Black. Dot the face with Bright Yellow.

Hat: Base the hat with Brilliant Purple. Shade with Royal Purple. Dry brush with Vivid Violet.

Stamp with one of the Industrial Stamps using Royal Purple. Stamp again with a different Industrial Stamp and Vivid Violet.

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

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Painting World Magazine

Figure 1

Figure 2

Highlight with Sunny Day. Deepen the shading with Scarlet. Float highlights with Scorching Yellow.

Shade with Aqua Sky.

Orange Stripe:

Float the ghost’s over sheet with Light Buttermilk. Dry brush with Warm White.

Base the orange stripes with Orange Flame. Shade around the designs with Scarlet.

Highlight with Warm White. Deepen the shading with Prussian Blue.

Brighten the floats with Warm White. Base the lettering on the party sign with Lamp Black.

Dry brush and then float a highlight around the outer edges of the orange stripes with Bright Orange.

Broom & Broomstick:

Deepen the shading with Napthol Red. Float highlights with Torrid Orange.

Base the pink stripes with Dragon Fruit. Shade with Napa Red. Highlight with Electric Pink.

Ghost & Party Sign: Base the ghost and the party sign with Light Buttermilk.

August 2017 Issue

Next, base the orange stripes with Orange Flame. Shade with Napthol Red, and highlight with Bright Pink.

Line between the stripes with Warm White.

Line the Broom bristles in layers as follows: Napthol Red, Scarlet, Orange Flame, Bright Orange, Sunny Day, Light Buttermilk and finish with Warm White.

Line the string and bow with Lamp Black, Highlight with Warm White.

Frog: Base with Sour Apple.

Shade with Festive Green.

Highlight with Margarita.

Deepen the shading with Holly Green. Brighten the highlight with Sunny Day.

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

Painting World Magazine

Base the eyes with Light Buttermilk. Shade with Indian Turquoise. Highlight with Warm White. Dot the eyeball with Lamp Black. Dot the Pupil with Warm White.

Shade with Margarita.

Highlight with Warm White.

Dot the froggie face with Bright Yellow.

Base the nose with Bright Yellow.

Shade with Bright Orange.

Highlight with Sunny Day. Deepen the shading with Scarlet.

Dot the pupil with Lamp Black.

Highlight with Warm White. Dot a sparkle with Warm White.

Base the bow with Dragon Fruit.

Shade with Cinnamon Drop, and highlight with Electric Pink.

Green Vest:

Deepen the shading with Napa Red. Float highlights then dot with Neon Lights Pink Explosion.

Basecoat the vest with Sour Apple. Shade with Festive Green.

Highlight with Margarita.

Owl:

Deepen the shading with Holly Green. Brighten the highlight with Sunny Day.

Blue Body: Basecoat the owl’s body with Indian Turquoise.

Shade with Turquoise Blue.

Highlight with Whispering Turquoise. Deepen the shading with Prussian Blue.

Feathers: Load the #6 salsa brush with Peacock Teal, and tip it into Warm White. Tap the feathers onto the wings, starting from the tip and working your way up to the head. (Figure 1) Reload the brush regularly to keep the colors separate and the tips white. Clean the brush if the colors start to get muddy. (Figure 2) Repeat this step for two rows around the eyes and the tips of the ears.

Eyes & Nose: Base the eyes with Light Buttermilk.

Base the pocket watch with Light Buttermilk. Shade with Bright Yellow.

Finishing: Outline as desired with Lamp Black. Line and dot the spiders with Lamp Black. Dot the eyes with Warm White.

Embossing: Outline the owl’s watch and glasses and the pumpkin’s sunglasses with the embossing pen. Quickly sprinkle the outline with the embossing powder. Tap off the excess.

Heat the embossing powder with your heat gun. (You will see the powder start to melt.

Work in small sections, and keep the heat gun moving.)

Happy Halloween :) Deb

Highlight with Warm White.

Line the hands and dot the numbers with Lamp Black.

Line the stitching and the fasteners with Lamp Black.

Pink Bottom: Base the pink bottom with Dragon Fruit. Shade with Cinnamon Drop, and highlight with Electric Pink. Deepen the shading with Napa Red.

Bow: Base with Brilliant Purple.

Shade with Royal Purple.

Highlight with Vivid Violet.

Deepen the shading with Prussian Blue. Float highlights and line the plaid with Petal Pink.

© 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.

August 2017 Issue

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Painting World Magazine

August 2017 Issue

Download all line drawings ready to print here: http://bit.ly/2t84M5X

Painting World Magazine

Download all line drawings ready to print here: http://bit.ly/2t84M5X

August 2017 Issue

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Painting World Magazine

Umbrella Girl in Red August 2017 Issue

by Theresa Prokop

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

Painting World Magazine

This charming Umbrella Girl in Red is a colorful fantasy and a fun acrylic on gallery wrapped canvas painting. The painting has a sponged background and a wonderful texture. It will be an eyecatcher and will look stunning anywhere you hang it! You can hang it as is or with a frame of your choice.

door the world as it is stops and a piece of heaven awaits me with lots of paint!

Surface: • 16” x 20” Gallery Wrapped Canvas (mine is from Michaels®)

DecoArt Americana® Acrylics: • Alizarin Crimson DA179 • Cadmium Orange DA014 • Primary Yellow DA201 • Lamp Black DA067 • Burnt Sienna DA063 • Ultramarine Blue DA225 • Snow (Titanium) White DA01 • Hi-Lite Flesh DA024 • Shading Flesh (Deep Blush) DA137 • DecoArt Media® Fluid Acrylics™: • Cadmium Red Hue DMFA04

Dynasty® Brushes: About Theresa I have lived along the Connecticut coastline all my life. I love New England’s four distinct seasons and the beauty they bring. Recently, I have become what is affectionally known as a Snow Bird and live in Sebastian, Florida for the winter months. I love to travel and I incorporate those sights and my life’s experiences into landscape, seascape, and yesteryear’s paintings. I also enjoy painting a softer side of Halloween and a more whimsical side of Christmas.

Using my imagination, and with a treasure chest of incredible memories from my life I go into my studio where at the

• #12 Black Gold® Shader, Series 206S • #10/0 & #1 Black Gold® Script Liners, Series 206SL • Any Size Camel Hair Jumbo Oval Mop, Series 536

Mediums: • DecoArt® DuraClear® Soft Touch Varnish DS123

Miscellaneous Supplies: • Paper Towels • Water Basin • Sea Sponges • Tracing Paper • Dark Graphite Paper • Disposable Waxy Palette for Acrylics • Double-ended Stylus • Disposable Latex Gloves • Disposable Styrofoam® Plates

Helpful Hints: Wear latex gloves, because you’ll be picking up loads of paint and sponging it onto the canvas. It can be a little messy. I keep baby wipes close by, too!

To do sponging, moisten the sponge first in cool, clean water, and then squeeze out almost all the water. Pick up a generous amount of paint on the sponge, and dab, dab, dab it onto the canvas, covering the area you are working on entirely. As you pick up more paint, blend the colors together using the same technique until you like the way they look.

Using a lot of paint on a sponge will create texture.

Sponge the center of the canvas the lightest and the sides the darkest.

Don’t rush the brush… oops… sponge! Let the paint that you have sponged on the canvas dry well before proceeding.

(If you’re in a rush, you can use a hairdryer, but I think the paint dries nicer when you leave it to dry overnight.)

• Micron® Black Fine Line Pen or Fine Tip Black Permanent Marker (non-bleeding) • Baby Wipes • Hairdryer (optional)

© 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.

August 2017 Issue

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Painting World Magazine

Preparation: Put on the latex gloves! Lay the following paint colors on your palette: Alizarin Crimson, Primary Yellow, Cadmium Red Hue, Cadmium Orange, Titanium White, and Ultramarine Blue.

Moisten the sea sponge.

Painting Instructions: Lay your tracing on the canvas, and trace the center section where you want to keep it the lightest. Just make a few dots so you can know where to place the lightest colors.

Figure 1

Brush the entire canvas with a little water on your sponge.

Hint: You can add more water to your sponge and squeeze out the excess if it begins to get dry. You have a lot of paint on it, so be prepared for it to be quite messy - a glove is helpful.

With your sponge, pick up Alizarin Crimson, and sponge the outside edges of the canvas.

Work toward the center of the canvas, leaving the center with almost no paint. (Figure 1)

Pick up Cadmium Red Hue, and sponge it over the Alizarin Crimson. Again, continue toward the center.

Next, pick up Cadmium Orange paint, and sponge it over the Cadmium Red Hue. You will see the colors blending into each other and texture forming. (Figure 2) Still using the sponge, pick up a little amount of paint, and begin to sponge the center of the canvas with Titanium White, and then with Primary Yellow.

Dab these colors outward toward the sides of the canvas into the other colors, and blend by dabbing them together. Do this until you achieve a look that you like.

Pick up some Ultramarine Blue on a clean sponge, and dab the entire top and bottom of the canvas to add some darkness.

Figure 2

Hint: Remember to moisten the sponge and squeeze out the excess water as needed. The paint will move better if you keep the sponge moistened.

Don’t forget to sponge the sides, too!

After you’ve sponged the canvas and you like the texture you have created and the look of the mixed colors, let it DRY well!

Hint: You may use a hairdryer if you prefer, but there is a LOT of paint on this canvas, and it will really look a lot better if you let it dry naturally overnight.

August 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.

Painting World Magazine

Figure 3

Umbrella Girl:

Use a mop brush to soften the edges.

After the canvas has dried, you can lay the tracing over it, and transfer the design of the umbrella and girl in red with a dark transfer paper using a stylus.

With Titanium White paint and a liner, add thin lines around the bottom part of the umbrella and paint the tip. As an optional step, you can use a stylus and a double load of Cadmium Red Hue and Cadmium Orange to make dot hearts at the tips of the umbrella.

Paint the umbrella Lamp Black.

While the paint is still wet, dab a little Titanium White into the Lamp Black between the sections of ribs for the highlights.

Figure 4

Paint the girl’s dress with Cadmium Red Hue. While the paint is still wet, dab on Cadmium Orange for a highlight and Alizarin Crimson for shading, and soften with a mop brush.

Next, paint her purse with Burnt Sienna. While that’s still wet, add Primary Yellow for a highlight and Ultramarine Blue for a shade.

Use the liner brush to pull out Primary Yellow strands of hair and dab a little Burnt Sienna between the umbrella and the girl’s hair for a shade. Use the stylus to add a double load dot of Primary Yellow and Titanium White for the knob on top of the girl’s purse.

Paint her legs with Hi-Lite Flesh.

Shade them with Shading Flesh, and highlight them with a little Titanium White. (Figure 3) Paint her high heels Cadmium Red Hue and the soles of her shoes Cadmium Orange. Paint the high heel Lamp Black, and add a very thin line of Titanium White down the center of the heel. (Figures 4-6) Dry brush some Ultramarine Blue beneath the high heels.

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Figure 5

Figure 6

Finishing: I used a black permanent marker to outline everything.

Sign your name. After the painting has dried, varnish it.

August 2017 Issue

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Painting World Magazine

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

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August 2017 Issue

Download all line drawings ready to print here: http://bit.ly/2t84M5X

Painting World Magazine

Download all line drawings ready to print here: http://bit.ly/2t84M5X

August 2017 Issue

25

Bella Fleurs Perfume

by Diane Trierweiler

Painting World Magazine

This is a perfect painting for a bathroom or bedroom. You can also paint it with a different color background, and it will still look stunning. I painted on a piece of birch plywood, but you could also paint this project on a canvas with great success.

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 travel-teach 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: • 12” x 18” Birch Plywood Piece or Canvas (you may order the wood from me or have a woodcutter cut one for you)

DecoArt ® Palette: Americana® • Lamp (Ebony) Black DAO67 • Cadmium Yellow DAO10 • Leaf Green DAO51 • Burnt Sienna DAO63 • Black Green DA157 • Olive Green DAO56 • Poodleskirt Pink DA267 • Country Blue DAO41 • Light Buttermilk DA164 • Primary Red DA199 • Raw Sienna DAO93 • Evergreen DAO82 • Napa Red DA165 • Pineapple DAO6 © 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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• Burnt Umber DAO64 • Snow (Titanium) White DAO1 • Neons™ Scorching Yellow (Neon) DHS1 (optional) • Dazzling Metallics®: • Emperor’s Gold DA148

Traditions™: • Permanent Alizarin Crimson DAT51 • Vermilion DAT09

DecoArt Traditions Brushes: • 1/2” Angle Brush TB74-B • 3/4” Flat Brush TB37-B

Diane Trierweiler’s Signature Brushes: • Petal Brush Set (#2, #4, & #8 red sable tongues) • 10/0 Striper (liner) • 1/2 Petal Brush (red sable tongue) Miscellaneous Supplies: • DecoArt Americana Accessories™ White Transfer Paper • Tracing Paper • Chacopaper™ • DecoArt DuraClear® Satin Varnish DS21 (if painting on wood) • DecoArt DuraClear Gloss Varnish DS19 (if painting on canvas) • DecoArt Americana MultiPurpose™ Sealer • Sanding Disk • Scroll Stencil (optional) • Water Tub • Paper Towels • Wet Palette (optional, but very efficient) August 2017 Issue

Preparation: If you are painting on wood, sand and seal it before basecoating.

You will not need to do this if you are painting on canvas.

Use your large brush to base the entire surface with Emperor’s Gold.

Let that dry, and base again with one coat of Lamp Black.

Figure 1

Figure 2

Let the surface dry thoroughly, and use your sanding disk to sand around the edges and through the middle of the surface.

This will allow some of the background gold color to show through. If you want a little more of the gold accent, fly-speck the surface with the Emperor’s Gold.

When the surface is dry, place your pattern on. Only place on the outer lines of the design for now.

Painting Instructions: Because we want a pure color on the design, it will be necessary to base in the leaves and the roses with Light Buttermilk before we apply the greens, reds, and yellows.

When I refer to a wash, it is the mixture of 80% water to 20% paint. A tint is the same ratio, and is used as an accent here

and there. A back light is usually done with a lavender color in a dry brush method. (Figure 1)

Leaves & Stems: Use your #4 petal brush to base in the stems with a wash of Raw Sienna. Use your 1/2” angle brush to shade the stems with Burnt Sienna. Add additional shadows with Burnt Umber. Tint with Vermilion.

Let everything dry, and back light in the shadows with Country Blue. (Figure 2)

Leaves: With your #8 petal brush, wash in the leaves with Leaf Green.

Don’t worry if there is a little texture in your wash. This will add to the texture of the leaf.

Use your #8 petal brush to shade the leaves with Evergreen.

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In a wet-on-wet method, add Olive Green to the highlight areas. Make sure that all of the areas that create a triangle shape are the darkest value by shading with Black Green.

When that’s dry, add a little Cadmium Yellow to the Olive Green to create a second highlight. Tint here and there with Burnt Sienna.

Place in the vein lines using your striper brush and Evergreen. Add another line with Emperor’s Gold next to each Evergreen line.

When you paint the calyx on the bud later in the project, you’ll use the same colors.

Add back lights in the shadow areas with Country Blue.

Loosely outline the leaves and calyx with your striper using Emperor’s Gold.

Yellow Rose: Use your 1/2” petal brush to wash in the rose with Cadmium Yellow. You may need to do this more than once.

Let the paint dry, and place your pattern on using Chacopaper (water-erase transfer paper).

To get the desired effect, it will be necessary to shade and highlight with several applications of colors. Use your 1/2” angle brush to place in the first layer of shadows with Burnt Sienna. These should be your widest areas of shade.

Your first highlight will be with Pineapple. Add as many layers of shadows and highlights as you need to create depth to the corners of your shadows.

This will be where the shades are in a triangular shape.

Next, add a wash of Primary Red into the center bud area of the rose and to the bottom of the bud area using your #8 petal brush.

Add a little Snow (Titanium) White to the Pineapple, and use your 1/2” angle brush to add one last highlight to the edges of the petals.

When this is dry, tint here and there with a little Vermilion.

Use your striper brush with Emperor’s Gold to add seed dots in the center of the bud. If you want to make your yellow rose really pop with color, you can add touches of Scorching Yellow to some of the petals where they are the lightest.

Using your angle brush with Emperor’s Gold, hit-andmiss some of the petals to add a little bling to them.

Pink Rose & Bud: With your 1/2” petal brush, wash over the rose and the bud with Primary Red. Before the paint has a chance to dry, pull some of the color off at the bottom of the rose. You can see the lighter petals in the photo (Figure 2).

Let the paint dry, and place your pattern on with Chacopaper.

Use your 1/2” angle brush with a corner load to place in your first shade using Alizarin Crimson.

Add highlights with Poodleskirt Pink. Shade a second time with more Napa Red. Add deeper areas of shadows in a few locations with Burnt Umber.

Create a second highlight with Poodleskirt Pink + a little Snow

(Titanium) White. Tint here and there with a little Cadmium Yellow, and again with Vermilion.

Use your striper brush with Napa Red, and then with Emperor’s Gold, to add seed dots to the center of the rose.

Place in a few Country Blue back lights. Corner load a little Emperor’s Gold to add touches on some of the petals.

When the bud is dry, add the calyx, following the instructions mentioned earlier under Stems & Leaves.

Finishing: Paint the letters in with the #2 petal brush and Emperor’s Gold. Use your striper brush with Primary Red to place a line on the left and bottom sides of each letter.

With Emperor’s Gold, paint the detail on the corners of the wood using either a stencil of your choice or your liner brush.

Use your large flat brush to float Emperor’s Gold on the face edge of the surface. Base in the sides with the same color.

If you painted the design on wood, varnish it with satin varnish. If you have painted the design on canvas, use gloss varnish.

I’ve provided the line drawing to show you which direction to pull your brush and where the dark and light colors should be.

The o’s represent the highlights, and the x’s represent the shadows. Pull the colors on in a wet-on-wet method. Repeat.

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Due to the large size of this painting, this line drawing has been reduced by half. Please enlarge 200% for full size.

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Innovative Corner

with Debbie Cole, CDA

Working with Colored Pencils Colored pencils have emerged as a very popular medium to create realistic designs. Artists can use them by themselves, with blending mediums, or over paints.

Three of these pencils’ best features that make them easy to use are that they’re portable, have little prep time, and can be stored in small places.

This makes it easy to create anywhere, whether it be outdoors or sitting at home in a comfortable chair.

Colored pencils come in many forms and grades. Therefore, it is important to select professional-grade pencils.

The two most popular brands are Prismacolor® and Polychromos®. These both have soft-bodied leads; however, Prismacolor’s are made from wax and Polychromos’ are oil based. They both have superb blending characteristics because they are soft-bodied. They also have high quality pigments that remain consistent in color.

Working with colored pencils is similar to painting in acrylics in that you need to build them up in layers to create a depth of color. The amount of pressure, the pencil position, and the sharpness of the tip are all important factors when using the pencils.

In general, you should use a very light pressure while gradually building up the intensity.

The tip of the pencil is very important, especially when working on a fine-tooth paper. The tips need to have very sharp points to get the pigment down into the tooth of the paper.

When working with colored pencils, there are many different types of strokes you can use.

Generally, scumbling strokes or circular strokes are used together to build up the pigment.

Note how I built up the same color using a light pressure to complete a gradation. (Figure 1) Figure 1

The next figure shows the difference in using a light, medium, and hard pressure. (Figure 2) Figure 2

In addition to scumbling, there are other strokes that you can use with colored pencils to create different effects and textures.

Hatching is the method of pulling a series of parallel lines that all go in the same direction. You can overlap the lines or leave gaps to create texture.

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This is how I created the texture on the crow from the Crow Tombstone project on page 34.

Cross-hatching is similar, except the lines cross over one another, almost in an “X” formation.

This is useful in creating shading and adding textures.

Also similar to hatching is the back and forth stroke technique. This is a continuous back and forth motion made with the pencil without lifting it off the surface.

Stippling is another form of applying colored pencils and creating texture at the same time.

It is the act of simply creating small dots on the surface with the colored pencil. (Figure 3)

Figure 3

Once you’ve built up the strokes so that there is a full coverage of pigment, you can burnish and then blend it.

Burnishing creates dense color saturation and eliminates the white stippling effect caused by the texture of the paper.

You can burnish by applying pressure with a tortillon or stump to compact the surface texture of the paper; this makes a smooth and shiny surface.

There are also Colorless Blender Pencils that will create a wax buildup while blending the underneath pigments together. You may also use the pigmented colors that you’ve built up, and simply press firmer to build up the wax.

There are various ways to blend colored pencils together. The first one, which I call the dry method, is to use a bristle brush and a “scrubbing” motion to move the multiple layers of colored pencil.

It is important that you’ve built up enough pigment; otherwise, there will not be enough pigment to blend, and nothing will happen.

In the same manner, you can also use a tortillon or stump to blend the pigment together.

The next methods are damp blending methods.

You can use terpenoid and/ or mineral spirits to help melt the pigments together.

I use a dome brush for this method. It is important to dip the brush into the solvent, and then blot it on a paper towel to remove the excess.

Then, brush over the areas that you need to blend, and it will make the colored pencils look like you painted them onto the surface. These solvents work well on paper or over acrylic paint on wood.

In a similar manner, using rubbing alcohol blends the colored pencils together so that they appear to be painted. This is my favorite medium to use on paper, but you should not use it on acrylics on wood, because it would lift the paint underneath.

You can also use rubbing alcohol to restore the original tooth of your paper. If you cannot build more layers, simply brush a light amount of rubbing

August 2017 Issue

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alcohol over the pigment, and it will refresh it so you can continue to build layers.

The Pink Pearl® eraser also works well to remove unwanted colored pencil marks off of the paper.

There are some basic tools that make working with colored pencils much easier. The first tool that is a must is a good sharpener.

The most popular surface for colored pencils is paper. I prefer a heavier weight paper, such as the Strathmore® 300 Series Bristol Vellum paper or the Stonehenge® 120 lb. paper. There are many different types of colored papers on the market that also work well for colored pencil, and the best brand is Mi-Teintes®.

I find that the manual sharpeners made by Faber-Castell® and Prismacolor work wonderfully, but I prefer an electric sharpener.

The X-ACTO® Inspire® and FORAY® are both good brands for colored pencils.

Please note that if you use an electric pencil sharpener, be sure to clean it regularly and run a graphite pencil through it. This will remove the buildup on the blades and help keep it clean.

One problem that occurs frequently when sharpening pencils is breakage. To minimize this, set the pencils that you’re going to sharpen in a warm, sunny spot for a few minutes. This will soften the lead and allow broken lead to meld together. This is also safer than putting the pencils into the microwave.

Erasers are also an important tool for colored pencils.

White erasers are the best for lifting layers of color.

There are both manual and electric white erasers that work equally well. However, the electric erasers tend to lift more color, and they can also dig holes in the paper or can tend to smear the pigment. You need practice when using them.

I prefer a smooth paper because it is easier to cover without the texture of the paper showing through. However, you can use colored pencil on just about anything, and it works beautifully on wood.

Drafting brushes help keep the surface clean. These are specialty brushes that help remove excess pigment particles.

As you use the colored pencils over time, the pigment particles will accumulate on the surface.

No matter how careful you are, the particles can stick to your drawing and smudge.

You can also press a kneaded eraser over the particles to lift them.

As painters, we are all familiar with the embossing tool, or stylus.

This is also a great tool for colored pencils when working on paper.

You can use the stylus for indenting strokes in the paper, so when you shade over with your pencils, the concave embossed lines will be intact.

These are wonderful for creating texture, such as hair, vein lines, whiskers, etc.

Lastly, it is important to protect your colored pencil design once you’ve finished it. The most common form of “varnishing” is to spray it with a fixative.

Fixative helps protect the drawings and prevent smudging on them. Make sure that you have used the drafting brush over the entire surface to remove any debris before spraying the fixative.

Thank you for joining me for this Innovative Corner.

Now, please go over to the Crow Tombstone design to learn how to use colored pencils over acrylic paintings.

As you sharpen the pencils, they decrease in size and become hard to use. There are extenders that fit on the ends of the pencils to make them more comfortable to use. They also save money because you can completely use the colored pencils without throwing them away.

© 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.

August 2017 Issue

33

Crow Tombstone

by Debbie Cole, CDA

Painting World Magazine

As we were driving past an old cemetery last fall, I saw a crow sitting on top of a tombstone, and immediately knew I wanted to create a design for Halloween with this concept. When I saw the surface from Creative Arts Lifestyle, I knew I had to use this surface for my design.

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

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.

Surface: • Macabre Tombstone & Gate Surface, 12-1/2” x 7-1/8”, from Creative Arts Lifestyle®

DecoArt Americana Acrylic Paints:

®

• Bleached Sand DA257 • Fawn DA242 • Grey Sky DA111 • Graphite DA161 • Lamp (Ebony) Black DAO67 • Light Buttermilk DA164 • Navy Blue DAO35 • Neutral Grey (Toning) DAO95 • Payne’s Grey DA167 • Slate Grey DAO68 • DecoArt Dazzling Metallics® Black Pearl DA127

Silver Brush Ltd® Brushes: • #0, #6, & #8 Monza® Round Brushes from the Debbie Cole Creative Blending Set, DC-2624S • 1/2” & 3/4” Golden Natural™ Square Wash, 2008S • #6 Golden Natural Shader, 2002S • #3 Golden Natural Round, 2000S • #00 Golden Natural Script Liner, 2007S

Miscellaneous Supplies: • Basic Acrylic Painting Supplies • Black & White Transfer Paper • Tracing Paper • Pencil or Stylus • Foam Roller • Metal Hinges • Large Old Scruffy Brush

Helpful Hints:

Varnish: • DecoArt Media® UltraMatte Varnish DMM24

Prismacolor® Premier® Colored Pencils: • Black PC 935 • Deco Blue PC 1015 (or substitute Blue Slate PC 1024) • Cool Grey 50% PC 1063 • Cool Grey 70% PC 1065 • Cool Grey 90% PC 1067 • Indigo Blue PC 901 • Non-Photo Blue PC 919 • Peacock Blue PC 1027 • Warm Grey 20% PC 1051 • White PC 938

Please refer to this month’s Innovative Corner article for in-depth instructions on how to use colored pencils.

To create the texture on the large tombstone, it helps to lay the colored pencil on its side, and use a very light pressure on the stone.

Also, if at any time the colored pencil will not show up or becomes shiny, apply a thin coat of UltraMatte Varnish to give it back the tooth it needs.

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

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Figure 1

Figure 2

Painting Instructions: Use Lamp Black to basecoat the gate. Allow it to dry, and apply an even coat of Black Pearl Dazzling Metallics paint to make the gate look more like metal.

Using a #6 Monza round brush, pick up Bleached Sand, and add highlights in the upper right hand section of the moon.

Pick up Light Buttermilk, and add additional highlights.

Basecoat the tombstone surface with Fawn using a foam roller.

Allow it to dry, and transfer on the moon and large tombstone.

To the right side of the tombstone, base in Navy Blue + Neutral Grey (1:1) onto the background.

With Bleached Sand + Fawn (2:1), basecoat the moon. Allow it to dry.

Brush mix Fawn into the above mix, and dry brush above this section and along the outer edges to shade and eliminate a hard edge. Pick up additional Fawn as you move toward the center, and then pick up Bleached Sand and add some highlights in the center area.

Using a #8 Monza round brush, dry brush the dark areas of the moon with Fawn using a very loose circular motion to create texture. Pick up more Fawn, and also Neutral Grey, in the brush to add additional texture and shades in the same manner.

August 2017 Issue

Stipple the large tombstone with Lamp Black using a large old scruffy brush. Allow that to dry.

Figure 3

Then, create a wash of thinned Slate Grey, and apply it over the entire tombstone. (Figure 1) Allow that to dry, pick up some Neutral Grey, and dry brush shades. Wash over the top edge of the tombstone with thinned Grey Sky. Mix equal amounts of the Navy Blue + Neutral Grey (1:1) mix and Bleached Sand. Dry brush this in circular motions to form clouds over the moon. Pick up additional Bleached Sand to add highlights to the clouds.

Transfer on the trees, graveyard tombstones, crow, and “RIP” letters. (Figure 2) Base the tree in Lamp Black.

To form the smaller branches, pull lines away from the main branches using a #00 liner brush.

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Create a wash of thinned Neutral Grey, and wash in the graveyard tombstones. Base in the crow with Navy Blue + Neutral Grey (1:1), his beak with Slate Grey, and his feet and legs with Graphite.

Dry brush the bottom of the tree, working it down to the bottom of the surface, with Lamp Black.

Then, add highlights to the tree with the Indigo Blue colored pencil, also working these down over the black areas so that it is not obvious where the tree begins. To help blend the colors together, use your finger to rub over the colored pencil.

Figure 4

Use the Indigo Blue colored pencil to shade under the crow in the same manner. Add additional highlights to the tree only using the Peacock Blue colored pencil.

Float the left sides of the tombstones with Grey Sky to highlight them. Allow that to dry.

Add additional highlights with the Warm Grey 20% and then with the White colored pencils using a very soft pressure.

Float underneath each tombstone with Navy Blue + Neutral Grey (1:1).

Fill the inside of the crow’s eye with Lamp Black. Float to shade the body with Payne’s Grey. (Figure 3) Using the Peacock Blue colored pencil, begin adding the “feathers” using the hashing stroke technique discussed in the Innovative Corner article. Very lightly, line around the eye with the pencil, and add the reflection on the left side of the pupil.

Float to shade the beak with Neutral Grey, and highlight it with Grey Sky. Pull lines of Indigo Blue onto the beak flowing from the crow’s head.

Figure 5

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For the crow’s feet, float to shade with Graphite, and dry brush with Slate Grey using a #0 Monza round brush. Add horizontal, curved lines onto his feet and legs with the Warm Grey 20% colored pencil.

Float to shade the darkest areas on the crow’s body and legs with Lamp Black. Add a main highlight to the eye with the White colored pencil. Use the Warm Grey 20% pencil to add additional highlights to the band around the eye and to the beak.

Add White highlights in the lightest areas of the beak.

Add additional highlights to the feathers with Non-Photo Blue, Deco Blue, and White, covering a smaller area with each color. (Figure 4) To finish the large tombstone, add additional highlights to the top of the stone and the letters using the Warm Grey 20% pencil and the White pencil. Shade the crack and behind the letters with Cool Grey 70%, then with Cool Grey 90%, and finally with Black.

Each value covers a smaller area.

Finishing: Allow the painting to cure for 24 hours, and then apply multiple coats of Ultra-Matte Varnish to protect the image. Attach the gates to the tombstone base with metal hinges.

Use the Cool Grey 50% pencil to rub over the entire stone, creating more texture. In the same manner, add more shades with Cool Grey 90%, Indigo Blue, and Black. If you need additional texture, stipple any of the above colors with the colored pencils. (Figure 5)

August 2017 Issue

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August 2017 Issue

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Autumn Nights Painting World Magazine

by Bobbie Takashima

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“Long ago and far away lived a wee Froggy Princess and fuzzy Brown Bear.

Froggy Princess lived in the city... Bear in a wooded countryside.

How did they meet, you may ask? Why, at an Art Fair of course!

The love for painting brought them together, and so began a friendship, so dear.”

the entire United States many times throughout my career.

Green Family:

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

Blue Family:

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

Purple Family:

On any given weekend, you’ll find this old toad traveling to teach seminars across the United States, Japan, Australia, Canada, England, South Korea, Scotland, Singapore, and Taiwan.

Telling stories through art is a big part of my art style.

If you look closely, you’ll find some of the journeys depicted in my paintings!

Surface: • 11-1/2” Wooden Plate

About Bobbie: Being a natural “daydreamer,” visualizing dolls and playthings was easy for me as a child. Then finding the raw materials to create them out of sticks, leaves, paper, and even mud was endless hours of fun! Creating pictures in the sand, building a dollhouse from old paper and wood boxes, and dressing up critters with leaves, weeds, and flower petals to live in the house was a joy!

Sharing my art with others by teaching design and painting classes has taken this farm girl around the world and across August 2017 Issue

Jo Sonja’s® Acrylics & Mediums: Neutrals: • Burnt Umber • Carbon Black • Yellow Family: • Naples Yellow Hue • Turners Yellow • Marigold • Gold Oxide

Red Family: • Juanne Brilliant • Orange • Trans. Magenta

• Brilliant Green • Raindrop • Aqua • Harbour Blue • Amethyst • Azure • Dioxazine Purple

Mediums: • Clear Glaze • Kleister • All Purpose Sealer • Polyurethane Varnish - Satin • Jo Sonja’s Sure Touch Brushes: • #2 Detailer • #2 Round • 3/8” Oval Wash, 1318 • 1/2” Angle Brush, 1345

Preparation: Basecoat the plate with Azure + a touch of JS All Purpose Sealer.

Transfer on the design. (Figure 1)

Techniques Used: To create the shading of the design shapes, use a 3/8” oval wash brusvh, and very casually apply a layer of Burnt Umber + a touch of Kleister Medium.

Using the background hue as part of the highlight area, shade the sides of the shapes that are close to the rim of the plate.

This design does not have a realistic light source; rather, I like to highlight or illuminate the center of the entire design.

If it helps, use the moon as your source of light. The focus

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Painting World Magazine Figure 1

is on the front, or left sides, of the frog’s and bear’s bodies.

The painting technique you’ll use for building 3-D form in this design is called Value Painting.

We will also use the layering technique to build the colors from dark values to lighter values. The number of layers and the values of colors depends on the importance of that particular shape in the overall picture. You’ll give all shapes a minimum of three values, painting up to five values for the shapes that are more important or at the center of interest.

Painting Instructions:

Figure 2

For the first light value on all shapes, load Gold Oxide in the 3/8” oval wash brush, and apply it with a dry brush painting technique. Adding a touch of Clear Glaze Medium to the paint and brush is optional.

Begin application of the Gold Oxide in areas that show the Azure background. These Azure areas indicate forward, or areas catching the most light from the moon. (Figure 2) Begin the brush strokes of Gold Oxide in the most forward or high spots of all of the shapes, then brush toward the Burnt Umber shading, slightly overlapping the Burnt Umber to create a blended effect.

The second light value is a combination of Gold Oxide + a touch of Marigold. This is a step lighter in value than the Gold Oxide and should begin to

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raise up the areas that are most forward and rounded. (Figure 3)

Figure 3

The next step is background shading in Harbour Blue with the 3/8” oval wash brush. Deepen the areas under the pumpkins and behind the Bear and Froggy.

Add streaks of Harbour Blue into the sky, creating depth and a little darkness to the evening atmosphere. Allow the Azure hue to remain streaked through the sky.

Use a combination of Marigold and a touch of Juanne Brilliant for the third light value step. The fourth value is Juanne Brilliant + a touch of Turners Yellow.

At this point, I will add a few dark details in Carbon Black, such as the witch in the sky, the eyes and noses on the faces, and the ears.

Also use Carbon Black to add deep shading on the right side of the Bear’s body and under the pumpkins, mushrooms, and tree. (Figure 4)

Figure 4

Once you’ve completed the Value Painting, it’s time to glaze color over the Value Painting.

Glazing: The glaze is a mixture of pigment and Clear Glaze Medium, approx. 1:1 ratio. The 1/2” angle is my favorite brush for applying the glazes because of the angle cut. It’s easy to apply glaze to very small shapes with the brush tip and to larger areas with the flat of the brush.

Glaze Orange over areas near the highest highlights August 2017 Issue

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on the Bear’s body, the pumpkins, and the moon.

Next, glaze Trans. Magenta from the shaded areas of the pumpkins, the Bear’s body, and the tree.

Then, create a green glaze of Brilliant Green on Froggy, the pumpkin stems, dab green on the field of pumpkins and leafy scrolls.

The blue hue is next. Glaze Aqua on the mushrooms. There are tints of Aqua + Naples Yellow Hue linework on the

witch, on the Bear’s nose, and in the sky that you’ll add after you’ve applied all the glazes.

For the next color, glaze Dioxazine Purple in the sky, on the shadow side of the tree, and on the mushrooms, the ground, the field, and the Froggy and Bear.

When you’re done with the glazes, create a few final liner details.

Use Carbon Black + water for all of the dark details, such as the fence and bats,

with the #2 detailer brush.

Use Naples Yellow Hue for the light linework, painting the shine dots in the eyes, the Bear’s eyelashes, and the hair and whiskers.

Finishing Touches: I recommend applying a coat or two of Clear Glaze Medium as a barrier coat before varnishing with Jo Sonja’s Polyurethane Satin Varnish.

Toadally, Bobbie T.

Figure 5

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August 2017 Issue

Download all line drawings ready to print here: http://bit.ly/2t84M5X

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Newbies & Oldies What’s new? Who is this company? In this industry many companies come and go. Some have been here longer than I have been in this industry (and that’s a number of years!!). Aren’t you always excited to try a new product?

Wait… are you new to painting and creating?

Pallet board creations are being used in various areas of our home…both inside and outside. Vintage paint helps to put a great finish on pallet boards along with chalk paint and milk paint.

Fear not! Just dive right in and try as much as your budget will allow. I’ll try to give you some new companies that are compatible with our decorative painting industry and some well established companies that bring us new products but always there for us with good ‘ole standbys.

Unfinished Wood is always eager to answer any questions when you inquire at: contact@ unfinishedwoodco.com.

Let’s start with a few newer companies.

This company will do custom designs, too. I personally have the large USA cut-out and plan on painting in regional areas that hubby and I visit.

category, too. Many other categories available but these are the two that I found appealing to painters.

Addition information is available on their website along with their phone number or email them at info@adornit.com.

AdornIt® www.adornit.com

Unfinished Wood Company® unfinishedwoodco.com Journey through their website to find wood surfaces that fit into our trendy homes.

August 2017 Issue

by Margaret Riley

A fellow designer steered me toward this website. I found some wood surfaces that already have the design “etched” into it, and all you have to do is fill in the design with your choice of paint.

With mixed media being popular in this decade, check out their Notions

Rosemary & Company® rosemaryandco.com A great brush company with fabulous quality and ready to be a part of your painting experiences. Check out their website and browse through watercolor brushes, acrylic brushes, oil brushes, brush sets, and art materials.

They are based in England

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but can accommodate artists all over the world.

I was honored to receive some of their brushes to try and found out how well the flats do for calligraphy.

Rosemary & Company exhibited at the Vegas show and hope to appear at other trade shows in the future.

They will ship a catalog to you (it tells how on their website) and if you have any questions, please contact them at enquiries@ rosemaryandco.com.

over 12,000 items. They do have an on-line catalog that will help you find the product you are in need of. It is worth your time to check them out. You can email questions to customer_ service@consumercrafts.com

Jillibean Soup® www.jillibean-soup.com If you are looking for some adorable embellishments and some wood veneer shapes, look at this website. So many embellishments to add to your mixed media creation!

Consumer Crafts® www.consumercrafts. com If you don’t live in a metropolis, you won’t have easy access to a craft/ hobby mass merchant. I found this company on line and totally impressed with all the items they carry.

There are general crafts supplies, wood surfaces, art supplies, and much more on their site. Located in Strongsville, Ohio, they offer

Although they have a multitude of products and sell wholesale, just take a few moments to browse through their site and be inspired! And be sure to view the Jillibean-Soup Recipes.

If you have any questions or want to know where to purchase their products, contact them at info@ jillibean-soup.com.

Stampendous® www.stampendous.com This company was first introduced to the painting

industry six years ago, but many still don’t know about the benefits of using rubber stamps in their decorative painting. Use rubber stamps with your acrylic paints to create interesting backgrounds.

The Jumbo Stamp Sets are perfect for creating focal images that require no tracing, transferring, or base coating. Stamps are ideal for use with colored pencils, watercolors, markers and more. For more information go to www.youtube.com and type in Stampendous to see great how-to videos.

For questions, please contact stamp@stampendous.com Time to clear out the cobwebs in our minds and refresh ourselves with some companies that have been in our industry a very long time.It was hard to choose who would appear in this article, so I researched to see who had been in the field the longest and who I could remember being active in the

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decorative painting trade shows. For those companies without a specific contact email, please find “contact us” in their websites.

Definitely a one-of-a-kind company! Contact them at info@cdwood.com.

Plaid® www.plaidonline.com DecoArt® www.decoart.com

Cupboard Distributing® www.cdwood.com It started in 1986 in Urbana, Ohio and carries multiple supplies: woodworking items, craft supplies, scrapbooking, and fine art supplies.

You will see them at almost every trade show in the decorative art industry with a well-filled booth.

I am always amazed at the amount of pieces that they bring to these shows. And believe me, I’ve worked trade shows to know that doing those set-ups and tear downs are back breaking enough without having to pack up thousands of laser-cut surfaces!

Painted samples will inspire you to buy and create. Lots of unfinished wood products that seem to always find its way into my shopping bag!

August 2017 Issue

Since 1985, DecoArt has added to the creative market with colors and tools needed to make surroundings extraordinary.

They have focused on quality, value, and service with a variety of paints, finishes, and specialty products.

They attend many trade shows to demonstrate how to use their newest product on a variety of surfaces.

Americana paint has been around the longest and has had “face lifts” to the design of the label showing that DecoArt keeps up with the market in trending and overall design.

Their original goal was to have pre-mixed colors for every artist in every age category to make painting more enticing.

I personally have known this company since 1987 and know that they back their product 100%.

Plaid first started in 1976 in publishing “how-to” of what was “hot” in the industry (i.e. macramé, beading, decoupage, and decorative painting).

It soon expanded into manufacturing the products in these “how-to” books.

Paint was their first product into the craft and hobby industry where it is manufacturer in their USA facility located outside Atlanta, GA. Artists rely on their craft products to be of top quality as well as learning through their marketing, inspiration, and education in all areas that they promote and manufacture.

Plaid is well known for Mod Podge®, which was developed in 1967, and also has ownership to Bucilla® needlecrafts.

So many of Plaid products I have personally used, working closely with the company in the area of creativity.

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They have a huge selection of turned wood items and cut-outs (some are exclusive).

Royal & Langnickel® www.royalbrush.com Royal & Langnickel is a company that promotes creative products in the world of art.

It started in the 1950’s and has developed over the years in art brushes, materials, and art sets.

Located in the northwest section of Indiana, it caters to decorative artists as well as fine art artists. If you go to their website, you will find a variety of brushes and tools.

in the art, cosmetic, craft, and hobby industries since their beginning.

The variety of brushes found on their website is breath taking, and you’ll want more brushes to add to your collection. F&M Brushes® has had four generations working to have high quality brushes and ensures this quality with every brush stroke. Many artists use their brushes and promote them throughout the internet in painting locations.

Brushes are so interesting in knowing what the bristles are made of (mink hair, horse hair, synthetic hair, and more).

Bear With Us®

And this company keeps up with the demands of artists in providing the best of the best in quality and performance of each brush manufactured.

At almost all the painting conventions, you’ll be lost in the many pieces of wood this company brings to each show floor.

F&M® Brushes www.dynastybrush.com Dynasty Brushes are manufactured by The F&M® Brush Company. It was established in 1929 and has been creating brushes

www.bearwithusinc. com

They have been established for 33 years giving reliability, quality, and affordable wood surfaces. Not only do they have surfaces but pattern packets from world-wide artists.

Not going to a convention?

No problem! Just go to their website and shop in your pajamas. They will ship your order quickly so you can get started on your project.

If you need assistance with anything regarding their surfaces, just contact them at katie@bearwithusinc.com.

There are so many companies to recognize but we only have so much room to do so.

My personal thanks to each company that I contacted and who took the time to respond back to me.

Knowing where to go and what product to use can be confusing.

But we hope you look at every company we mentioned in this article so you can get excited with all the items at your fingertips.

Now that you have been given some great companies to check out, start painting and creating!

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August 2017 Issue

51

Raccoon

by Peggy Harris

This side in oils.

Express

This side in acrylics.

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Raccoons are not only some of nature’s most comical animals, but are amazingly easy to depict with human characteristics. Here, I have done a series of young raccoons with a variety of expressions to show how easy it is to change the mood of the animal by simply altering the eyebrow positions.

Nashville, TN and at major painting conventions and group seminars throughout the United States, Europe, and Asia.

You may contact Peggy at peggy@peggyharris.com or join her on Facebook at www. facebook.com/peggy.harris.505.

Materials: • These little rascals are adaptable to any number of surfaces, either singly or as a group.

FolkArt® Acrylic Palette: • Burnt Sienna 943 • Medium Yellow 455 • Pure Black 479 • Raw Umber 485 • Titanium White 480 • Warm White 649 • FolkArt Blending Gel Medium 867

About Peggy

Professional Permalba® Oil Palette:

Peggy Harris is an internationally recognized artist, designer, writer, and instructor. Author of multiple books, magazine articles, and instructional DVDs and CDs, Peggy is known for her designs of nature and her endearing baby animals that feature her trademark method of creating realistic fur.

• Professional Permalba® Oil Colors: • Burnt Sienna • Cadmium Yellow Light • Ivory Black • Permalba White • Raw Umber • Res-N-Gel® Painting Medium 2761

Peggy has served on the national board of the Society of Decorative Painters and was President of the Board of Trustees of the National Museum of Decorative Painting for 10 years. Currently, she teaches oil, water-soluble oil, and acrylic painting at her studio outside

Silver Brush Ltd® Brushes:

August 2017 Issue

• #4 Ruby Satin™ Bright, Series 2502S • 1/4” Ruby Satin Filbert Grass Comb, Series 2528S • #2 Ultra Mini™ Designer Round (Script Liner), Series 2431S

• #12/0 Ultra Mini Angular, Series 2406S • #12/0 Ultra Mini Round, Series 2400S • 1/8” & 1/4” Wee Mop™ Mini Oval Blending Brushes, Series 5319S • Usual Preparation/ Finishing Brushes • Assorted Soft Flats

Other Supplies: • FolkArt Finishes Clearcote™ Aerosol Acrylic Sealer - Matte 789 • Masterson® Sta-Wet® Handy Palette 857.0 • Satin Polyurethane Varnish • Small Sea Sponges • Tracing Paper • Mechanical Pencil & Stylus • Kneaded Eraser • White & Gray Transfer Paper • Heat Gun or Hair Dryer

Preparation: The raccoons are cute painted in their tree hole on natural wood or natural wood that has been “embellished” with painted grain lines, etc.

If you desire to paint the tree bark as seen in the photos, apply a sponged basecoat to a sealed surface using a variety of acrylic black, whites, and browns. Dry. Shade the darker areas between branches with acrylic Raw Umber + Blending Gel medium. Shade and line the bark as desired. Dry. Seal the surface (natural wood or painted) with Clearcote matte acrylic spray before proceeding.

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Painting With Oils

1. Cranky

When the surface is dry, apply the pattern with white transfer paper. Undercoat the hole for the raccoons with acrylic Raw Umber + Pure Black.

Painting with Oils: 1. Cranky: With a #4 bright brush, paint the muzzle Permalba White.

Tap in Permalba White ear fur with an 1/8” mop.

2. Bothered

Undercoat the eyes, nose, nose stripe, and inner ears with a #12/0 angular and Ivory Black.

Paint the mouth with Ivory Black and a #12/0 mini round.

Indicate the irises with a #12/0 angular brush and Burnt Sienna.

3. Curious

Moisten the mask and head fur areas with Res-N-Gel. Roughly establish Raw Umber head fur, Ivory Black mask fur, and Permalba White markings with a #2 bristle brush.

2. Bothered:

4. Bewildered

Intensify the head fur and black mask with a filbert comb and Ivory Black. Shade the muzzle and ears with an 1/8” mop and Raw Umber and/or Ivory Black.

Wipe the mop clean, and blend.

Define the nose with a #12/0 angular and Raw Umber + Permalba White. Add eye highlights with a #12/0 mini round and Permalba White.

3. Curious: Apply a layer of white guard hairs to the black/brown head fur with an 1/8” filbert comb Clueless © 20175.

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and Permalba White. Wipe the brush clean, and blend them into the existing fur. In the same manner, establish the highlighted fur under the eyes.

Painting With Acrylics

Enhance the white stripes with Permalba White and an 1/8” filbert comb.

1. Innocent

Manipulate the existing gel and paint with a brush that you’ve wiped clean.

4. Bewildered:

2. Surprised

Continue to refine the fur using an 1/8” filbert comb and Raw Umber, Ivory Black, or Permalba White. Add more Res-NGel into the paint if needed for improved hair marks.

Add Permalba White nose highlights and Cadmium Yellow Light eye reflections with a #12/0 mini round brush.

3. Puzzled

Use a #2 designer round brush and thinned Permalba White to enhance the white stripes with delicate hairs.

4. Concerned

5. Clueless: With a #12/0 mini round brush and Raw Umber + ResN-Gel, paint whisker dots.

Create subtle eye reflections with a #12/0 angular brush and Permalba White.

Fully load a #2 designer round brush with inky Permalba White. Wipe the brush on the palette to remove excess paint.

Using no pressure on the brush, stroke in ultra-fine eyebrow hairs and whiskers.

August 2017 Issue

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

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Painting with Acrylics: 1. Innocent: Undercoat the muzzle with a #4 bright brush and Warm White. Tap in Warm White ear fur with an 1/8” mop.

Next, undercoat the eyes, nose, nose stripe, and inner ears with a #12/0 angular and Pure Black.

Paint the mouth with Pure Black and a #12/0 mini round.

Indicate the irises with a #12/0 angular brush and Burnt Sienna.

Moisten the mask and head fur areas with Blending Gel. Roughly establish Raw Umber head fur, Pure Black mask fur, and Warm White markings with an 1/8” filbert comb. Let the paint dry.

2. Surprised: Re-apply Blending Gel. Intensify the head fur and black mask with a filbert comb and a transparent layer of Pure Black.

Shade the muzzle and ears with an 1/8” mop and a sparse application of Raw Umber and Pure Black. Wipe the mop clean, and blend.

Tap Warm White into the brightest areas to promote smooth transitions of color.

Define the nose with a #12/0 angular and Raw Umber + Warm White. Add eye highlights with a #12/0 mini round and Titanium White. Let it dry.

3. Puzzled: Moisten the fur with Blending Gel. Apply a layer of white guard hairs to the black/brown head fur with an 1/8” filbert comb and Warm White. Wipe the brush clean, and blend them into the existing fur.

In the same manner, highlight the fur under the eyes.Enhance the white stripes with Warm White and an 1/8” filbert comb.

Apply no pressure to the brush.

Create subtle eye reflections with a #12/0 angular brush and Titanium White + Blending Gel. Fully load a #2 designer round brush with inky Titanium White. Wipe the brush on the palette to remove excess paint. Using no pressure on the brush, stroke in ultra-fine eyebrow hairs and whiskers.

Wipe the brush clean. Dress the brush with Blending Gel, and manipulate the existing gel and paint. Allow it to dry.

4. Concerned: Continue to refine the fur with an 1/8” filbert comb and multiple transparent layers of Blending Gel and Raw Umber, Pure Black, or Warm White.

Wipe the brush clean, and dress it with gel to blend new strokes into the underlying fur.

Add Titanium White nose highlights and Medium Yellow eye reflections with a #12/0 mini round brush. Use a #2 designer round brush and thinned Warm White to enhance the white stripes with delicate hairs.

5. Upset:

TRUAX PRINTING

Graphic Design and All Things Print

GREAT CUSTOMER SERVICE PROFESSIONAL DESIGN FAST TURN-AROUND

Enhance the brightest areas of white fur with Titanium White.

With a #12/0 mini round brush and Raw Umber + Blending Gel, paint transparent whisker dots.

Contact us today!

(419) 994-4166

www.truaxprinting.com

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(FSC Certified Papers Available)

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This pattern is for the raccoons in Oils.

August 2017 Issue

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Painting World Magazine

This pattern is for the raccoons in Acrylics.

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About Shara

Need something colorful to decorate your home with this fall? This fun tray is easy to paint, and will liven up any room. So grab your brushes and paint, and let’s get started!

August 2017 Issue

Europe. I love the people I meet and have made lots of friends.

I have been painting almost 40 years and still love every minute of it!! I am a wife, a mother, grandmother and painter....

I have authored hundreds of pattern packets, written many books, I’m a teacher and have been a shop owner.

Surface:

My life revolves around travel teaching now both in states and

• 25” x 7.5” Baguettes Basket Tray with insert, Painters Paradise®

I like my painting to be free and HAPPY. I hope each pattern of mine is a new adventure for the painter.

© 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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Funky Pumpkins

by Shara Reiner, CDA DecoArt Americana® Acrylics: • Burnt Orange DAO16 • Tangelo Orange DA196 • Warm White DA239 • Lamp (Ebony) Black DAO67 • Indian Turquoise DAO87 • Whispering Turquoise DA305 • Grape Juice DA236 • Purple Cow DA272

• Blue Harbor DA283 • True Ochre DA143 • Deep Burgundy DA128 • Black Plum DA172 • Spice Pink DAO30 • Deep Midnight Blue DA166 • Hauser Medium Green DA132 • Wasabi DA296 • Plantation Pine DA113 • Tomato Red DA169

• Antique Rose DA156 • Espresso DA271 • Honey Brown DA163 • Camel DA191

Delta Ceramcoat® Acrylics: • Old Parchment 02092 • Chambray Blue 02514 • Curry Powder 02714 • Pomegranate 02712

© 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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Brushes: • Sizes #8 to #20 Flat Brushes in good condition • #8 or #10 Filbert • Scharff™ Golden Taklon Dresden Liner, Series 455 • Mop of Choice, I like a 3/4” • Dry Brush of Choice, I like the Scharff White Bristle Moon Filbert, Series 222

Miscellaneous Supplies: • Black Sakura® Identi®pen 44101 • Transfer Paper • Tracing Paper • Pencil or Stylus

Painting Instructions: Base the background with Chambray Blue. Add the pattern.

Using a large flat brush, shade with Deep Midnight Blue around the pattern.

Mop to soften the floats.

Note: Pounce your mop up and down to soften floats. I aim for the area where the paint and water meet.

If you need a highlight for the stems, mix a tad of Warm White with Wasabi.

I did not use a highlight.

With your liner, paint the tendrils using a mix of Plantation Pine + a tad of True Ochre.

Base the smaller pumpkin with Burnt Orange. Shade with Black Plum, and mop to soften the floats.

Apple:

Base the eggplant with Grape Juice. Shade it with Black Plum.

Highlight the eggplant using Purple Cow with a back-to-back float. Use your mop to soften.

Begin by basing the apple with Tomato Red.

Base the larger pumpkin with Tangelo Orange. Using your dry brush, shade the pumpkin with Black Plum, and highlight it with Curry Powder.

Shade the apple with Deep Burgundy. You may need to apply a second shade with some Black Plum mixed with Deep Burgundy. Be careful with the Black Plum, as it can turn your apple rotten quickly.

Base the pear with True Ochre. Shade it with Deep Burgundy - this may take two applications. Mop to soften, and dry well, between shades.

Highlight the apple with your dry brush and Tangelo Orange first. Add True Ochre to your dirty brush, and add more highlight. If you need a higher shine, add some Old Parchment to your True Ochre.

Highlight the pear using your dry brush and a mix of True Ochre + Old Parchment (1:1).

Paint the stem with Espresso, and add Honey Brown while the paint is still wet.

Pear:

Highlight the pumpkin with Curry Powder and your dry bush. I scrub the color in.

Basecoat the stem with Espresso, and highlight it with a bit of Honey Brown while it’s still wet.

Eggplant:

For the leaves, basecoat with Hauser Medium Green.

Shade them with Plantation Pine, and highlight them with Foliage Green.

Pumpkins:

August 2017 Issue

Next, base both stems with Wasabi. Shade them first with Plantation Pine and again with Black Plum.

© 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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Bird:

Flowers:

Grapes:

Base the body and tail with Pomegranate. Using Black Plum, shade to separate the tail sections and shade around the wing pattern.

Base flowers #1 and #4 with Indian Turquoise. Paint each of their centers with a square of Blue Harbor.

I use finger dots to place the grapes. Let them dry well before you add shades and highlights. Use as many or as few as you like.

Highlight the tail and breast with a side-load of Honey Brown.

Use Camel to base the wings and head. Shade with Honey Brown, and highlight with Old Parchment.

Create the line work on the wings with Honey Brown, as well as the ovals and dots on the tummy. Paint the beak and legs with True Ochre.

Use Blue Harbor to paint the neckband. Shade the outside edges with Deep Midnight Blue.

Highlight the center with a backto-back float of Blue Harbor + a tad of Whispering Turquoise.

Leaves & Stems: Create the larger leaves with a medium wash of Hauser Medium Green. Shade with Plantation Pine, and highlight with Foliage Green.

Create the plaid on the Blue Harbor centers with your liner and Whispering Turquoise.

Add a dot of True Ochre. Dot the Indian Turquoise area with Whispering Turquoise.

Use Spice Pink to base flower #2. To create the center, make a finger dot of Antique Rose.

When that’s dry, paint a line around the center with Lamp Black, and add a small dot of True Ochre. Paint the lines and dots on the flower with Warm White.

Base flower #3 with Warm White, and paint Lamp Black checks on it. Finger dot the center with Pomegranate, and add a smaller dot of True Ochre.

Blackberries:

The smaller leaves are Foliage Green.

Base an oval with Black Plum.

Create dots with the back of a brush, using Grape Juice for one side, Purple Cow for the other side, and a mixture of the two colors for the center dots.

Paint the veins with the liner and Wasabi. Paint the stems to the flowers and berries with Hauser Medium Green.

Use small strokes of Hauser Medium Green dipped in Foliage Green to paint the calyx.

I used my liner for this step.

Paint the very small leaves with Lamp Black.

Add filler “leaves” with your filbert and very thin Hauser Medium Green.

I place the grapes to cover what I don’t like. NO, you cannot add a grape halfway up your project!

Starting at the left… Use Purple Cow to make the purple grapes. Shade them with Grape Juice, and highlight them with Grape Juice + Warm White.

Use Blue Harbor for the blue grapes. Shade with Deep Midnight Blue, and highlight with Whispering Turquoise.

For the green grapes, use Foliage Green. Shade with Deep Burgundy, and highlight with Old Parchment.

The pink grapes are Spice Pink.

Shade them with Deep Burgundy, and highlight them with a mix of Spice Pink + Warm White.

All of the grapes have a shine dot of Warm White on their highlight side.

Pen Work: Use the pattern and picture as guides. I made stitch marks on all the flowers.

To create the line around the edge, use a ruler and the large end of an Identi-pen.

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2.

3.

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Turn Your Passion into a Profession

by Tracy Weinzapfel

So, you want to turn your passion for painting into your profession?

Maybe you sold your first original art piece and found your calling.

Or, your parents have now turned their basement wall into your art shrine, and all of your mom’s friends say you should do

this for a living…

I am here to help you think it through and weigh the pros and cons. I am so thrilled to call myself an artist (I say with a head nod to the right and a shoulder shrug, as if to say, “Can I really do this?”).

So… what does it mean to be an artist for a living?

The first thing to understand is that the art part is really the small part of the equation.

To be a “professional artist,” you must take on much bigger roles, like marketing, customer service, accounting, being a travel agent,

August 2017 Issue

being a weekend artwalk warrior, and more!

I will say that I’ve taken my walk into this profession over a jagged road.

I always was artistic and creative. However, my parents encouraged me to pursue my education (Building Construction Management… which actually has played an important role in my art career).

After years of applying my Construction Management trade, life took its course and kids came along, so I decided to literally hang up my hard hat and pick up a paintbrush, stencils, and a

© 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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It is a very important lesson to learn if you’re putting your name on your company.

glue gun. I undertook every craft activity I came across, including dollhouse building, needlepoint, scrapbooking, stamping, drawing, etc.

My business sense kicked in, and I decided that being a weekend crafter was not for me.

I wanted to take a serious stab at turning my passion into a profession. This meant knocking on doors, figuring out how to deal with rejection, and learning not to undervalue myself (ok, still working on that).

The first lesson of determining how to handle rejection was probably the hardest. But in my case, this experience made me determined to knock on more doors and represent myself in a way that was true to me. That has always been a key to my business.

Marketing is the next valuable tool to have in your cabinet.

This means being able to stand up and promote what YOU do. You have to go after the opportunities, and not let a door closing be the end.

When you book a class, you have to be the person to promote and market it while building reciprocal relationships with stores, convention organizers, and manufacturers.

Be true to you! Do what drives you, what you believe in, and stand behind what you say and teach.

Over the years, I have been given some fun products and some samples that had me rolling my eyes and wondering what the heck I was going to do with the provided components.

Some of these projects have challenged me to think outside the box, and to mpy surprise, I ended up loving the results.

Others tasks presented just weren’t my thing. Why try to be a landscape artist when you do portraits best?

Think outside the box, and don’t let your artistic side go.

Do not, and I repeat, do not get lost in the promotion

It is key to have a partnership with whomever you work. This means utilizing social media, newsletters, charity events, and more. You are responsible for professionally representing you.

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

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of something and lose what your art truly means to you. I for one reflect so much of what I do and how I am feeling in my art that when that gets lost, it is hard to get it back.

I am so lucky that in times of creative block, I do challenge myself to step up and put myself in front of people on Mixed Media Monday. I use that forum to admit openly that I have this block and I am going to work through it.

Challenging yourself and working through the block is key, because sometimes you are going to get caught up in the minutia of running a business, and that creative side of you will get lost.

It is important to remind yourself where it all started.

Sometimes, this means returning to your parents’ basement, and reminding yourself of where you started your journey.

Take a professional break.

We all need breaks. Even celebrities will take a vacation from their art, just to get away. I have found it necessary to schedule creative field trips that get me out of the studio and to places that inspire me.

You will regularly find me taking weekends trips to the farmers markets. The sights, sounds, smells, and colors refresh my creative soul. I also love the rising and setting of the sun, a walk on the beach, a trip to local art fairs to see what others are creating, and a

good art gallery. Sometimes, I find it necessary to hit the local wineries.

Customer service is a big part of your professional journey.

Personally answer emails, and do not ignore opportunities that come your way. Take notice, and remember to thank everyone who is part of your creative path. There are lessons to learn from all those who contribute to your craft.

Finally, have a team, and accept help.

Here are some helpful professionals who will ease your professional burden and protect you…

• A business attorney. We

all need a good one. They will protect you in the onset, so you do not need them in the aftermath.

August 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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• A CPA/accountant is

important, because most artists are not tax specialists.

It is a small fee to have your tax preparation done right.

• An insurance agent.

Some artists, such as photographers, have to protect themselves and their customers when on a photo shoot.

• Assistants… virtual, friends, and others who step up and support your professional passion.

I have been lucky to know that my team is what moves me forward. I am fortunate to have a great friend who comes into my studio and prepares me for classes; she knows better than I do what to pack, and she keeps me focused for each class.

I know that I am the world’s worst proofreader, so I have someone help me with newsletters and magazine articles. Know your strengths and weaknesses.

As an artist, there are SOOOOO many directions you can take.

Sometimes, it is a moving target, and you have to

find what suits you best.

I have sat at art fairs on the weekend in the sweltering heat and had people discuss (debate) the cost of my original artwork. I’ve been fortunate to work with amazing manufacturers who sponsor my projects and classes. At times, I have had to take the road less traveled, and I’ve had to change paths when I had not planned on it.

In turn, I have loved the ability to inspire others to follow their passions, whether in their art studios or in their offices. The key to my business is to inspire others to be creative. I want everyone to reach their creative potential and not be afraid to try.

professional artist means putting myself out there and taking chances.

Whether your passion becomes your profession or you choose to keep it as a hobby, do what means something to you. Find your focus, and know that all you have done has led you right to where you are supposed to be. The obstacles and hard times give you the best lessons.

Sometimes when you leap, you will grow wings on the way down.

These lessons carry over to whatever profession you engage in. Being a

© 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.

August 2017 Issue

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Fall Pitcher

by Tami Carmody

Painting World Magazine

This pitcher would look great as a centerpiece filled with sunflowers during those cold fall days to light up any room. In this project, you’ll learn to paint with Multi-Surface paints on a tin surface.

Now I teach out of my home studio and Exhibit at painting conventions and do travel teaching.

I started painting in Enamels about 7 years ago when I decided I was going to start selling my work at Boutiques and Art shows.

I now travel with my husband several times a month up and down the West Coast selling my Painting. Painting is my passion and I just love to paint.

Surface: • Tin Pitcher (mine is from Ikea®), or surface of your choice

About Tami I started painted in 1984 at a local Tole shop learning in Acrylics. I’ve been married to my Husband Todd for 35 years, have two Sons and three grandchildren.

I owned my own Tole shop for several years and been teaching for 32 years.

• Titanium White 2938 • Cinnamon 2905

Brushes: • #6 & #12 Flat • #10/0 Liner • #2 & #4 Filbert • DecoArt® Berry Brush, or the handled end of a brush

Miscellaneous Supplies: • Paper Towels • Water Basin • Palette Paper • Tracing Paper • Transfer Paper • Pencil

Preparation:

FolkArt® MultiSurface Paints:

Wipe down the pitcher with soap and water, and wipe it dry.

• Pure Orange 2903 • Pueblo 2902 • Moon Yellow 2911 • Burnt Umber 2909 • Yellow Ochre 2910 • Pale Yellow 2946 • Thicket 2918 • Fresh Foliage 2942 • Vivid Orange 2904

Trace the pattern onto tracing paper. Apply the pattern of the pumpkin and daisy center only for placement.

Painting Instructions: Basecoat the pumpkin with Pure Orange. This will take several coats to cover. Let the paint dry between coats.

Figure 1

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

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Figure 2

Shade to divide the pumpkin sections with Pueblo + a touch of Berry Wine. (Figure 1)

Using the #4 filbert, stroke on the back petals with Yellow Ochre. Let them dry.

Stroke on one side of the leaf, and repeat to create the other side of leaf. (Figure 3)

Highlight with Moon Yellow walk the color out in the middle section of the pumpkin.

To paint the top petals, load the #4 filbert with Pale Yellow, and pick up Yellow Ochre on one side of the brush.

After loading the brush, start at the back of the leaf. Push and shake the brush slightly, and then lift it onto the chisel edge for the point of the leaf.

Repeat for the other side.

Re-shade the pumpkin sections with Berry Wine. Shade along the bottom of the pumpkin and up under the stem.

Stem: Basecoat the stem with Cinnamon. Shade the bottom of the stem with Burnt Umber.

Highlight the stem with squiggly lines of Titanium White and Cinnamon.

Sunflowers: Stipple in the sunflower centers with Cinnamon.

Stroke on the top petals, and let them dry.

Line stamen lines on the top petals with Burnt Umber.

With Licorice, stipple an oval in each flower center and stipple along the bottom of each center.

Berries: Use a berry dabber to put on berries with Vivid Orange; let them dry.

Load the liner brush with Pale Yellow, and tap on little dots on top of the centers. (Figure 2)

Shade the bottoms of the berries with Berry Wine, and add a comma to each with Titanium White to highlight them. (Figure 4)

Leaves:

Filler Leaves:

Using the #6 flat brush, doubleload half with Thicket and the other half with Fresh Foliage.

Load the #2 filbert with Thicket, and tip it into Fresh Foliage.

Figure 3

August 2017 Issue

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Figure 4

Figure 5

Paint on the leaves around the berries and anywhere else needed in your piece. (Figure 5) Happy painting! Tami

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August 2017 Issue

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Baby Lop & Daisies

by Sherry C. Nelson, MDA, TDA

Painting World Magazine lives, paints, and teaches on 37 acres of spectacular wilderness in the Chiricahua Mountains of southeastern Arizona.

These engaging lopeared bunnies are a breed of their own, created originally from hybrids of the full size German Lop rabbit and the little Chinchilla rabbit. Over time, the breed’s characteristics have been solidified, and the charming little Mini Lops, weighing just a few pounds, appear in many colors and varied patterns.

Here, you see a “broken” pattern of black, white, and ginger… cute as a button, wouldn’t you say?

About Sherry Sherry’s life outside painting revolves, as much as possible, around traveling the world to see and photograph exciting wildlife and flowers. Extensive fieldwork gives her subjects correct “form and feeling.” Creating realistic birds in their natural habitats holds a special appeal for Sherry. She’s been painting and teaching her wildlife art for more than 47 years.

Sherry has taught seminars in 46 states, Bolivia, Canada, Argentina, Taiwan, Japan, and Australia. She also teaches field seminars. Sherry

Sherry has been an active member of the Society of Decorative Painters since its founding in 1972, and is a past-president of the organization. SDP has awarded her with the Master Decorative Artist certification and the Silver Palette Award.

Sherry has created 26 instruction books and hundreds of packets featuring the more than 500 bird, butterfly, and animal species she has painted. Please check her website, www.sherrycnelson.com, for additional information about instructional materials, seminars, and supplies. You can also email her at birdlady@sherrycnelson.com.

Surface: • 11-1/2” x 8-1/4” laser-cut MDF panel from Painter’s Paradise®.

You could also use a 10” x 8” hardboard panel for framing.

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

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

Delta Ceramcoat® Acrylics: (for background prep) • Trail Tan 02435 • Wild Rose 02485

© 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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Helpful Hints:

Painting World Magazine

Sherry C. Nelson Brushes:

Tips for Painting Animal Hair & Fur:

• #0, #2, #4, #6, & #8 Pure Red Sable Brights, Series 303 • #0 Red Sable Mix Round, Series 312

When painting animals, it’s our job to create a realistic fur texture and pattern.

Not a simple challenge.

Supplies for Background Prep & Trim:

There are some basic concepts to learn that will help you successfully master the complexities of painting animals. Let’s take a look at those things I consider most important:

®

• Sponge Roller (to apply the background acrylic color) • #220 Wet/Dry Sandpaper (for sanding between coats of acrylic) • Krylon® Matte Finish #1311 (to spray the prepared background before applying the design) • Krylon Spray Varnish #7002 (for the final finish on the entire piece)

Miscellaneous Supplies for Painting: • Tracing Paper • Dark, Oil-Soluble Artist’s Graphite Paper • Ballpoint Pen • Odorless Thinner • Cobalt Siccative (optional) • Palette Pad for Oils • Palette Knife • Viva® Paper Towels • Small Piece of Cheesecloth (optional) My work always begins with photography, since creatures such as this little lop-eared rabbit (and most other natural elements) are complexly patterned and impossible to remember in perfect detail without a good reference. So a good camera and hours in the field learning about the creature marked the beginning of this design, as it does for so many others.

August 2017 Issue

Fur Fact #1: Fur or hair always has a growth direction. When laying on color, you must use the chisel edge of the bright or the round brush, pulling in the proper growth direction for the hair to appear realistic.

For the body, you will make many, many overlapping strokes, following the appropriate growth direction.

Beginning from the outer edges of the animal, overlap hairs as you move inward and upward toward the head.

When you begin work on the head, you will continue to follow the growth directions of the individual areas of hair.

Remember: Fur or hair has a “lie,” and you must always work with the lie of the fur for it to appear realistic.

Fur Fact #2: Any area of fur, regardless of how small, will contain different values and colors within that area. By using different values in a range from dark to light, you will create a more realistic look.

A patch of black fur, for example, might have areas of brown or tan or sienna within it. You’ll

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

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

If you choose to buy an 8” x 10” pre-gessoed hardboard for framing, commonly found in stores for sale, prepare it as below, using the non-gessoed side for better movement of the oils while painting.

You can log onto Painter’s Paradise website, www. paintersparadise.com, for cool backgrounds. add additional values with shading and highlighting steps to give depth and contrast, again, always with the lie of the fur.

Fur Fact #3: Different areas of hair or fur will be different lengths, so you must adjust your brush strokes and the size of the brush you choose to use accordingly. You’ll often find the shortest lengths on the head and face, and the longer ones on the chest, belly, or tail.

Study the length, growth direction, and varied hues and values of a patch of fur before

© 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

you begin painting it. Choose smaller sizes of brights to indicate the realistic look of the shorter hair lengths better, and use larger brights for the longer hair areas.

you can more easily replicate the realistic lie of the fur.

Tips for Wet-on-Wet Acrylic Backgrounds:

Summary: On the body, begin painting at the outer edges of the animal, and gradually move inward as you complete each area so the fur overlaps properly. When you reach the head, do the facial features first, and then complete the furred areas of the face.

Remove the lids of new bottles of acrylic, and fill them to the bottom of the neck with water.

Replace the lids, and shake well.

Connect areas of different color and value with overlying chisel strokes; I sometimes call these “skizzles” in my instructional materials. Use colors sparsely, picking them up from a dry loading zone on your palette.

Using a Drier:

And be patient! It takes many, many individual brush strokes to yield the final effect of realistic animal fur. It’s not hard, but it will take time and attention.

Refer often to excellent photos of the animal for inspiration and for the best results.

Many painters want to take shortcuts when creating hair.

One approach is to use a Rake® brush or other type of brush designed to create a lot of hairs in a single brush stroke. The problem with these brushes is they give the animal you are painting too rote, too mechanical an appearance, and one that invariably ends up looking fake.

Animals’ hair does not grow with fifteen or twenty hairs lying exactly parallel to each other...

Hence, I prefer painting all my animals with individual strokes of the short bright chisels. Very effective, and

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

You may add Cobalt Siccative, a drying agent, in fractions of a drop to each patty of oil paint on your palette to speed drying time. I use it EVERY time I paint. If a color does not remain workable on the palette for at least eight hours, you are simply using too much.

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

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

Brush Loading & Blending Basics: You should load color onto the brights from a loading zone, a strip of sparse paint pulled from a patty of paint down on the palette. Make mixtures by moving from one loading zone to another, working back

and forth to achieve a mix of two or more colors. Wipe the brush on a paper towel after applying paint to the surface, but before beginning to blend.

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

Understanding the Painting Process: The painted step-by-step photos are for you to use as a guide along with the written instructions. Read the written instructions carefully, and then work in the given sequence, referring to the multiple step sequence shown in the photos to determine actual color placement, amount of blending to do, and so forth.

I wrote the instructions in the sequence in which I painted the piece; work in that order, and finish each element before going on to another. The initial step for each element shows how the basecoat areas should appear, while later steps normally indicate the first blends, as well as the application of additional darks and lights.

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

Background Preparation: Base the painting surface with Ceramcoat Trail Tan using a sponge roller. Let it dry.

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Transferring the Design:

Sand with #220 wet/ dry sandpaper. Recoat with the same color.

While the surface is wet, drizzle a nickel-sized puddle of Ceramcoat Wild Rose on opposite corners of the surface.

Use the same roller to spread the puddles, softening and blending into the Trail Tan here and there.

Let that dry. Sand again, and spray with Krylon Matte Finish.

Painting Instructions: Prepare the background, and spray it with Krylon Matte Finish, as detailed above. (Figure 1) Carefully follow the transferring instructions as detailed below. Note the use of the all-important tracing paper overlay so that you can tell how precisely you are duplicating the pattern and what parts you still haven’t done. (Figure 2)

Figure 1

Figure 2

Use the inked design to transfer to the painting surface, not a color placement sheet. You will want to use light graphite on dark backgrounds, and dark graphite on light backgrounds.

Lay graphite paper over the prepared painting surface.

Place the inked design on top of the graphite paper. Lay a piece of tracing paper on top of the design to protect the original during transfer, and tape the stack into position.

Transfer the design completely and carefully, such as all eye details, divisions of fur markings, and lines within the fur areas, making the transfer as accurate as possible. Retain and transfer all the little fur zigzags, as well as correct flower shapes.

Check during the process to make sure the design is coming off on the surface clearly.

If it’s too faint, change to a newer piece of graphite. Use artist’s graphite for oils, not the papers created for acrylics that are water-soluble.

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

Remember - a perfect transfer goes a long way toward a perfect finished painting. (Figure 3)

Palette: I’ve listed and laid out the colors with the most frequently-used August 2017 Issue

Figure 3

Figure 4

colors in the bottom row and those less-used in the top row.

Bottom row, starting from the left: Ivory Black, Titanium White, Raw Sienna, and Raw Umber.

Top row, starting from the left: Sap Green, Cadmium Yellow Pale, and Winsor Red. (Figure 4)

Brush Sizes: Use the smaller brush sizes, #2 and #4, for the shorter hairs and smaller elements of the design. But within that range, choose the largest size that is comfortable to achieve the detail necessary. The #6 is appropriate for the basecoats and texturing of larger areas, such as the main body of the animal.

In addition, I always keep my #8 bright handy. While I don’t often paint with that size, I use it dampened with odorless thinner for cleanup; I find the larger bristle base gives better

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Painting World Magazine Figure 5

pressure for removing any messy paint or graphite lines around the edges of the design.

Figure 10

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

Figure 6

Figure 7

Base the eyeing (the pale unfurled skin around the eye) with Raw Umber + a bit of Ivory Black + a bit of Titanium White using the #0 round. Base the areas around the nose and mouth with Raw Sienna + Winsor Red + Raw Umber using the #0 bright. Vary the amounts of Raw Sienna and Raw Umber so some bits are browner and some have more of a pinkish tone.

Wipe your brushes dry rather than rinsing them out, we’ll be using them dirty later. (Figure 5)

Eye:

Figure 8

Using the #0 bright, base the eye with Ivory Black. Base the dark areas on the ears with Ivory Black + a tad of Raw Umber using the #4 bright. (Figure 6) Look closely at the eye, and highlight in the lowlight areas shown using a bit of the same gray mix you made for the eyeing.

Figure 9

Base around the eye with Ivory Black + Raw Umber using the #2 bright. (Figure 7) Using the #4 bright, base a medium-value gray mix in the ears with Ivory Black + Raw Umber + Titanium White.

Base the rest of each ear with clean Titanium White.

Figure 11

Using the wiped-dry dirty brushes you used for basecoating, blend a bit between values, leaving a few marks in the wet paint to indicate fur growth direction and texture. Add the final lights in the eye with pure Titanium White using the tip of the #0 round. (Figure 8) Complete the blending on the ears. Add bits of clean Titanium White if needed for final highlights. (Figure 9) Blend the last highlights on the ears to finalize them. Base around the nose and mouth with Raw Sienna + Titanium White (lightest value), Raw Sienna + Raw Umber + a tad of Titanium White (medium value), or Raw Sienna + Raw Umber (darkest value) where shown. (Figure 10) Highlight a bit on the nose and mouth areas with a dirty brush + Titanium White, and

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Painting World Magazine Figure 12

Figure 13

blend with small brights where values meet. Follow the growth direction of the fur, and use short strokes that indicate the correct hair length in each area. Add Raw Sienna + a tad of Titanium White (darker values) and dirty brush + Titanium White on the rest of the face as shown using the #4 bright. (Figure 11) Base the remaining Titanium White on the right side of the body, always being aware of the proper “lie” of the fur and the growth direction that is correct for each area. (Figure 12)

Figure 14

Figure 15

Now, begin to connect the color additions with short strokes to the surrounding colors by overlapping strokes just a bit using the #4 bright. Highlight with additional Titanium White as needed, and re-blend. (Figure 13) Shade to the right of the ear, under the tip of the ear, and at the right of the muzzle with a bit of dark gray mix of Ivory Black + Raw Umber + Titanium White.

Blend the gray shading where the values meet using small brights. Base the remainder of the body with Raw Sienna + Titanium White using a #4 or #6 bright. (Figure 14)

Figure 16

Figure 17

Add some darker values in the Raw Sienna areas by shading with Raw Sienna + Raw Umber.

Using the chisel edge of the brush, blend on the line where the values meet to soften it into the basecoat. (Figure 15) Now, add highlights in the body areas using Raw Sienna + more Titanium White, blending as before to soften the colors into a nice gradation of value where they meet. (Figure 16) Finalize the blending on the body and head. Soften the highlights on the Raw Sienna body areas. (Figure 17) Double-check the growth direction and hair length. If some hairs seem too long for an area, simply use overlying strokes with a chisel edge to break them up.

Shade more with dark gray on the head if needed for depth.

Daisies: Base the dark values on the daisy petals with a mix of Winsor Red + Sap Green + Raw Sienna using a #2 or #4 bright. The Sap Green will dull and darken the red, and the Raw Sienna will reduce the intensity as well, without getting the mix too dark.

Mix with the brush using small bits of paint until you get the proportion correct. (Figure 18) Wipe the brush dry, load it with small amounts of Titanium White, and then base the remainder of each petal. Don’t use too much paint. (Figure 19)

August 2017 Issue

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Painting World Magazine Figure 18

Figure 19

Figure 20

Figure 21

Figure 22

Figure 23

With the chisel edge of the same brush you used for basecoating, blend between the values within the petals where they meet, parallel to the long direction of the petal. (Figure 20) Highlight with additional Titanium White, mostly applying it on the tips of just a few petals to lighten them. (Figure 21) Using a #2 bright, base the few visible stems: For the dark value or shadow area, use Ivory Black + Sap Green. In the remaining light area, use Sap Green + Raw Sienna + Titanium White.

Base the centers of the daisies with Raw Sienna + Cadmium Yellow Pale.

Figure 24

Blend lengthwise on the stems where values meet. Easy does it - don’t overwork this. (Figure 22)

it on a paper towel, and then add a few black dots using the same brush. Let the paint dry.

Shade the oval areas within the daisy centers, as shown, with Raw Sienna + Raw Umber using the #2 bright.

Finishing Touches:

Now, blend the white highlights on the petals, again blending with the chisel of the #2 or #4 bright and with the growth direction of the petal. (Figure 23) Roll the tip of the round brush in Cadmium Yellow Pale + Titanium White, and touch in the daisy dots around the center as shown. When the light dots are complete, wash the brush, blot Figure 25

On a dry surface, add the final strong highlights with Titanium White on a few daisy petals and on the face and body of the rabbit where they’re needed, as shown here.

Note that you should apply the Titanium White areas such that you have sufficient room to blend them into the surrounding values. (Figure 24) Using the chisel edge of the #4 bright, blend the Titanium White highlights to soften and complete the dimension. (Figure 25) Using the corner of the #0 bright loaded with a bit of Raw Sienna + Raw Umber, make small smudges to indicate rows of whisker marks on the muzzle.

These are the depressions from which each whisker grows.

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Painting World Magazine Figure 26

Figure 27

Thin Titanium White with odorless thinner to a very thin, ink-like consistency. Load it sparsely on the #0 round brush, and paint all of the whiskers from whisker pad outward. (Figure 26) When you’re finished, use a small, dry bright that has a bit of dirty Titanium White on it, and touch the inner ends of the whiskers where each started, softening them into the muzzle. That step will make them look very natural.

the eyes, as well as those on the muzzle. (Figure 27) Finish blending the final lights on the chest of the rabbit. Do any touch-up needed. Sign the painting!

Final beauty shot of Baby Lop with Daisies! (Figure 28)

In this shot, I’ve applied all the whiskers - a few above

Figure 28

August 2017 Issue

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85

Leaf Letterbox

by Elaina Appleby

Painting World Magazine

This cigar box could be used for just about anything, but while designing, I started thinking of leaves and leaflets of letters and notes. The tracings are from real leaves off of our small maple tree.

exchange ideas to encourage others. Helpful tips and decorative painting are her joy!

I love leaves - all of the colors, the veins and wrinkles - they look so alive to me. In this project, we’ll use clear Crackle medium to achieve the fine wrinkles, with beautiful Media® Fluid Acrylics™ to bleed color.

Enjoy learning these fun mixed media techniques.

DecoArt Americana® Acrylics:

Materials: • 8-1/8” x 8-3/8” x 1-3/4” Unfinished Wood Cigar Box 65269553876, from save-on-crafts.com

• Wisteria DA211 • Soft Heather DA306 • Soft Black DA155 • Black Plum DA172 • Terra Cotta DA062

DecoArt Media® Fluid Acrylics™: • Transparent Yellow Iron Oxide DMFA42

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

Garden Stencils - Funky Flowers (6” x 8”) DCPS08 • Americana Decor® Stencils - Distressed Harlequin (12” x 12”) ADS03

Dynasty® Faux Squirrel® Brushes (1827 Series): • 1/4”, 1/2”, & 1” Angle, 1827A • #8 Round, 1827R • #10/0 Rigger (Liner), 1827RIG

Miscellaneous Supplies: • Old Large Flat Brush (for Decou-Page) • Westrim Crafts® Paper Bliss™ Timeless Elements™ Paper Kit 28775-PE-002, or a Recycled Envelope & Copy of a Letter • Small Piece of Burlap (to make texture) • Wedge Sponge or Stencil Brush

• Diarylide Yellow DMFA11

• Palette Knife

• Quinacridone Violet DMFA34

• Old Toothbrush

• Dioxazine Purple DMFA12

• Tracing Paper

• Vermilion DMFA45

• Very Dark Transfer Paper

• English Red Oxide DMFA13

• Palette

• Green Gold DMFA14

• Paper Towels

• Sap Green DMFA07

• Water Bin

• Metallic Silver DMFA48

• Pencil

DecoArt® Mediums & Stencils:

• Scissors/Fiskars® Pinking Shears

• Staining/Antiquing Medium™ DS51 • One Step Crackle™ DS69 • Decou-Page™ Matte DS106 • Americana® Matte Spray DAS13 • Printable Texture Stucco™ TX07 • Patio Paint™ Home and

• Scotch® Tape/Masking Tape • Cotton Swabs

Preparation: Sand the wood as needed.

Important note: DO NOT SEAL OR BASECOAT THE WOOD, we’ll be working with it unsealed.

Cut out the scrapbook paper, and set it aside.

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Painting World Magazine Figure 1

Helpful Hints:

This project will go through some stages that look like a very big mess.

Don’t be discouraged it will come out great!

The crackles in the leaves are very fine and will not show up until you antique them.

It may feel backward to basecoat after the leaves are finished, but this is when you will see it coming together.

This is my tried and true way of painting cracked leaves. It does not feel like the typical steps in painting, but that’s what makes it fun!

Figure 2

The Media Fluid Acrylics are highly pigmented, so it takes very little paint.

Painting Instructions: Box Texture: Remember to save an area about 4” x 5” on the lower right side of the box top. Keep that area completely clear from texture for scrapbook paper.

August 2017 Issue

With the palette knife and the piece of burlap, apply some Texture Stucco using random placement.

Let this texture dry well. For good application, see the bottle’s instructions. Use the photos for placement reference.

When that is dry, apply more Texture Stucco with the Distressed Harlequin stencil at random.

When the texture is dry, use very dark transfer paper to transfer just the outside lines of the leaves; don’t transfer the stems or veins.

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Figure 3

Painting World Magazine

Transfer right over the texture.

You need a dark pattern, because the paint should and will bleed out of the lines. (Figure 1)

Painting the Leaves: Place small amounts of Vermilion, Diarylide Yellow, Transparent Yellow Iron Oxide, English Red Oxide, Quinacridone Violet, Dioxazine Purple, Green Gold, and Sap Green on your palette at the same time.

Thin down each color, and dab a little onto the leaves, rotating colors until you’ve completely filled in the leaves. (Figure 2)

Figure 4

Try not to rub and mix the colors; let them bleed together. The colors should seep together and into the wood’s grain - this is why we don’t seal the wood.

On the smaller leaves, I used more green. All of the leaves should vary in color a little. (Figure 3)

Leaf Texture: If needed, transfer the leaf lines again, or use a pencil to darken them. It is important to keep the One Step Crackle medium right up to the leaf lines.

Apply a generous amount of Crackle medium.

Follow the manufacturer’s steps on the bottle.

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

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Painting World Magazine

Figure 5

Leaf Antiquing: To make the crackles show up, apply a generous amount of the antiquing mix of 1 to 1 parts Black Plum and Staining/Antiquing Medium.

It’s ok to go out of the lines - it needs to cover the whole leaf. Wipe the mix back.

You must seal this with a light coat of Matte Spray sealer.

Let it dry. (This may look like a big mess, but it will come out fine!) (Figure 4)

Painting the Background: Basecoat the background of the lid with Soft Heather. This will clean up around the edges of the leaves. Cut in nice and tight, covering any leftover graphite lines using the angle August 2017 Issue

brushes. Let it dry. This may take two coats. (Figure 5)

Lightly highlight areas on the lettering with Dioxazine Purple.

Shade the outside dips around the leaves with Wisteria. This may take two coats. Let it dry.

Shade again with Dioxazine Purple to deepen the value.

Finish the lid by stenciling the swirl part of the Funky Flowers stencil with Terra Cotta. Let it dry.

Transfer the veins and stems. Paint the lines with Soft Black. Let them dry.

Basecoat the inside and outside with Wisteria. Shade a wide float around the complete base of the box with Dioxazine Purple.

To make the textured Harlequin pattern and other background texture show up, paint over them with Metallic Silver. Splatter over the top of everything using the old toothbrush with Dioxazine Purple. Let that dry.

Decoupage the scrapbook paper down. Let it dry. Float/ shade around the paper with Transparent Yellow Iron Oxide.

Finishing:

Clean around the hinges and latch with a cotton swab. (Figure 6) When everything had dried well, I scanned the box top and made stationary. Have fun, and make a mess!

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Figure 6

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Painting World Magazine

August 2017 Issue

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Painting World Magazine

Directory of Artists Deb Antonick adeb@shaw.ca www.paintingwithdeb.ca

Theresa Prokop nefolkartist@gmail.com www.newenglandfolkartist.com

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

Shara Reiner, CDA shara@angelthyme.com www.angelthyme.com

Tami Carmody wisteriapainting@aol.com www.wisteriapainting.com

Margaret Riley designsbymargaret51@gmail.com

Debbie Cole, CDA debbie@debbiecole.com www.debbiecole.com Peggy Harris peggy@peggyharris.com www.peggyharris.com Sherry C. Nelson, MDA birdpainter@me.com www.sherrycnelson.com

Bobbie Takashima bobbietarts@gmail.com www.bobbieartstudio.com Diane Trierweiler tolebridge@aol.com www.dianetrierweiler.com Tracy Weinzapfel info@tracyweinzapfelstudios.com www.tracyweinzapfelstudios.com

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August 2017 Issue

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You can get a digital subscription on your Kindle directly from Amazon and have each digital issue delivered directly to your device as soon as they’re out!

Digital Amazon.com subscriptions are also only $19.99 and each issue has a shortlink to download the drawings for your projects. So easy!

Just visit www.amazon.com and search for Painting World Magazine.

(Sorry, we’re not on www.amazon.ca yet, but Amazon said as soon as they can, they’ll get us there as well!)

Download all line drawings ready to print here: http://bit.ly/2t84M5X

August 2017 Issue

95