August 2018 Autumn Issue Painting World Magazine by Loon Publishing, LLC.

Decorative Painting, Mixed Media, Fine Art & More!

August 2018

Painting World Issue 16

AUTUMN ISSUE

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Cover Artist:

Leslie Smith, CDA $7.99 USA $10.35 Canada

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Painting World Magazine

Conventions & Events Heart Of Ohio Tole, Inc. Annual Decorative Painting Convention

August 7-11, 2018

“Painting Fun in the Sun!”

Hyatt Regency, Columbus, Ohio

Painting Classes in all Media - Registration Required NEW EXHIBIT HALL HOURS EXHIBIT HALL - OPEN TO PUBLIC - AUG. 9-11 Thurs. 12 Noon - 6 pm - Admission $5.00 per person Fri. 10 am - 5 pm - Admission $5.00 per person Sat. 10 am - 2 pm - Admission $5.00 per person Three Day Pass $12.00 - Admission per person

CHECK OUR WEBSITE FOR UPDATES

www.heartofohiotole.org

2018 HOOT Convention Catalog Available on website Or Mail $10.00 U.S. - $17.00 International (U.S. funds only)

Heart of Ohio Tole, Inc. P.O. Box 580 Westerville, OH 43086-0580

For more information contact us at the HOOT Office 614-394-8028 or by email at hootconvention@gmail.com or Facebook: HOOT hootconvention@gmail.com New Englandemail: Traditions OKC Painting Palooza! Like and Follow us on Facebook: HOOT Chapter Regional Convention “Yuletide Treasures” October 2-7, 2018 Best Western Royal Plaza Hotel & Trade Center Marlborough, MA 01752 Get registered: www.newenglandtraditions.org

Creative Painting

Bring your painting friends, your ugliest Christmas sweater, and be ready to enjoy tons of fun, laughter, a wonderful expo and great classes! October 22-27, 2018 Sheraton Hotel / Reed Center Midwest City, OK Sign up at: http://okcpaintingpalooza.com

February 24 to March 1, 2019 Tropicana Hotel Las Vegas, NV Get information: www.vegaspaint.com

August 2018 Issue

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August 2018 Issue

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August 2018 Issue

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Letter from the Editor When Painting World Magazine first came into my charge, I already loved seeing the projects in each new issue. The variety of designs and techniques used by the artists is simply amazing, and the articles by contributing editors are packed with sometimes cutting-edge and always valuable information. Now that I’ve worked with a few of the publications in-depth, I often find myself thinking how much our readers are going to love this project or that technique, and it happens with every single article. What a treat! Now it’s your turn to enjoy the fabulous designs and shared knowledge in this issue. Our best to all of you, Karen Brenden, Editor Loon Publishing, LLC Who We Are Painting World Magazine is owned and operated by Loon 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, Karen Brenden, has been involved in the world of decorative painting for over a decade, designing painting instruction books and packets for well-known artists through Viking Woodcrafts.

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August 2018 Issue

Contents Painting World Magazine

Rosemaling Plate by Judy Diephouse

Harvest Friends Welcome by Karen Wisner Dyar

Trick or Treat! by Featured Cover Artist: Leslie Smith, CDA

August 2018 Issue

Halloween Cutie by Cindy Mann Vitale

Painting World Magazine

Festive Fall by Jillybean Fitzhenry & Sandy McTier

Road Trip by Chris Jeanguenat

Gato Blanco by Mabel Blanco

Sundrenched Blooms by Rebecca Baer

Happy Fall Yâ&#x20AC;&#x2122;all by Marianne Andreazza

MORE GREAT ARTICLES! Walker, Art Illustrator 40 David by Nicole Borgenicht Etiquette 64 Convention by Margaret Riley

78 Directory of Artists & Suppliers August 2018 Issue

Painting World Magazine

Trick or Treat! The painting includes a few surprises for you, too. Some are treats - and some are painting tricks that you might like. First, the line drawing can be resized and reapportioned to fit almost any rectangular surface. It can be enlarged, reduced, made wider (but the same height) or taller (and the same width) and almost everything in between. Secondly, the ghosts are painted free hand with Glow in the Dark paint; it is essentially transparent and colorless; we will literally be painting blind (but, there is a trick).

by Leslie Smith, CDA

About Leslie Life is full of surprises, isnâ&#x20AC;&#x2122;t it? After thirty years of painting and doing shows, I am suddenly publishing. And, I still get to use all that geek stuff I learned in college, even though I am no longer formally working. I love the geometry of perspective, the psychology of composition, the physics of color theory and all that stuff. But, most of all, I love being able to paint with you. It is truly a treat. Please feel free to email me if you have any questions or comments. Like you, I am still learning. August 2018 Issue

Look carefully ... can you see the ghosts? BWAHAHA!!

ÂŠ 2018 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

Surface: I painted on a piece of framed masonite that is about 8X26”. However, the line drawing can be changed to fit almost any flat surface. You will also need a scrap of wood or similar surface if you want to practice painting the ghosts.

DecoArt® Americana® Acrylics: • Lamp Black DA067 • Hauser Green Medium DA132 • Celery DA208 • Eggshell DA153 • Snow White DA001 • Marigold DA194 • Tangerine DA012 • Cadmium Orange DA014 • Burnt Sienna DA063

DecoArt® Mediums: • DuraClear Soft Touch Varnish DS123 • Glow in the Dark Paint (GID) • Painting Adhesion Medium DS039

• Stylus • Transfer paper • General’s® Charcoal White® Pencil • Hand Mirror • 2-3 sheets of white copy paper

Preparation: Please read all the instructions before beginning to paint to eliminate surprises later. WIP (Work in Progress) photos are included; refer to them often. Basecoat surface with Lamp Black, using a large flat brush. Let dry. Repeat if necessary to achieve full coverage. If you plan to paint the ghosts and will want to practice, also prepare the practice surface. Place the surface in the frame. Use the charcoal pencil to

outline where the edges of the surface will be when framed. Change the sizing to adjust to the visible portion of your surface. Figure 1 illustrates a variety of resizing the piece. Transfer the pattern, using your favorite method, being sure that her eyes are both at the same height and her features - left and right - are equal in size and shape.

There are two designs to this painting: (1) the witch opening the pumpkin and (2) the ghost coming out of the pumpkin. The color scheme for the first painting is analogous: green, yellow green, yellow, yellow orange, and orange.

Figure 1

Brushes: I seldom specify brushes because many painters either enlarge or reduce patterns to fit their own surfaces. This is especially true and encouraged for this piece. These are the only brushes that I used for the 8X26” surface.

• 1” flat for Basecoat • Round • 1/2” Flat

Miscellaneous Supplies: • Usual Painting Supplies and materials • C-Thru® ruler © 2018 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 2018 Issue

Painting World Magazine

Painting Instructions: Her Face and Hands: Mentally divide her face into its parts, i.e., forehead, nose, each cheek, etc. We will paint them one at a time, each using the same technique. Values (lights vs darks) will be placed in accordance with a WIP photos. Before you begin painting, note the following: • Her face is symmetric. • The light source is inside the pumpkin. It is beneath her face and more to the right. Because this is not where the light source is usually located in decorative painting, the highlights are not located where they usually are. Many are located on the lower edges of shapes - nearest the light source. • Highlighted areas on the left side of her face are larger and brighter than on the right side of her face. • Highlighted areas are on the left-side edge of each feature; i.e, the left lower edge of her nose, the left lower edge of her right cheek (but the entire lower edge of her right cheek above the pumpkin), etc. • Her left hand (holding and beneath the pumpkin) has almost no highlights. Starting with her forehead, roughly paint in with Hauser Green Medium. Use an appropriately sized flat brush. While the green is still wet, and without cleaning the brush, pick up a little Celery and highlight the area above her right eyebrow. Repeat, in a smaller area with Eggshell within the Celery. August 2018 Issue

Hauser Green Dark is too blue and cool to use in this design. Hauser Green Light is too bright and warm. The goal is to keep her dull and in the background. This helps to bring the pumpkin forward and provides a better “ground” for the ghosts. You’ve probably heard the expression, “black deadens” every other color. We will “deaden” our greens to go with the mood of the piece. Wash the left side of her forehead and beneath the brim of her hat with dilute Lamp Black. Proceed to her nose and paint with Hauser Green Medium. Blend into her forehead at the bridge of her nose. Highlight the end of her nose and up to the bridge (into the wet green) with first Celery and then Eggshell. This highlight fades out as it goes upward. As it is closer to the light source and her nose sticks out further than her forehead, the highlight should be much brighter than that on her forehead. Each of the sections of her nose (the parts of the nose that cap the nostrils are called alar) also are highlighted; the right alar more than the left. Outline the alar with Lamp Black. Wash along the left side of each section of her nose with Lamp Black. Continue to paint her cheeks, her chin, about her eyes and lids, etc. using the same process. Refer to the WIP photos as needed. Use the hand mirror to examine your own face for additional guidance.

Her lips are painted in with Hauser Medium Green. They show and come forward only because the areas around her mouth are washed with dilute Lamp Black. Follow the contours of her face (this is a good time to look in the hand mirror and make funny faces). Highlight her lips with Celery. Her two bottom teeth and tongue are suggested with Celery. If they appear too bright, wash them with dilute Lamp Black. Her eyelids and crow’s feet are lines of Hauser Green and Lamp Black. The center of each eyelid is highlighted with Celery -the right eyelid is brighter than the left. Paint her eyeballs with Eggshell. Wash over them with dilute Lamp Black to dull them down a bit. Shade along the edges of her eye with more dilute black. The “white” of her eyes should show completely around the iris to give her the look of surprise. Outline her eyes and iris with Lamp Black. Fill in her iris with lines (like wheel spokes) of Hauser Green Medium. Overstroke with Eggshell from approximately 2 o’clock to 8 o’clock. Paint in the pupil with Lamp Black. Once dry, inspect for symmetry, fix as needed, and add a small sparkle of Snow White with a stylus at 3 o’clock. The sparkle in her eyes is the only place that any white paint is used in the entire design. White is a cool color. Everything is colored on the warm side to enhance the glow coming from the pumpkin and the candle we assume is inside it.

Painting World Magazine Her hands and forearm are painted by the same process; they are roughly painted in with Hauser Green Medium, highlighted with Celery and shaded with washes of dilute Lamp Black. Her nails and the reflected colors from he pumpkin are painted later. Again, refer to the WIP photos. Figure 2 Get her Dressed; Do her Hair: Her clothing is black and the background is already black. We will only paint in hints and highlights to suggest her hat and

Figure 2

sleeve. No more is needed. Her hair is also only vaguely suggested. Paint the hat band with Hauser Green Medium. Paint the edge of the brim and corners under the brim with Hauser Green Medium and highlight with a broken line of Celery from the center to the right hand edge as it dips. The top of the hat and tip are suggested by an area Hauser Green Medium at the top right. Outline her sleeve edge with Hauser Green Medium and highlight the right side near her hand with Celery.

Figure 3

Streak in her Hair with Eggshell. There are only maybe 12 streaks in all, not counting the 3 that make up her bangs. Use the edge of your flat. Let her clothing and hair dry. Wash over the right and left sides of the hat band, the crown of her hat, and her hair with dilute Lamp Black. Be more heavy handed on the left side and at the top of her hat. Repeat as needed. When done, you should barely see the top of her hat against the black background. It is there, but you have to work to see it. Highlight the edge of her hat brim from the center dip to the right side with Eggshell. Figure 3 Give her a Pumpkin: Her hands will be likely messed up while painting the pumpkin. Donâ&#x20AC;&#x2122;t worry. We will clean them up later. Basecoat the inside and rim of the pumpkin and pumpkin lid solidly with Marigold. This will likely require multiple coats. This is a good time to take a break, if you want. The second coat will provide better coverage if the first coat is thoroughly dry and cured. Basecoat the outside of the pumpkin and lid with Marigold; some background will show through. Be sure that your brush strokes are vertical and try to follow the curve of the pumpkin. Wash the outside of the pumpkin and lid with Tangerine, keeping all strokes along the curves of the pumpkin.. Paint in the pumpkin grooves on the outside of the pumpkin and lid

August 2018 Issue

Painting World Magazine Using a round brush and a teardrop stroke, paint her nails. The nails on her left hand (holding the pumpkin) are painted with Hauser Medium Green. The nails on her right hand (holding the pumpkin lid are painted with Celery. There is a fifth nail (her first finger) peeking out from the back edge of the pumpkin lid. Her right thumb is turned so the nail is on the back of the thumb. That nail is painted with Hauser Green Medium; the tip of the thumb is highlighted with Celery. Outline each of her nails to create cuticles using the same green as used for that nail.

Figure 4

with dilute Burnt Sienna and walk the color out in either direction. Paint the inside of the pumpkin and lid with Eggshell, the ridges are Marigold. The cut edge of the pumpkin and lid are only faintly outlined with a broken line of dilute Burnt Sienna. Figure 4 She goes to the Salon (nails and makeup?): Clean up her hands and arm anywhere that the oranges from the pumpkin may have strayed.

August 2018 Issue

Figure 5

Use dilute Lamp Black to suggest shadows from her fingers onto the pumpkin and lid. Wash the bottom of the pumpkin and her lower left hand so that they “melt” into the background. The washes with dilute black will deaden; the pumpkin highlights will liven. The washes are almost all on the left away from the light. The oranges are almost all on the right, near the light and the ghost flying out of the pumpkin. Be sure to keep them separate.

Wash the lower edge of her right cheek, right alar, nose, hat brim, area beneath right brow, right side of chin, and lower lip with Tangerine. Redo highlights with Eggshell as needed. Wash her left

Painting World Magazine hand thumb and wrist (holding the pumpkin lid) with Tangerine. Add a few tiny Tangerine spokes to her cornea (4 o’clock to 7 o’clock). Inspect the piece. Consider removing some of her hair with an overstroke of Lamp Black; the sample has about 12 strands of hair painted - total.. Make sure her face is symmetric. Blend anywhere you see it needed. Wash over areas with dilute Lamp Black if they are far from the light and appear to come forward too much. Remove any remaining transfer lines by painting over them or wiping them away. Place your signature in one of the lower corner sections. When you are happy, let dry. I love DecoArt’s Soft Touch. It gives a flat finish that avoids glare. But, unlike many matte varnishes, it doesn’t turn milky over black. The contrast between the softer finish of the first painting and the gloss of GID will help make the ghost visible in the light.

Adhesion Medium

GID

50:50 mix

Apply two coats of DuraClear Soft Touch Varnish. If you feel the need to substitute another finish, use a matte or very matte product; avoid Satin or Glass finishes. Figure 5 All that Jazz and Pizazz: Technically, the painting is done at this point. But, there is more for those who are willing to brave the ghosts on Halloween (BWAHAHA!) … They will be painted with DecoArt’s Glow in the Dark Paint (GID). Part of the challenge is that the paint is essentially transparent; it does have a slight gloss that we can use to our advantage. You can have one ghost or a bunch of ghosts coming out of the pumpkin. They can be big or small. They can even overlap. And, they are painted right over the witch. The ghosts are fun and done with a flat or filbert brush. There are essentially five steps: Figure 7 was painted with dilute white paint only so you could see the ghosts. YOU WILL NOT BE PAINTING WITH WHITE PAINT. Figure 6 3 coats GID

GID becomes visibly cloudy at about three coats. If painted thickly enough to have ridges, the paint ridges can be seen in the light and obscure the painting beneath them. But, the ghosts are painted over the witch, so we want the ghosts to remain transparent enough to see the witch but have enough substance to hint at them - even in daylight. A second challenge is that the ghost’s outline cannot be transferred because the paint will seal in the lines. So, we have to get creative. a. Paint an oval with two or three strokes to give the ghost a head; the head can be angled in the direction of flight and if the inside is not filled in, it will provide a moaning mouth; b. Paint a straight line beneath the oval to suggest the ghosts arms; the slant of this line also tells where the ghost is flying and gives him motion.

Figure 6

d a

b THESE WERE PAINTED WITH DILUTED WHITE PAINT ONLY SO YOU COULD SEE THEM. © 2018 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 2018 Issue

Painting World Magazine c. Round off both ends of the line to give the ghost hands;

If you wish, practice paint a ghost or two on your practice board.

preferred the ragged look if I kept the paint dry, so I could dry-brush.

d. Pull down strokes from the arms. The strokes are shorter along the arms and longer to make a body. These strokes can be straight, angles, flowing, or intertwined. Again, the angle of the strokes provide motion and direction.

Shake/mix the GID very well. The â&#x20AC;&#x153;stuffâ&#x20AC;? that makes it glow tends to sink to the bottom of the bottle. Try to keep the ghosts flowing and graceful. Experiment with how thick you can apply the GID before it obscures the underlying paint. I found that two coats were fine, but three started to become opaque. I also

Practice not getting ridges in areas where the underlying painting (the witch) is detailed or important (examples: her eyes or her mouth). Tilt the board in the light so you can see the gloss of the GID in contrast to the matte finish underneath. Work with turning the lights on and off to see if it glows.

This line drawing has been reduced by half. Please enlarge 125% for full size or to desired size.

The solid lines are outlines -designate a blended or faded line.

Note to reproduction companies/stores: The bearer of the original color magazine has full rights to have this drawing reproduced and enlarged one time for personal use. This notice has been printed in red ink for verification of authenticity.

August 2018 Issue

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

Painting World Magazine Once the ghosts dry, do another coat, following the same stroke lines. If you canâ&#x20AC;&#x2122;t do a third coat without getting the GID so thick that it starts to show too much, stop. If you lose a mouth on a ghost, it can be painted in, but remember, the underlying background may not be black. The mouth should be the color of the underlying painting. After the GID dries, you can even go back

and varnish the mouth only (not the entire ghost) with Soft Touch. So now, you need to decide: paint on a practice board â&#x20AC;Ś or just jump onto your piece. Figure 7 was painted with dilute white paint only so you could see the ghosts. YOU WILL NOT BE PAINTING WITH WHITE PAINT. Instead, you will be using GID, as described earlier. Figure 7

Apply the first coat using a mixture of Painting Adhesion Medium and GID 50:50. Paint as many or few ghosts as you wish. You can have smaller ghosts in the upper background flying further away. Have a least one ghost with his tail in the pumpkin. After the GID mix dries, you can paint additional coats of just GID; try to follow the same stroke lines.

August 2018 Issue

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

Painting World Magazine

Finishing:

Figure 7

No varnish or finish is applied to the final painting. This allows the gloss of the GID to show up against the matte finish of the Soft Touch varnish applied over the witch.

The ghosts are painted with white paint on this sample, only so it would photograph well enough for you to see them.

These ghosts are painted with glowin-the-dark paint. This is what your piece will look like in the daylight. August 2018 Issue

Rosemaling Plate by Judy Diephouse Painting World Magazine

I have always enjoyed painting rosemaling designs beginning with oils many years ago. I now enjoy designing using acrylics. This design could easily be

adapted to a bentwood box with the border design going around the box. Maybe you have a plate already with beads and can fit this design to it. You may feel free to add

more detail or less detail. Just remember, what you do one area must be repeated in all matching areas. I hope you enjoy painting this design.

August 2018 Issue

Painting World Magazine

DecoArt® Americana® Acrylics: • Banana Cream • Colonial Blue • Deep Midnight Blue • Honey Brown • Light Avocado • Light Buttermilk • Milk Chocolate • Oyster Beige

About Judy

• Persimmon

Judy started Decorative Painting in 1973. She started teaching at home in ’74 to a couple of her relatives. Soon Judy had five full classes in her home studio (basement). She has taught at most of the regional and national convention throughout United States and Canada.

• Plantation Pine

Judy soon became business partner with Lynne Deptula to form Distinctive Brushstrokes. They have published over 35 books and hundreds of pattern packets. Check out their web site www.distinctivebrushstrokes for the newest available patterns, books, and current teaching schedule.

Brushes:

Judy lives in Rockford, Mi with her husband David. She is the proud parent of three married children and grandparent of five amazing grandchildren.

Surface: • 15 1/2” Plate with wide rim, Item #2497 from Bear With Us, 407-347-5939

August 2018 Issue

• Russet • Tomato Red • Uniform Blue • Wasabi Green • Winter Blue • Yellow Ochre

• Flats- #4, #6, #8, 1” • Liners- #6/0 #1, #2, #4 • Mop- 1”

Preparation: Basecoat the plate with Oyster Beige. Sand between coats. Paint a 1/4” wide bead around the edge of the plate with Colonial Blue. The rim area is 2 1/2” wide. Paint another bead 1/4” wide with Colonial Blue. Shade next to the beads on both sides with a wide soft float of Milk Chocolate. Mop to soften. Trace on the pattern. Trace only the main elements ---having less to erase after it is done. Shade inside of the scroll lines with soft floats of Milk Chocolate. Soften with a mop.

Painting Instructions: 1. Scrolls- Figures 1 & 1a Basecoat the scrolls with Colonial Blue. Shade the outsides curves of the scrolls with a float of Uniform Blue. Highlight the inside edge of the scrolls with a float of Winter Blue. All outlining, strokes on the scrolls, and along side of the scrolls are Deep Midnight Blue. There is one outside large stroke on the center design by the stems to the tulips that is Winter Blue outlined and stroke of Deep Midnight Blue. 2. Stems- Figure 2 All stems and green curls are Plantation Pine. 3. Blue Crosshatching- Figure 3 The outlines, crosshatching, and strokes coming out of the top are a mix of Colonial Blue with a touch of Deep Midnight Blue. The dots around the top are Light Buttermilk.

Figure 1

Figure 1a

Painting World Magazine 4. Connector Bands- Figure 4 Basecoat with Honey Brown. The dots are Banana Cream. 5. Yellow Trumpets- Figure 5 Basecoat with Yellow Ochre, Shade with Honey Brown. Shade the bottom and inside of the trumpet with Milk Chocolate. Outline the top edge and the detail crosshatching area with fine lines of Banana Cream. 6. Yellow Crosshatching areas- Figure 6 The outer strokes and fine crosshatching lines are Honey Brown. Highlight the upper lines and tips of the strokes with Yellow Ochre. Repeat with Banana Cream. The dots descending from the top are Light Buttermilk. 7. Tulip Flowers- Figure 7 Basecoat the center area with Yellow Ochre. Shade with Honey Brown. Shade the inside of the bud and next to the bud with Milk Chocolate. Figure 2

Figure 5

Highlight the edge with a mix of Light Buttermilk and Banana Cream (1:1). Overstroke the petals and additional strokes along side of the bud with this mix. Outline the top edge leaving air space with Light Buttermilk. The dots around the top edge of the bud are Light Buttermilk. The main petals are Tomato Red. Shade along the bottom and outer side with Russet. Highlight the curved edge with Persimmon. Overstroke these petals and strokes on the petals with a mix of Persimmon and a touch of Yellow Ochre. The additional strokes at the top is the mix with more Yellow Ochre added. The dots are Light Buttermilk . The green curls and strokes are Light Avocado. The green leaf is basecoated Light Avocado. Shade next to the red with Plantation Pine. Outline and add strokes with Wasabi Green. The side curls are Plantation Pine. The main dot is Yellow

Figure 3

Figure 6

Ochre with a tiny highlight dot of Banana Cream. 8. Center Flower- Figure 8 The outer cream section is a double load of Honey Brown into the Light Buttermilk/Banana Cream mix. The strokes on this section and fine outlines above the top edge are Light Buttermilk. The blue section is a double load of Deep Midnight Blue and Winter Blue. The strokes on this section are Light Buttermilk. The center ‘c’ petals are a double load of Yellow Ochre and Light Buttermilk The center is a mix of Tomato Red and Russet. The dots around the center are Light Buttermilk. The crosshatching between the outer petals are the red mix topped with a dot of Banana Cream. 9. Cream Flowers- Figure 9 The petals are a double load of the Persimmon mix and the light yellow mix.

Figure 4

Figure 7

August 2018 Issue

Painting World Magazine Outline the petals with two strokes of Light Buttermilk with a dot of Banana Cream between them. The strokes between the petals are the Persimmon mix. The strokes on the petal are Honey Brown. The center is Tomato Red surrounded with dots of Light Buttermilk. 10. Dot Flowers- Figure 10 The four dots are Light Buttermilk with a center dot of Tomato Red. 11. Filler Green Strokes- Figure 11 The main stem and curls are Plantation Pine. The largest green strokes are a mix of Plantation Pine and Light Avocado.

The next strokes are Light Avocado. If there is an area for a third stroke it is a mix of Light Avocado and Wasabi Green. 12. Center Bead- Figure 12 Shade the outer edge of this bead with a float of Deep Midnight Blue. The long ‘s’ strokes are a mix of Honey Brown and Yellow Ochre(1:1). Shade the tips with a brush mix of Honey Brown and Milk Chocolate. Highlight the center of the ‘s’ stroke with a sheer streak of Banana Cream. Between the ‘s’ strokes are three fine lines of Tomato Red.

Figure 8

Figure 9

August 2018 Issue

Figure 11

Painting World Magazine This line drawing is full size.

Figure 10 & 13

Figure 12

August 2018 Issue

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

Painting World Magazine This line drawing is full size.

13. Outer Bead- Figure 13 Using a sharp #4 flat, do ‘s’ strokes along the edge with a double load of Winter Blue and Deep Midnight Blue. The Deep Midnight Blue side is toward the design. Add tiny dots of Tomato Red between the ‘s’ strokes.

14. Erase any visible tracing lines. Basecoat the back of the plate with Colonial Blue. Varnish with three coats of your favorite satin acrylic varnish. Allow 24 hours between coats for complete curing.

Enjoy !

August 2018 Issue

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

Painting World Magazine

Harvest Friends Welcome by Karen Wisner Dyar Paint these harvest friends to welcome all your fall friends. I have used a scalloped bottom plaque but this would be a great design to increase in size and paint on an old ironing board! About Karen I have loved art since I was a very young child. I remember getting an art set from Santa when I was 8, that was the beginning. I always wanted to be a cartoonist, so my style of painting is usually whimsical, but I still paint other styles when the mood hits. I travel teach but have spent most of my teaching time in Italy, which is now my second home with lots of people I love very much. I have authored many books, patterns and magazine articles. Just when I think my creative mind is sucked dry, it starts in again! I love sharing the love of painting with everyone I can.

August 2018 Issue

Painting World Magazine

Helpful Hints: Use the round brushes to basecoat: the 0 script liner to paint large vines; the 10/0 script liner for fine detail lines and the 10/0 for cracks, details and highlight strokes; the 3/4” and 1” flat wash to float background areas and large color floats; shaders to float color, shade and highlight; the fabric rounds to drybrush highlights and cheeks; the mop to blend floated areas; the Q-tips to use as a mini mop. Refer to the pattern, for shading (////) and highlights (::::), as you paint. Floating a wash of color: wet the surface, then load your brush with more paint then for shading, applying in the same manor. Use the mop or Q-Tip to blend, let dry, then do other parts of the design. I work from top to bottom so I never run into a wet paint area. I clean the mop brush as I use it by lightly scrubbing it on a damp paper towel, then drying it on my pant leg. This way it is always clean and dry The plaque is made from MDF. Whenever I paint on MDF, I cover the entire surface with Gesso, then prep the surface as usual. I use this technique for any slippery surface.

August 2018 Issue

Surface:

Mediums:

• Tall Scallop Dome Plaque #31-L452 from Cupboard Distributing, www.cdwood.com

• Americana Acrylic Spray Sealer/Finisher DAS13 • DecoArt Acrylic Gesso TXFP06

DecoArt® Americana® Acrylics:

Miscellaneous Supplies:

• Antique White DA058 • Avocado DA052 • Blue Chiffon DA193 • Burnt Sienna DA063 • Cadmium Yellow DA010 • Dark Chocolate DA065 • Dioxazine Purple DA101 • Evergreen DA082 • Graphite DA161 • Honey Brown DA163 • Jade Green DA057 • Lamp Black DA067 • Light Buttermilk DA164 • Light Cinnamon DA114 • Milk Chocolate DA174 • Moon Yellow DA07 • Persimmon DA293 • Raw Sienna DA093 • Shading Flesh DA137 • Slate Grey DA068 • Snow White DA01 • Soft Sage DA207 • Tangerine DA012 • Uniform Blue DA086 • Williamsburg Blue DA040 • Winter Blue DA190 • Wisteria DA211

Brushes: • 3/4” & 1” flat wash • #1, #3 and #8 round • #20 & #16 shader • #10/0, #5/0 & #0 script liners (long bristles) • Mop 1/2” • Fabric round 1/4” & 1/8” • Stippler 1/4”

• Black Micron Pen 01 • Stylus with a small end • Dark Transfer Paper • Tracing Paper • Q-Tips • Seasponge • 3/8” Star Stencil • Rusty Wire #11-53513 www.cdwood.com

Preparation: Sand plaque and wipe away dust. Dip larger seasponge into water, then squeeze out excess so it is just damp. Place some Gesso on the paint palette, dip sponge into Gesso to load. Pounce the Gesso onto the plaque until it is all covered, let dry, then repeat with another layer. Once the Gesso is dry, apply a coat of Light Buttermilk to the entire plaque, let dry, then apply one more layer. Allow the paint to be completely dry before transferring design lines. 2.Trace patterns onto tracing paper using the Black Micron pen. 3.Transfer basic design lines onto the surfaces, using the small end of a stylus and transfer paper. Transfer detail lines as needed.

Painting Instructions: Background Areas: Sky and Land: Float the sky color using Winter Blue and the land areas using Honey

Painting World Magazine Brown. Shade the land area using Light Cinnamon. Shade the sky using Williamsburg Blue, let dry then deepen the shading in the darkest areas using Uniform Blue. Stipple stars using Snow White. Moon: Color float the moon using Moon Yellow, let dry. Shade moon using Burnt Sienna. Drybrush moon highlights using Snow White. Paint the bats using Lamp Black, let dry. Sky and Land: Float clouds using Snow White, let dry. Stipple purple haze using Wisteria. Deepen the darkest land shades using Dark Chocolate. Paint tiny corn stalks and grass blades using Milk Chocolate.

Scarecrow: **Vines and wheat will be painted at the end of the instructions. Head: Float the color using Antique White (including the lower ruffle), let dry, then shade with Honey Brown. Deepen shading using Milk Chocolate, let dry, then paint cracks. Basecoat nose using Tangerine, let dry, then shade with Burnt Sienna. Highlight using Snow White, floating edge highlights and drybrushing inner highlights. Drybrush Shading Flesh cheeks. Paint Lamp Black eyes. Paint Milk Chocolate stitches and detail lines on the ruffle. Paint highlight strokes on the nose and eyes.

Color Floats and Basecoating

Hat: Float color using Raw Sienna, let dry. Shade with Light Cinnamon, let dry, then paint cracks. Deepen the shading on the darkest areas using Dark Chocolate. Highlight hat using Light Buttermilk. Bandanna: Float color using Jade Green, let dry. Paint lines using Evergreen, let dry, then shade. Drybrush highlights using Snow White. Coat and Purple Pocket Patch: Basecoat using Wisteria, let dry. Paint details on the jacket and dot the pocket using Dioxazine Purple, let dry then shade. Float and drybrush highlights using Snow White. Deepen the darkest shaded areas using Dark Chocolate.

Shade and Details

August 2018 Issue

Painting World Magazine Buttons: Basecoat the rectangle button using Cadmium Yellow. Float the color on the round button using Moon Yellow. Shade the yellow button using Burnt Sienna and the round button using Milk Chocolate. Highlight the round button using Snow White, let dry, then paint strokes and dot both buttons. Blue Pants and Blue Coat Patch: Basecoat using Blue Chiffon, let dry. Shade using Williamsburg Blue, let dry. Paint details and cracks using Uniform Blue, let dry and deepen the shading, let dry. Float a small amount of Dark Chocolate on the darkest areas of the pants and blue patch. Highlight the upper and lower pocket patch using Light Buttermilk. Paint the black stitches and threads on all the buttons and patch pocket using Lamp Black, then dot ends using the stylus ends. Twig Arms and Banner: Float twig arm color using Milk Chocolate, let dry, then paint the crack details. Color float Antique White on the banner, let dry. Shade banner using Honey Brown, let dry, then paint details. Deepen shading on the twig arms using Dark Chocolate, let dry, then pull tiny twigs off the “finger” areas. Deepen the shading on the banner using Light Cinnamon. Drybrush and float highlights on the banner, let dry. Paint Lamp Black letters, “Harvest Friends Welcome”.

Ghost: Ghost: Shade ghost using Honey Brown. Basecoat collar using Wisteria. Deepen ghost shading at the darkest areas using a small amount of Milk August 2018 Issue

Chocolate. Shade the collar using Dioxazine Purple, let dry, then make dots. Highlight the ghost and collar using Snow White. Drybrush Shading Flesh cheeks. Paint Lamp Black eyes and mouth. Paint ghost stitch lines using Honey Brown. Paint Snow White highlight strokes. Sunflowers: Float flower centers using Milk Chocolate.

Basecoat flower petals using Cadmium Yellow. Float Jade Green leaves and stems. Shade the petals using Burnt Sienna, let dry, then paint petal detail lines. Shade stems and leaves using Avocado. Highlight leaves using Moon Yellow. Highlight petals using Snow White, let dry, then make center dots and paint highlight strokes. Paint Avocado leaf details.

Painting World Magazine

Pumpkins: Basecoat the pumpkins using Tangerine and the leaves using Soft Sage. Float stem color using Milk Chocolate. Shade pumpkins using Burnt Sienna and leaves using Avocado. Shade the stems using Dark Chocolate, let dry, then paint the detail lines (make sure to pull the stem squiggles as you add the lines). Deepen the darkest shaded pumpkin areas using another layer of Burnt Sienna. Deepen the stem shades using a small amount of Graphite. Drybrush pumpkin highlights using Moon Yellow. Drybrush large stem highlight using Light Buttermilk. Highlight leaves using Moon Yellow, let dry, then float a small amount of Burnt Sienna on the leaves (see photo). Paint Avocado detail lines on the leaves.

This line drawing has been reduced by half. Please enlarge 200% for full size.

Crows: Float crow color using Slate Grey, let dry. Shade using Graphite. Deepen shading using Lamp Black, let dry, then paint tiny legs and dot eyes.

Cat: Float color using Slate Grey, let dry. Shade using Graphite. Drybrush cheeks using Shading Flesh. Deepen shading, at darkest areas, using Lamp Black, let dry, also float a nose. Paint tiny black hairs, stitches,whiskers and eyes. Paint tiny hairs on the outer ears using Snow White and paint a stroke on eyes and nose.

Vines, Tiny Leaves & Berries/ Wheat: Paint vines using Dark Chocolate. Paint tiny leaves using Avocado, let dry then shade using Jade Green (use the Q-tip for a mini mop). Dot dark berries using Burnt Sienna and light berries using Moon Yellow, using the large and small ends of the stylus. Paint the scarecrow wheat strands using Avocado, let dry. Paint the tiny wheat kernels using Moon Yellow.

Finishing: 1. Spray the entire painted surfaces using Matte Spray Varnish; let dry, then repeat. 2. Using pliers, cut a 2 foot piece of rusty wire. Curl all but 1 1/2â&#x20AC;? on each end. put end through the holes, to form a hanger, and twist into place. Adjust the size of your hanger.

August 2018 Issue

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

Painting World Magazine

Halloween Cutie

by Cindy Mann Vitale

This design was inspired by my appreciation of the artwork of vintage post cards. Iâ&#x20AC;&#x2122;ve always been in awe of the colorful presentations, often featuring lovable children, in celebration of the seasons. I hope you have as much fun painting my Halloween Cutie, as I had creating her!

Folk Art Card with Stand August 2018 Issue

Painting World Magazine

About Cindy My first experience with decorative painting began in 1979 when I signed up for Tole painting classes. The technique was Priscilla Hauser’s one stroke technique using oils. Since I couldn’t keep my fingers out of the wet paint, I never finished a project! Eventually, I discovered bottled acrylic paints, began creating my own designs, and the journey began. Diane Cappocia happened upon my work, and through her recommendation, I became an author with Plaid. Through the years, my designs have been published in hard copy decorative magazines, and recently, in digital publications. More currently, Cabin Crafters has published several of my instructional books. Thankfully, I’ve accomplished several of the items on my bucket list. Designing, and publishing, and creating home décor and fabric. With the Lord’s blessing, I’ll have many more years to continue my love for art and possibly achieve all my goals.

Surface: Large Folk-Art Card with Stand Cabin Crafters, #103536

DecoArt ® Americana® Acrylics:

Royal® and Langnickel™ Brushes:

• Warm White DA239 • Titanium White DA01 • Grey Sky DA111 • Lamp Black DA067 • Pink Chiffon DA192 • Baby Pink DA031 • Razzle Berry DA276 • Alizarin Crimson DA179 • Spa Blue DA277 • Teal Green DA107 • Orchid DA033 • Brilliant Purple DA353 • Royal Purple DA150 • Light Buttermilk DA164 • Banana Cream DA309 • Moon Yellow DA07 • Tangerine DA012 • Canyon Orange DA238 • Georgia Clay DA017 • Lemonade DA252 • Avocado Dip DA254 • Avocado DA052 • Light Mocha DA241 • Mocha DA060 • Cocoa DA259 • Light Cinnamon DA114 • Raw Sienna DA093 • Burnt Umber DA064

• Rounds: 2250 Series: No. 1, 3, 5,8 • Liners: 2595 Series: No. 1 • Glaze/ Wash: 2700 Series: 1 inch

DecoArt ® Mediums: • DecoArt® Americana® Dura Clear Ultra Matte™ brush-on varnish DS-60 • DecoArt® MultiPurpose™ Sealer DS-17 • DecoArt® Americana® Matte Spray Sealer/Finish DAS-13 • DecoArt® Deco Magic Brush Cleaner DS-3

Miscellaneous Supplies: • Pencil, eraser, ruler • Tracing paper • Transfer paper, grey • Wet palette, or plain white coated paper plates • Water bin • Paper towels • Very fine grit emery cloth, or piece of brown paper bag • Zig® Millennium pen, black ink, .005 • Spatter tool or old toothbrush •

Preparation: 1. Sand wood, and wipe away dust. 2. Seal the wood with the Americana Multi-Purpose Sealer. 3. Mix the sealer in an approximate 50-50 ratio of water to medium. 4. Brush an even application over the entire surface. 5. Allow to completely dry, and repeat, to ensure that the entire surface has been evenly saturated. 6. The wood grain almost always raises due to the water in the sealer, or varnish. This is a desired result for me. I don’t want to paint over a slick surface. A surface that is slightly rough, provides some ‘tooth,’ which allows the base coat, and the shading applications, to grab into the wood.

August 2018 Issue

Painting World Magazine 7. When the application has dried, I determine if the surface should be sanded by running my fingertips gently over the surface. If the surface is so rough it feels uncomfortable, then I sand very lightly, just enough to slightly ‘knock down’ some of the raised grain. I use either a piece of very fine emery cloth, or a small square of brown paper bag for sanding.

Since I knew I wanted to use a warm color for the background inset, I chose Light Buttermilk for a neutral base to begin the process.

Painting the Design:

Instructions: Transfer the Design: As a rule, I prefer to transfer the larger design elements onto the sealed surface and paint in the background around the design. The exception would be if the background color is a shade of white. Figure 1 Note: The corner scrolls transfers are incomplete at this point. 1. Transfer only the outline of the banner, the checkerboard borders, the oval insert and the harlequin background. Do not transfer the details. They will be added later. 2. Transfer the scrolled corner designs. I transferred the white striping, but these could be added after the base coat. Figure 2 Figure 1

Very often I have difficulty deciding what colors to use. As the design develops, I often change my mind, perhaps once, or even several times.

The Posies and Candy Banner with Checkerboard Edges: 1. Banner Background: Base coat with Warm White. 2. Checkerboard Edges: Base coat the white areas with Warm White. Basecoat the pink areas with Pink Chiffon. Shade with diluted Baby Pink. Intensify with a third shading application of highly diluted of Razzle Berry. Float a very small amount of the highly diluted Razzle Berry over the Warm White areas. 3. Posies and Candy design: Transfer when the background area is dry. Do not transfer the interior details such as the center details Figure 2

for the large pink posies, veining on the leaves, dots on berries. 4. Candy Corn: Base coat the bottom area of the candy corn with Tangerine mixed with Warm White in a 50-50 ratio. Shade with highly diluted Canyon Orange. Base coat the center area with Banana Cream. Shade with Moon Yellow, followed by a small amount of highly diluted Raw Sienna. Base coat the tip of the candy corn with Warm White. Float a small amount of highly diluted Canyon Orange up along the edges of the candy on each side. Add a high light with Titanium White along each side to give a shiny effect. I create the highlight in a slightly jagged line. Figure 3 5. Large Pink Posy: Base coat with Pink Chiffon. Shade with highly diluted Razzle Berry. Use a final shading application of highly diluted Alizarin Crimson to deepen. Transfer or freehand the center of the posy in place. Base coat with Lemonade. Shade with highly diluted Avocado. Transfer or freehand the posy center. Base coat with Lemonade. Shade with highly diluted Avocado. Using Grey Sky on the tip of a liner brush, place small dots around the center of each posy. When dry apply a wash of highly diluted Lamp Black, making some light, and some darker. Freehand or transfer the yellow spokes around the center. Base coat with Moon Yellow. Shade the area close to the posy center with a small amount of highly diluted Raw Sienna.

August 2018 Issue

Painting World Magazine

Artist Note about Shading: Here is a photo of one of my favorite brushes.

the shading mixture. The brush should not be filled completely with the shading mixture. 5. Begin shading by placing the brush tips close, but not exactly on the edge, of the area being shaded, pressing down gently so that all the bristles are moving over the surface, as shown in illustration.

1. The shading mixture is water and paint, diluted in a range of ratios from 50:50 up to 5% paint and 95% water. The ratio depends on the intensity of colors being used. For dark colors I use a ratio of 5% paint to 95% water. 2. Once the shading mixture is correct for the desired result, select a brush size that is in proportion to the area being shaded. For small areas, I use a liner brush, or a small round. For larger areas, I use a range of sizes from a 5 all the way up to a 10 round. 3. The brush should be filled with water, but not dripping. Tap out excessive water droplets onto a paper towel. 4. Move only the tip of the bristles into edge of the puddle of

11. In most of my designs, I use at least two, and sometimes three, colors to create the final effect. A base coat, the first application color of shading, and possibly a second color of shading to deepen and intensify the contrast. 12. With some designs, I have used as many as five shading applications, either with the same shading color, or as a total with two different shading colors.

The frayed bristles work well to distribute the shading mixture evenly over the surface. I begin with a new brush, and over time, this will be result. Despite the appearance of the bristles, this brush is now perfect for my use! My shading mixture, the application process, and my ‘fuzzy’ brush all work together to create the soft watercolor effect of my designs.

thin shading applications helps to maintain the contrast between the base coat and the shading and keep the colors crisp.

6. Work in small areas, or ‘grids’, so the shading mixture can be worked out of the brush quickly, and evenly, to keep the edges soft. 7. If you have too much water in the shading mixture, or in the brush, bleed out can occur. Simply mop up quickly with a clean brush. Allow to dry, and begin again. Despite my many years of painting, this still happens, so don’t be discouraged. 8. This is not a one-step process. The first shading application is simply a foundation, or a base, to begin the process. 9. The result of the first application will often appear blotchy. Do not expect a perfect air brushed look, especially in the first application. Even with several applications of shading, the result can still be somewhat mottled in appearance. 10. It’s best to start very light and build up gradually to the desired intensity. Applying the

13. Be sure to allow each shading application to completely dry before applying the next layer of shading. Do not continue working over a wet area trying to fix, or repair, a problem if you are unhappy with the result. Overworking an area pulls up the previous layer of shading and creates a ‘hole.’ The secret to this technique is practice, practice, practice. I recommend working on water color paper for practice sessions for an affordable, throw away surface. Do not be concerned with perfection. Keep in mind that there’s lots of room for error. Adjusting, fixing, and maybe even some patching, as you work along, is perfectly acceptable. In all the years that I have been painting, I still make a mess! I just mop up, allow to dry, fix the problem, and try again!

August 2018 Issue

Painting World Magazine and the ends of the wrappers, with highly diluted Teal Green. Allow each application to dry, and repeat to deepen contrast.

Figure 3

Highlight the ends of the wrappers with Titanium White and add a highlight along each side of the candy in a jagged line for a shiny effect. 6. The Leaves: Base coat with Lemonade. Shade with Avocado Dip. Add a final application of highly diluted Avocado for contrast. Use diluted Avocado to create the vein down the center with a liner brush. Be sure to maintain the contrast with the light background.

9. When all the painting has been completed in the banner area, float thin washes of corresponding colors around the design elements. These washes of color are meant only to compliment the design, not totally obscure the background, so keep the applications very light.

7. Purple and Yellow Berries: Base coat the berries with Banana Cream. Deepen a few berries with a wash of Moon Yellow. When basecoat is dry, begin shading half of the berry with a highly diluted wash of Brilliant Purple, being sure to maintain the contrast of the yellow base coat.

10. Examples: Float a thin wash of Avocado around the leaves. Float a thin wash of Alizarin Crimson around the Pink Posies. Allow for gaps, so the colors do not mix together and become muddy. Float a thin application of Burnt Umber across the top, and around to the sides of the banner.

Repeat applications to build intensity.

The Harlequin Background:

Add a dot of Lamp Black with the tip of a liner brush on each berry. Refer to pattern, or photo, for placement.

1. Scrolled Corners: Transfer the design. Base coat the black area with Grey Sky. Shade with Lamp Black.

8. Blue Wrapped Candy: Base coat the candy, including the ends of the wrappers, with Warm White. Freehand, or transfer, the stripes.

Paint in the white inset with Warm White. Float some of the highly diluted Lamp Black over some of the Warm White basecoat.

Base coat the stripes with Spa Blue. When dry, shade the stripes, August 2018 Issue

Base in the orange areas with Tangerine. Shade with Georgia Clay. Figure 3

2. Harlequin Design: Base coat the white shapes with Warm White. Allow to dry. Float some of the highly diluted Lamp Black of the Warm White areas to shade. Base coat the black shapes with Grey Sky. Shade with multiple applications of Lamp Black taking care not to lose the contrast with the Grey Sky base coat. 3. Pink Dots: When all the base coating and shading are complete freehand, or transfer, the pink dots at the diamond points. Base coat with Pink Chiffon. Deepen with Alizarin Crimson. The Oval Inset: 1. Background: Base coat with Light Buttermilk. Shade over the area with Moon Yellow. Add a little more shading with highly diluted Raw Sienna to deepen around the Halloween Cutie. Transfer, or freehand, the horizontal line at the feet. Shade with several applications of Raw Sienna to deepen. 2. Polka Dot Border: Transfer, or freehand, the polka dots around the oval inset. Base coat with a 50-50 mix of Tangerine and Warm White. Each dot can vary slightly in size and color. Deepen by shading with Tangerine. The Halloween Cutie: 1. Transfer the outlines of the design, but do not transfer the details until the base coating has been completed. 2. The Clown Costume: Base coat with Warm White. Shade with highly diluted Burnt Umber to create the effect of gatherings, and folds, in the fabric. Freehand, or transfer, the polka dots in varying sizes on costume.

Painting World Magazine Freehand, or transfer, the pompoms on the clown costume. Base coat the polka dots, and the edging around the collar, with Grey Sky. Shade with highly diluted Lamp Black. 3. The Pom-Poms on the Costume: Base coat heavily with Grey Sky on the tip of a liner brush. Tap Lamp Black in the wet Grey Sky base coat, to create a ‘fluffy’ appearance. 4. The Hat: Base coat, and shade, the same as the costume. Freehand, or transfer, polka dots, and the pompom and ribbon bow. Paint the pom-pom, and the ruffle, the same as with the pom-poms on the costume. Transfer the Figure 4

ribbon bow after the hair has been completed. Base coat with Grey Sky and shade with Lamp Black.

Figure 5

5. The Shoes: Base coat with Grey Sky. Shade with Lamp Black. 6. The Socks: Base coat with Warm White. Shade with Lamp Black. Freehand, or transfer, the stripes. Paint on with highly diluted Lamp Black. Float some of the diluted Lamp Black over the white areas to shade. 7. The Face and Hands: When painting the facial details and hands, I blend the colors by working with the paint wet-on-wet. Begin by base coating the face area and the hands with a 50-50 mix of Light Mocha and Mocha. If this still seems too dark, add a little Warm White to the mixture. When dry, transfer or freehand the eyes, nose and mouth. Figure 4 8. The Eyes: Base in with Warm White. The eye color is optional. I opted to use Teal Green. Base in the eye area with Warm White. Paint in the eye color. Fill in the center of the eye with Lamp Black. Add a high light with Warm White. Paint a thin line of diluted Burnt Umber along the eyelid for accent. 9. The Mouth: Base coat the lips with Baby Pink.

Shade with Alizarin Crimson. Paint in the smile with Warm White. 10: Final Steps for the Face: Use Cocoa to shade around the face, the eyes and mouth, to create the nose, and to shade the hands and fingers. Refer to the photo to assist in placement. Create the cheeks by patting on highly diluted Baby Pink in very light layers with the tip of a small round brush, keeping the edges very soft. Apply the paint in layers to gradually build to the desired intensity. If you prefer a deeper shade, add a small amount of Razzle Berry to the Baby Pink. When the eyes and the facial shading have been completed, transfer or freehand the eyebrows. Paint on with Light Cinnamon. 11. The Hair: Base coat with Tangerine. Pull Canyon Orange through the wet Tangerine base coat with the liner brush. For added contrast add a few strands of Canyon Orange and Light Cinnamon. 12. The Pumpkin Bucket: Base coat with Tangerine and Warm White mixed together in a 50-50 ratio. Shade with Canyon Orange. Add a third application of shading using Georgia Clay. Figure 5

August 2018 Issue

Painting World Magazine Freehand, or transfer, the eyes, nose, and mouth.

Figure 6

Varnishing: 1. Dilute the varnish approximately 50-50 with water.

Base coat the eyes and nose with Moon Yellow. Shade with Raw Sienna.

2. Brush mixture evenly over the surface when all the painting applications are dry.

Base coat the mouth with Warm White. Paint on a thin outline around the mouth area with Baby Pink. Shade around the mouth with Alizarin Crimson.

3. Allow first application to dry and apply a second coat to ensure adequate coverage. Antiquing:

Shade the smile (teeth) with highly diluted Lamp Black.

• Antiquing is optional, but I hardly ever skip this step. I find that the antiquing application makes the perfect surface for the inking step.

The teeth are drawn in later with the pen after the varnishing and antiquing are completed. The Purple Posy and Leaves: Base in the posy center with Moon Yellow. Shade with RawSienna. Base in the petals with Orchid. Shade with Brilliant Purple, followed by a third shading application of highly diluted Royal Purple. Base coat the leaves with Lemonade. Shade with Avocado. 13. The Cat Clown on a Stick: Base coat the clown hat, including the pom-pom and ruffle, with Pink Chiffon and Baby Pink in a 50-50 ratio. Shade with Razzle Berry. Freehand, or transfer, the stripes. Base in the stripes with Warm White. Shade over the stripes with diluted Alizarin Crimson. Figure 6 Base coat the cat’s face with Grey Sky. Shade with Lamp Black. Freehand, or transfer, the eyes, nose, and mouth. Paint in the mouth area the same as for the Pumpkin Bucket. Base coat the ribbon with Grey Sky. Shade with Lamp Black.

Freehand, or transfer, the stripes on the ball. Paint in with Warm White. Shade over the stripes with diluted Alizarin Crimson. Paint on the jingle bells with Baby Pink. Shade with Razzle Berry. Transfer, or freehand, the dots Figure 7 around the center. Base in with Grey Sky. Shade with highly diluted Lamp Black.

• Do not apply the antiquing solution until the varnish application is completely dry. • I prefer using Deco Art Americana Burnt Umber mixed with water for my antiquing solution. The ratio I suggest

14. I painted the back of the FolkArt card and the edges with Lamp Black. Another consideration is to paint a design on the back so the card can be used more often.

15. Base coat the base with Lamp Black.

Base coat the stick, and the ball on the end, with Baby Pink. Shade with Alizarin Crimson. August 2018 Issue

Painting World Magazine is 5% paint to 95% water. The mixture should have a rather inky consistency.

I decided to sand the top corners of the card, as well as the edges, and corners, of the wooden base.

Figure 8

• Do not over fill the brush. ‘Less is more’ is the best approach. Adding more antiquing later is better than trying to remove too much. • Begin in the corner, brushing a very thin application of antiquing along the edges of the surface, then feathering in toward the center. I prefer to keep the center of the design lighter. • Check the sides of the surface, for drips and/or runs. Figure 7 shows the surface after one application of antiquing. Inking: Inking is an option. Many prefer a softer result. I wanted to offer a comparison to demonstrate the benefits of inking for this design. And yes, I missed inking an area on the candy corn, but caught up to fix the omission later! Figure 8 • Inking adds pop to the design pulling out the elements of the design. • Inking is an easy way to add details that would be more difficult (and impossible for me!) with paint and brush. • And inking can be a simple way to hide some small mistakes. • My preference is the Zig Millennium pen with a .005 point for almost every design.

The sanding is subtle. I just didn’t have the heart to sand too heavily after working so long on the details! choose only the elements of the design that you want to emphasize. There are times that my hands shake, which obviously interferes with good results! If this is also a problem for you, or you have trouble in drawing a ‘straight line’…here are a few good tips. Don’t try to draw a straight line! And don’t be concerned with perfection. The solution for me is to make shorter, broken lines. It’s much easier and mistakes are not as apparent! Sanding: When I want to add a worn effect to a design I sand very lightly with fine grit emery cloth. If the exposed wood appears too light, simply darken with more antiquing. This can be done before painting while prepping the surface and then again to remove paint from the surface.

Figure 9 shows the top corner of the Folk-Art Card Edge and corner of the base. Spattering: • I use an old toothbrush for the spattering step, since I don’t mind getting paint all over my fingers. • Lamp Black was used for this design. • If the paint seems too thick, dilute very slightly, and then test spatter pattern before spattering surface. • Cover the Cutie’s face with paper before spattering. I used a piece of paper towel. Figure 10 (page 38) shows the spattered design. Final Finishing: I don’t always apply a final finish to my designs. However, if an item will be handled frequently, I spray on the Americana matte finish for a protective finish.

Figure 9

• Inking details are added after the varnish and antiquing have been applied. Always ensure that the surface is completely dry before beginning the inking step. • Inking the entire design is an option. It’s possible to pick and © 2018 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 2018 Issue

Painting World Magazine Figure 10

Oops! When the varnish was dry, I sat down to apply the antiquing, and while looking at the finished design, I felt something was missing. But what? Not enough color… not enough ‘pop!’ The pumpkin was too plain. What to do? Add a posy, of course! I love flowers and add them to almost every design. But, here comes that big ‘Oops!’ moment. I’m done with all the painting and varnishing.

I have found that one application gives an adequate result. Follow the manufacturer’s instructions.

Is it too late? As the old saying goes, it’s never too late! So, I went back to the original sketch to draw the posy on the tracing paper, just to be sure of the placement and size. This photo shows the design after the varnish has dried, and the surface is ready for antiquing. • After drawing the posy and leaves on the tracing paper, and the concept ‘in my head’ I drew the posy, and leaves, onto the pumpkin freehand. However, it’s a very easy process to simply transfer the ‘added’ design to the pumpkin the same as with any other design transfer.

August 2018 Issue

• Once the posy, and leaves, were added to the surface, I did an underpainting with Warm White. • Follow the step by step instructions for the ‘lastminute’ posy included in the instructions above. • The process will be seamless now that the original design, and instructions, have been altered. But, I felt it would be beneficial for me to share my rather ‘crooked path’ through the design process, to demonstrate there are ways to work through problems, and/or, changes. Photos Step One: Warm White Step Two: Base coat the posie Step Three: Painting and underpainting posy and leaves shading completed • When the painting and shading are completed, and dry, for the posy and leaves, apply varnish. Rather than applying another varnish application over the entire surface, I simply patted a small amount of varnish on the posy and leaves with a liner brush.

Painting World Magazine

This line drawing is full size

August 2018 Issue

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

Painting World Magazine

Art Illustrator

David Walker Creates Illustrations that Amplify Emotion In Magical Settings With All-Embracing Zeal by Nicole Borgenicht

“To think that I could possibly create a favorite image for a child, play a part in making a book more memorable, or even add to a special moment as a parent and child read a good night book together is both humbling and inspiring.”

First Grade Here I Come, written by Tony Johnston, Published by Cartwheel Book

- David Walker An uncanny start for an art illustrator, David Walker had at first thought of becoming a veterinarian. Not exactly a non sequitur as he shares an enormous love not only for children but also for animals in his many illustrated books. These animal extraordinaire personifications include the delightful Amazon bestseller written by Ann Whitford Paul If Animals Said I Love You and their new series book If Animals Kissed Good Night, as well as Bob Dylan’s Nobel prize winner in Literature, titled as his uplifting song/lyrics: If Not For You. A sentimental humorist at heart,

August 2018 Issue

Painting World Magazine DavidWalker in his studio, photo credit Meghan Caudill

Walker says, “While I always knew I wanted to be an artist (Especially once I realized you had to go to a lot of school to become a veterinarian, and didn’t get to just pet animals all day), I took a bit of a winding path to illustrating children’s books. I was an Illustration major at Kansas University, and upon graduating I was offered a job as an Art Director at Hallmark Cards.” At that time, Walker had considered his work with other people’s art as graduate school, and seven years later he started licensing his own artwork for greeting cards, baby

Sadie, David’s dog and “paper chewer”

bedding, Christmas ornaments and calendars. “It was one of those calendars finding it’s way into the office of an editor at Farrar Straus Giroux Children’s Publishing” Walker says, “that began my journey into doing children’s books. That brave editor, Melanie Kroupa, picked up the phone and asked if I would like to illustrate a children’s book with her, and 15 years later I have somehow managed to illustrated about 50 titles!”

Bears On Chairs series of books published by Candlewick Press, written by Shirley Parenteau

Thriving in originality of animated characters with full emotional expression, he composes illustrations with detailed designs in multilayered tones. Walker shares his thoughts on the dichotomy between the logic of his painted marks to the resulting display of feeling. “I’ve been asked how I capture expression in both the children that I paint or the animals in my books, especially since their eyes are simple dots. Maybe my surprise answer to that is credited to years of studying figure drawing. Even in a less than realistic rendering of a character, the slouch of a shoulder, © 2018 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 2018 Issue

Painting World Magazine If Not For You by Bob Dylan published by Athenium Books

positioning of arms and legs, still has to feel natural and believable. But while my applying my life drawing instruction to my characters allows me to capture what I see in my mind, having the benefit of watching my two daughters as they moved, sang, danced, cried, and laughed while growing up provided a constant source of inspiration that I call upon everyday when I create my art.” It was an exciting surprise to Walker when he was asked to illustrate Bob Dylan’s picture book: If Not For You, published May 2016 by Athenium Books For Young Readers. “The publisher wanted an interpretation of the song lyrics to appeal to young children, while the obvious draw of Bob Dylan would appeal to the parents and grandparents,” says Walker. “It was an incredibly fun and challenging project to work on. The song lyrics needed to be entirely true to the song itself and couldn’t be adapted in any way to the book, so it was my job to help turn what was originally a love song into a book that a child could connect with.” Nonetheless, professionalism to be open and revise in successful arenas entails changes even with top industry artists. And David Walker provides an example of how the ingenuity Your Mommy Was Just Like You, written by Kelly Bennett and published by G.P. Putnam’s Sons, and imprint of Penguin Publishing.

of marketing or new designs often makes the difference. The anecdote below is about a book that has garnered the most sales to date. If Animals Kissed Good Night written by Ann Whitford Paul and published by Farrar Straus Giroux originally in 2008, and then re-released in 2014 continues to be Walker’s best selling book in the U.S. Walker says, “It held on somehow through pretty average initial picture book launch, but fortunately FSG asked me to create a new cover and they moved it into their board book line. With those changes it took off and is now a continuous Amazon Best Seller, and has been the catalyst for several follow-up titles in this series, the most recent of which is the newly released If Animals Said I Love You, also written by Ann Whitford Paul.” Farrar Straus Giroux also published the above mentioned new title in October 2017. In this genre, even with repeat writer-illustrator projects, frequently there is actually very little strategizing between illustrators and writers. Instead the editor at the publishing house is the main communication source for the artist. In this way, the editor and publisher “manage the vision for the completed collaboration” says Walker. In terms of a powerful style, David Walker’s illustrations nurture kids in positive ways throughout their early years. “Giving a voice or expression to an animal or creating a magical environment that doesn’t have to be held by the constraints of reality

August 2018 Issue

Painting World Magazine Several books illustrated by David Walker

to contracts, to managing your schedule, to the jobs you take) will determine in large part if you can actually make a comfortable living.” On his bucket list, as with most illustrators, Walker would like to both write and illustrate at least one book. Another goal is to implement more of his direct pencil sketches into books. And lastly, as a landscape painter, he’s had a few shows and says, “working on them is a great way to re-charge some creative batteries for my children’s books.”

is a large part of the fun of this job.” David Walker says. “While I always try to do the best work I can while painting a book, I also have to constantly remind myself that I am creating these pieces for children, and not let my personal artistic interests or ego get in the way. For example I may as an illustrator want to explore painting darker, moodier, more dramatic images, but communicating well with the age of my audience and bringing the manuscript to life should always be the primary goal of a successful children’s book illustration.” Walker describes the focus and aim of an illustrator as well as a few of his own insights about the work. “It’s my job as the illustrator to stay true to the manuscript, but it’s also my job to make every turn of the page as interesting as I can. Setting the visual “pace” of a book is critically important. What I mean by that is in a story there are often both slow moving build ups as well as action packed “pay off” sequences (I think of it as a roller coaster), and I try to spread these images out in such a way that the flow of the book holds a child’s interest throughout.” In addition Walker shares a little advice on how the art and business coalesce. “I can’t emphasize enough that the way you handle the business of creating art (from the licensing,

David Walker describes his Painting Process, showing a sample image of the lion family from If Animals Said I Love You by Ann Whitford Paul: Step One: My work begins with a hand rendered pencil sketch using any mechanical pencil I have around and just cheap copier paper. When I have the sketch worked out (remembering to leave plenty of room for the words, of course) I do a black and white photocopy of the pencil drawing at either full size or slightly larger, as it’s always better to reduce a painting when being printed as opposed to enlarging it. Step Two: The copy is attached to the back of the paper I will paint on: 3 ply Strathmore Bristol 500 series, vellum surface, and placed on my light table. The light table allows me to see the sketch without having to re-draw it as a guide for my painting. Step Three: So now I’m set up, my paintings begin with an ochre colored thin wash over the paper covering the white. Once dry, I begin applying acrylic colors. I use Liquitex Heavy Body acrylics, working from the broadest areas into the more detailed parts. My colors are mixed and applied in multiple layers in a “dry brush” technique that allows one color to show through behind another, and often gives the look

August 2018 Issue

Painting World Magazine If Animals Said I Love You written by Ann Whitford Paul Published by Farrar Straus Giroux

of pastels. And after years of buying expensive brushes, I now just use middle grade brushes (no particular brand) and throw them away when they no longer hold their shape.

Step Four: The final step is maybe the biggest payoff as I paint the eyes and mouths of the characters, hopefully bringing them to life! My palette: I’m not at all rigid about how I set up my palette from one painting to the next, but I mix virtually every color I apply to my painting (no “tube painting” allowed!). Here are the basics that I use: Titanium White, Mars Black, Phthalocyanine Blue, Manganese Blue, Light Blue Violet, Yellow Medium Azo, Turners Yellow, Hookers Green, Raw Sienna, Raw Umber, Naphthol Red Light. I add to that palette several other colors depending on the image I’m painting, but these basics do most of my work for me. Remember, you can’t mix to a brighter color, so if you really like the brights, buy those when picking out your paints. Other materials David Walker sometimes uses, comprise: Micron pens and Caran D’Ache water-soluble wax pastels to alter his style and create new ways to interpret each story. As a skilled artist, in addition to books, Walker has developed patterns that reproduce well in the textile industry and shares his process below with a sample image of these patterns: “I still begin my work by hand (using any old mechanical pencil I have around and cheap copier paper -- I go through a LOT of paper for my sketches which is why I have gravitated toward working on paper that comes 500 sheets to a pack!). Once I have my art created in a repeat pattern for fabrics, the colors are done as flat call-out colors as opposed to being painted and scanned; I choose the colors and design placement, and the graphics team at the fabric manufacturer prepares the art and plates for August 2018 Issue

printing. The process is wildly different that creating an illustration for a book, but in the end, the goal of an appealing character, color, and scene is the same.”

You can view more of David Walker’s current work and behind the scenes images from the studio on his Instagram account @davidwalkerstudios plus at this website: www.davidwakerstudios.com

Painting World Magazine

Festive Fall

A Collaboration by Jillybean Fitzhenry and Sandy McTier Sunflowers turn to follow the sun, conveying warmth and happiness. They make us smile just like warm sunshine touching our face. What better to have than a Sunflower glass of wine to make us smile and a festive coaster to set it on!

August 2018 Issue

Painting World Magazine

Festive Fall Wine Glass: • Large Wine Glass, available from the Dollar Tree

DecoArt® Gloss Enamels:

About Sandy:

About Jillybean: “I live in a dream world when I’m painting and bright bold colors always inspire me -- just like the beautiful colors of a sunflower. Being able to share my designs with others has truly been a blessing. That little sparkle in someone’s eye when they realize they can do something they didn’t think they could is so inspiring. ”Over the last 30 years my painting has taken me to wonderful places and given me so many exciting opportunities. I’m a Past President of the Society of Decorative Painters, travel teacher, author of many painting books, video lessons and hundreds of pattern packet designs. I plan to continue dreaming until all my dreams come true.” Look for Jill Fitzhenry on Facebook and at Dynasty Painting Friends group. You can also find her on Pinterest.

August 2018 Issue

Sandy’s passion for painting and creating over the last three decades has lead her on an incredible artistic journey. She is a published artist, designer and teacher who enjoys sharing her gifts and talents. Sandy creates in a variety of mediums, from acrylics to oils and clay to colored pencils. She has taught at her local Hobby Lobby for over a decade and travel teaches around the United States and Asia. Sandy is a proud DecoArt Helping Artist and Dynasty Artisan She is a wife of 27 years to a U.S. Air Force Veteran and mom to three amazing young men, ages 23, 22 and 21, and a little dachshund. Look for Sandy on Facebook at Sandy McTier Designs and #BeInspired FB Group. You can also find her on Twitter, Pinterest and Instagram. Figure 1

• Antique Gold DAG09 • Avocado DAG52 • Bright Orange DAG228 • Dark Chocolate DAG65 • Foliage Green DAG269 • Primary Yellow DAG201 • True Red DAG129 • White DAG01

DecoArt® Gloss Enamel Frost • White DAGF02

Jillybean Glass Art Brushes by Dynasty Available from www.jillybean.net • Glass Art, 10/0 liner • Glass Art, #1, #3 rounds • Glass Art IPC oval foam, small & large

Miscellaneous Supplies • Tape • Paper towel • Palette paper • Water bowl • Scissors Figure 2

Painting World Magazine

Festive Fall Coasters:

Festive Fall Wine Glass

• Wooden Coaster - 4 1/2” Sq, available from www.BearWithUsInc.com

Preparation:

• Stencil: Poppy Wallpaper 6x6 Stencil TMSTD002, available at www.TracyMoreau.net

DecoArt® Americana® Acrylics: • Buttermilk DA164

DecoArt® Media Fluid Acrylics • Raw Umber DMFA37 • Quinacridone Gold DMFA32 • Quinacridone Magenta DMFA35 • Green Gold DMFA14 • Sap Green DMFA07 • Titan Buff DMFA38

DecoArt® Mediums • Multi-Purpose Sealer DS17 • Soft-Touch Varnish DMM26

Dynasty Brushes • 3/4” Black Gold Flat Wash • 1/2” Stencil x 4 • 3/8” Black Gold Angle

Miscellaneous Supplies • Identi-Pen – Black • Pencil • Ruler • Paper Towels • Palette Paper • Water Bowl • Small Sanding Pad • Hand Sanitizer • Baby Wipes

Clean the glass with dish soap and water. Rinse with clean hot water. Wipe it dry with a soft cloth. Try to avoid getting fingerprints on the area you will be painting. Don’t use the dishwasher to prewash the glass because it may leave a residue on the surface. Make a copy of the pattern and cut all excess paper from around it. Tape the pattern inside the glass. Try cutting some of the elements out separately to tape them on. You can also cut slits between the elements of the design so it forms to the round glass. Color Mixes Burnt Sienna = Dark Chocolate + True Red + Bright Orange (1:1:2) Pale Yellow = Primary Yellow + White (1:2) Pale Green = Foliage + White (1:2)

Painting Instructions: Use the oval foam brushes to gently pat the White Frost around the bottom half of the glass. Make the top edge of the frost area like a roller coaster so you don’t have to do a straight line. You may need two coats. Allow it to dry completely between coats so you don’t lift the paint. Sunflower Center Use the tip of the small round brush to stipple Burnt Sienna mix in the center of the flower. Next, stipple Antique Gold in the very center and Dark Chocolate on the top half. Figures 1, 2, 3

Helpful Hints: Use the paint full strength whenever possible. Too much water will break down the bonding agent that allows the paint to adhere to the glass. Do add a drop of water to the paint to make thin lines or if it becomes too thick on your palette. Try to use very little pressure when pulling a stroke or filling in an area. When you apply too much pressure, the paint won’t cover the area as well. If you make a mistake, simply wipe it off and try again. To fix small booboos, use a toothpick or a micro stylus. Allow areas to dry completely before applying a second coat. Sunflower Petals Use the size brush that best fits the area – small round for smaller areas, large round for larger areas and liner for thin lines and tiny details. Pull the brush strokes in the direction of the petal vein lines – tip to base. That way, if you have ridges, they will look like veins and add more interest. Don’t try to smooth out the ridges or the petals will look too flat. Base the largest petals around the outside with a double load of color. Fill the brush with a generous amount of Primary Yellow and then also pick up a

August 2018 Issue

Painting World Magazine either the highlight or shading colors, you can always add thin lines of the original base color in the petal center. Figure 3

Figure 3

Stroke Design

a cold oven. Turn the oven to 325 degrees and bake for 40 minutes. Then turn the oven off but leave the glass in the oven until it is completely cool. I prefer to hand wash my painted glassware.

Fill in the strokes with Foliage Green. Figure 4

generous amount of Bright Orange on the bottom of the brush. Don’t mix them together. Let there be streaks of both colors in each stroke. Reload often and use lots of paint. Small center petals are filled in with Primary Yellow using lots of paint. Figure 1 Highlight the tips of the large petals using thin lines of Primary Yellow on the back ones and the Pale Yellow mix on the front ones. Highlight the center small petals using thin lines of Pale Yellow mix on the back ones and White on the front ones. Figure 2 Shade the base of the large petals with thin lines of Burnt Sienna mix on the back ones and Bright Orange on the front ones. No shading on the small center petals. If you get carried away with Figure 4

August 2018 Issue

Highlight the tips of some of them with thin lines of the Pale Green mix and some of them with the Pale Yellow mix. Just have fun with the colors. It’s not necessary to highlight all the tips. Figure 5

Festive Fall Coaster Preparation

Shade the base on half of them with thin lines of Bright Orange first and then Burnt Sienna mix. Shade the rest with thin lines of Avocado. Figure 6

Load the 3/4” Flat Wash with Light Buttermilk and paint the coaster. Let dry. Give a light sanding if necessary.

Band on Stem Add a Burnt Sienna line around the top of the stem where you stopped with the frost. Then add a wider band below using Bright Orange. The Bright Orange can be stippled on or simply filled in.

Finishing You will want to bake the glass in your oven to make the paint more permanent. Allow the glass to dry 1 – 2 days. Then place it upside down on a cookie sheet in Figure 5

Load the 3/4” Flat Wash with the Multi-Purpose Sealer and paint the coaster. Make sure to get the sides as well. Let dry.

Instructions I wanted to give the coaster the look of a palette or slatted wood – not just a plain coaster. So I added lines! Measure from the edge and draw a line across the coaster at 1 1/2” and 3”. Go over the line with an Identi-Pen. Figure 7 Load the toe of a slightly damp 3/8” Angle with Raw Umber. Float the color on both sides of the black lines. Walk the brush out just a bit so that you get a nice float of color. Let dry.

Figure 6

Painting World Magazine

Helpful Hints: After loading the stencil brush with paint, wipe almost all of it off on a paper towel. I like to use a circular motion, going opposite directions to make sure I get almost all of the paint off the brush. You can always stencil over an area a second time to make it darker if desired. I used four (4) stencil brushes so that I didn’t have to wash one out between colors. Note: I like to wash my stencil brushes with hand sanitizer. Once it evaporates, the brush is dry and ready to use again. Use a clockwise and counter clockwise circular motion when stenciling over the stencil. This will keep any excess paint from building up on the inside edges of the stencil cut outs. Load the stencil brush with Raw Umber and wipe the majority of the paint off on a paper towel. Dry brush in a few places on the coaster. Come in from the left a little, from the right and a little in the center. If you get it too dark, simply load the stencil brush with Titan Buff and wipe the paint off on a paper towel. Dry brush over the Raw Umber. Let dry. Wash the stencil brush with hand sanitizer and wipe off on a paper towel so that it’s dry and ready for the next step. Figure 8

Figure 7

Stencil Brushes & Stencil I was going for a watercolorish look and loved the way the colors seamlessly blended right into the next. Load each stencil brush with the following colors: Sap Green, Green Gold, Quinacridone Gold and Quinacridone Magenta. Wipe most of the paint off of each brush onto a paper towel. You might have to reload the brushes and wipe the paint off a couple times while stenciling. Figure 9 Lay the stencil over the coaster; tape down to your surface, if desired, to keep the stencil from moving. Start with the Quinacridone Gold brush and lightly stencil over the poppies. Use the brush with Quinacridone Magenta along the bottom of

Figure 9

Figure 8

the poppies. Then stencil the Sap Green on, followed by the Green Gold. You can move the stencil around to get more of the flowers where you’d like them. Let dry. Figure 10

Splatters – Optional Load a very wet 3/4” Flat Wash with Titan Buff and tap the middle of the brush on the handle of another brush to splatter some Titan Buff onto the coaster. Let it sit for a couple seconds and then lay a soft paper towel over the coaster and lightly touch. This will give it a “stained splattered” look. Rinse brush. Load with Quinacridone Magenta and repeat. Let dry. Wrap a baby wipe around your index finger. Then, on the very

Figure 10

August 2018 Issue

Painting World Magazine

This line drawing is full size

tip of your finger, load a bit of Raw Umber. Run it back and forth to work it into the baby wipe. With your hand on the inside of the coaster, run your finger along the edge of the stenciled area. You can also do this to the sides if you’d like. Let dry. Figure 11

Scottie’s

Folk Art

Bavarian

Figure 11

Bavarian Quick and easy painting fun!

Finishing Touches Load the 3/4” Flat Wash with SoftTouch Varnish and varnish the coaster. Let dry. Repeat for added durability.

August 2018 Issue

Visit Scottie’s online shoppes at www.bavarianfolkart.com

Gato Blanco

Painting World Magazine

(White Cat) by Mabel Blanco

Who can resist those beautiful eyes? Mabel Blanco uses this captivating subject to teach techniques for painting fur and eyes. About Mabel Mabel is an Argentinian artist, and a Senior Lecturer on drawing and painting. She’s a member of the National Society of Tole and Decorative Painters and the Tango Decorative Artists of Argentina.

In 2013, she was an honorary member of Decorative Painter Italia. She’s also a member of the board of directors of the National Museum of Decorative Painting in Atlanta, Georgia. Mabel has been a Helping Artist and a Traditions Artist for DecoArt®, and Jansen Art gave her the title “Traditions Artist” in 2004. Mabel has taught many classes, including classes at seminars and conventions. She participated in a national TV program in Bolivia

in 2011, and taught seminars in Milan, Italy in 2011 and 2012. Mabel has won several awards over the past twenty years, and is the founder and coordinator of a school that helps artists become decorative painting teachers.

August 2018 Issue

Painting World Magazine

Surface:

sliding up and down so that the outlines of the hair are marked in an irregular way because they belong to an animal.

• 30 x 40 cm Canvas (approx. 11 1/2” x 15 1/2”)

DecoArt® Traditions:

The brushstrokes direction are made following the animal shape. Look at the photo.

• Titanium White DAT 35 • Warm White DAT 36 • Yellow Oxide DAT12 • Light Grey DAT 39 • Cobalt Blue Hue DAT 55 • Carbon Black DAT 42 • Permanent Alizarin Crimson DAT 51 • Burnt Umber DAT 46 • Burnt Sienna DAT 44

• Flat 1”, #10 • Liner #1 • Round #3

You must paint the short hairs around the ears with thinned Titanium White and Carbon Black.

Using the mix of Burnt Sienna + Titanium White + alizarine (1:2) and a touch of Permanent Alizarin Crimson, paint inside the ears. Figure 1

Separate the toes and the legs with Burnt Umber acrylic, making a float with the flat #8 brush.

Painting The Coat • Wet the point of the liner brush in the diluted paint • Wipe the excess on the palette • Support the brush on the surface • Slide and lift

Preparation: With a clean cloth, clean the canvas and sand it gently.

Paint the hair using liner brush and Titanium White diluted with water.

Instructions: Background Basecoat the upper 3/4 area with 1” flat and a mix of Yellow Oxide + Warm White. Darken with a little more Yellow Oxide on the left and add Warm White to the right. Paint the lower part with Titanium White and a touch of Permanent Alizarin Crimson. Let dry.

Use Carbon Black to paint a few hairs at both sides of the head.

Paint the light areas with Light Grey + Titanium White (2:1). Respect the length of the hair.

With the #3 round and Carbon Black outline the eyes and mouth.

Synthetic Brushes:

Look at the photo and follow the direction as indicated on the line drawing. Paint several layers. Keep in mind the darkness, making watered grey.

With a floating technique and Burnt Umber, paint both sides of the chest. Ears After painting a basecoat, use the #10 flat with Carbon Black + Burnt Umber (1:1) to make a float around the inner contour of the ears. Figure 2 Let dry. Paint the short little hairs inside the ears with a liner brush and diluted Titanium White. Then paint the long hairs on the inner edges which go from the inside out.

Figure 1 Figure 2

Transfer the pattern with carbon paper and with dotted lines mark the lights and shadows. Using flat #8 brush and Light Grey with a touch of Carbon Black, paint the dark zones. The brushstrokes, at a 45-degree angle, in the shape of a saw, August 2018 Issue

Painting World Magazine Figure 3

Nose Paint all the nose using the #3 round and Burnt Sienna with a little Titanium White. Figure 4 Let dry, then lighten that mixture with Titanium White and add a highlight in the central area. Figure 5 With the #3 round and Carbon Black, paint with saw brushstrokes over the nose.

Figure 4

Eyes Using round brush with Cobalt Blue Hue and a touch of Titanium White, paint a full eye, very even. Figure 6 If necessary, paint twice, because the eyes are two perfect little glass marbles where everything is reflected. Let dry. Paint the pupil with the same brush and Carbon Black. Let dry. The pupils must be the same height and equal size. Using floating technique and the #10 flat with Carbon Black, paint the upper eye area. This is the shadow of the eyelid on the eyeball. Figure 7

Figure 5

Iluminate the lower zone of the eyes with the #3 round and Cobalt Blue Hue with a touch of Titanium White. Then with Titanium White, paint dots in the lower right area. Add the reflected light with diluted Titanium White with water. With same brush and diluted Titanium White paint like a cloud between the pupil and the iris. Let dry and place a point with Titanium White acrylic. Figure 8 Let dry and varnish.

Using the liner brush and LC make hair up to the height of the eyes and with Yellow Oxide to both sides of the same area. Figure 7

Figure 8

Figure 6

August 2018 Issue

Painting World Magazine

This line drawing has been reduced by half. Please enlarge 200% for full size.

Note to reproduction companies/ stores: The bearer of the original color magazine has full rights to have this drawing reproduced and enlarged one time for personal use. This notice has been printed in red ink for verification of authenticity.

This line drawing is full size The other pattern is on page 61 August 2018 Issue

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

Painting World Magazine

Sundrenched Blooms by Rebecca Baer

Invite a touch of sunshine indoors with this coordinating set of jars featuring two delightful background techniques accented with a variety of late-summer blossoms. The jars are further enhanced with etched stenciling along with etched backgrounds combined with crystal clear embossing.

About Rebecca Rebecca Baer is an accomplished designer, author and international instructor. She has a substantial portfolio of designs published in leading United States and Japanese publications. Rebecca is also an experienced feature columnist. She has produced an extensive line of instructional tutorials, which, along with her signature products, are marketed internationally via rebeccabaer.com.

Rebecca continues to be a leading force in the artisan stencil market. In 2001, Simply Elegant Stencils was launched, a distinctive line of stencils for the discerning painter and crafter. Spring 2006 saw the

August 2018 Issue

Painting World Magazine launch of a new line, Petite & Elegant Stencils, perfectly suited for smaller projects. This stencil series includes scaled down versions of the Simply Elegant Stencils favorites plus designs unique to the Petite & Elegant line. Rebecca rocked the stencil world again in 2015 with her innovative and imaginative collagestyle stencils. These trend-forward stencils take the guesswork out of mixing patterns. Some consist of a traditional foundation with a contemporary twist, while others are thoroughly modern. Three sizes of every collage-style stencil make it possible to use these truly unique stencils in oh-so-many ways. The only limit is your imagination.

Surface: 5 Jars with 3” Diameter Paintable Lids*

DecoArt® Americana® Acrylics: • Buttermilk DA03 • Lemon Yellow DA011 • Primary Yellow DA201 • Tangerine DA012 • Terra Cotta DA062 • Cadmium Orange DA014 • Cadmium Red DA015 • Russet DA080 • Blue Mist DA178 • Desert Turquoise DA044

DecoArt® Neons: • Scorching Yellow DHS1 • Torrid Orange DHS2

DecoArt® Chalky Paints and Wax: • Timeless ADC04 • Artifact ADC43 • Clear Wax ADM01

Deco Art Media Fluid Acrylic and Varnish: • Quinacridone Gold DMFA32 • Ultra Matte Varnish DMM24 (or preferred sheen)

Rebecca Baer®: • RB Stenciling Gel • RB Grey Palette Paper • Rebecca Baer® Stencils Fanfare | Small ST-632

Petaline | Small ST-629

Brushes by Rebecca Baer®: • 3/8” RB Classique™ Angle 1100 • #7 RB Classique™ Round 1000 • #3 RB Classique™ Round 1000 • 20/0 RB Classique™ Liner 1050 • 0 RB Classique™ Script Liner 1020 • #1 RB Artiste™ Stenciler 500

Miscellaneous Supplies: • etchall® Crème Stencil Adhesive Spray etchmask Squeegee • Small piece of nylon or Magic eraser • Viva Paper Towels (it is important that these are smooth with no embossing)

• Water bin • Sponge Wedge • Small spray bottle filled with water • Talcum Powder • Palette Knife • Saral Transfer Paper White • Ball-tipped Stylus • Coarse Sanding Sponge (Sherwin Williams) • Compass • Scribe-all pencils Black & White • Sharp Craft Knife

Preparation: Use a 3/8” angle to basecoat the sides of each lid with Timeless chalky paint; stop at the rolled edge of the lids to create a clean line. Then use a sponge wedge to apply the same color to the flat top of each lid. To do this, first pounce the color out on your palette so that there are no ridges. Then apply to the surface by pouncing. This method results in a smooth application with no brushstrokes. Use a compass to mark the width of the checked band along the perimeter of two surfaces—these will be used for the dimensional technique. You can space the compass as wide as you wish to adjust the width of the border. Use a gentle touch so as not to scratch the uncured base. Figure a

* I’ve used jars with 3” diameter lids (from the Dollar Tree) along with the small Fanfare stencil (ST-632). These patterns can be enlarged to fit differently sized surfaces and paired with the medium or large version of the Fanfare stencil (ST-8032) or (ST-1232). August 2018 Issue

Painting World Magazine

Painting Instructions: Background Treatment:

Helpful Hints: A picture is worth a thousand words but video is even better. Register for video access during the free enrollment period (July 1-August 31, 2018) then watch the video as needed to paint the lids. Once enrolled, your access to the video is not limited. The free enrollment window has an end date of August 31, 2018. Enrollment after this time will be available for a fee. https://rebeccabaerecourses.teachable.com/p/ sundrenched-blooms/ I’ve used Chalky paint as a dual purpose primer and basecoat because of it’s capacity to bond with many surfaces. I provide specific ratios for mixtures but I tend to brush mix the colors to keep the elements from seeming too uniform. Brush mixing provides subtle variations in hue, temperature and value resulting in a more interesting painting.

Figure a

Figure 1

Dimensional Stenciling (2 lids) 1. This process is used for the lids that will not be further decorated with the floral paintings; those lids will use a flat procedure to allow for the painted blossoms. 2. Following the instructions and safety procedures on the label, spray the back of the Fanfare Stencil with etchall stencil adhesive. When dry, position on one lid as desired 3. Combine RB Stencil Gel (visually estimate about twothree tablespoons) with talcum power to create a paste and tint with Timeless chalky paint. Mix with a palette knife until thoroughly combined. 4. Use a palette knife to gently spread the gel over the stencil. Although the image makes it appear that my palette knife is flat, it is not. The knife should be angled so that you are using the edge to spread the gel mixture. If you lay the knife flat the gel will cling to it and lift the stencil. Figure 1 5. Remove the stencil. Clean the stencil immediately with water. If you must delay cleaning, submerge the stencil in water to prevent the gel from drying on the stencil.

6. Use a damp 3/8” angle to clean up any gel that overlaps the line defining the border. Figure 2 Likewise, use the same procedure to emboss a second lid. Set these aside to air dry. Layering Colors (all lids) Lightly spritz each lid with water. Saturate a smooth paper towel and wring out the excess so that it remains damp. Pick up a small amount of Artifact Chalky Paint and tap a few times on your palette to remove excess. Tap randomly over each lid allowing areas of background to remain. Use a 3/8” angle to randomly apply diluted patches of the same color; dry. Figure 3 In the same manner, apply Blue Mist. Use a wet 3/8” angle to dab at the paint and soften any hard edges and allow some puddles to form and drip this same color down the sides of each lid. Figure 4 After this has dried you should see some darker areas created by pooling of the diluted (watery) Blue Mist. Lightly spritz each embossed lid with water. Use a stiff fan to spatter the lids with Desert Turquoise, thinned to an ink-like consistency. To do this, load the brush with the thinned paint and drag down over a palette knife so that the bristles fling paint at the surface. To create large drips, load

Figure 2

Figure 3

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Painting World Magazine Figure 4

Figure 5

the brush heavily with watery color and tap the brush on the palette knife to force drips. Figure 5 Layering Colors (all lids) Next, add some random spatters and watery drips of Timeless Chalky Paint to all of the lids. Figure 6 Sanding (embossed lids) Lightly sand the raised stenciling to highlight the dimension. Figure 7 Flat Stenciling (3 lids) To accommodate the detailed painted blooms this decorative background remains flat. Reapply adhesive to the stencil if necessary. Position the Fanfare stencil as desired (I used a different placement for each lid) and gently swirl over the stencil with Timeless Chalky Paint on a #1 Stenciler. To do this, load the brush with the desired color Figure 8

Figure 6

Figure 7

and wipe on a clean, dry paper towel. Remove most of the paint so that the brush is mostly dry. Use the color remaining in the brush to stencil the design. Allow the color to fade in the open areas so that the background is softened but not hidden. Figure 8

that it is semi-translucent and fill each petal with lengthwise strokes. At this point the image of the flowers appears to have a soft focus because there are no strong, crisp lines. Figure 9

Use a compass to mark the width of the checked band along the perimeter of the surfaces. You can space the compass as wide as you wish to adjust the width of the border. Figure a

The centers of the flowers are blended in place using a #3 round.

Rotate your lid to determine where to best place your flowers so that the desired portions of the background are visible. Transfer each of the flower patterns with white Saral transfer paper and a stylus. Flowers Stage I Use a #3 round to establish the petals on each flower as follows. Thin Buttermilk with water so Figure 9

Flower Centers

For the first yellow flower begin with a brush-mixed medium-light value using Buttermilk, Cadmium Orange and Cadmium Red to create a salmon hue then add Russet to reach a warm, light red-brown. Apply this to the lightest region at the top of the center. Then add Russet along both sides and the front; blend in place. Apply the deep base for the filaments surrounding the center with Russet. Figure 10, row 1 Strengthen the darks with Russet if needed and warm the top and left of the flower center with Cadmium Red. The center of the second yellow flower is painted using the same colors. Refer to the photos for value placement. Figure 10, row 2 The center of the orange flower is painted using Buttermilk, Cadmium Orange and Russet for the lighter value (no Cadmium Red) and Russet for the darks. When dry, warm with a wash of Cadmium Orange if necessary. Figure 10, row 3

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Painting World Magazine naturally. Because the values are relatively close, and you want the petals to show some linear texture, smooth blending is not necessary.

Figure 10

Orange Bloom: In the same manner paint the petals of the remaining flower using brush-mixed variations of Terra Cotta + Cadmium Orange 1:tch (dark), Tangerine + Terra Cotta 1:1 +/- (medium) and Primary Yellow (light). Flowers Stage III Figure 12 Yellow Bloom (w/ russet accents):

Flowers Stage II Figure 11 The two yellow-base flowers use the same colors while the orange flower is slightly different. If you can no longer see your pattern lines either re-transfer or sketch them in with a chalk pencil.

Figure 11

Yellow Blooms: Use brush-mixed variations of Primary Yellow + Terra Cotta 2:1+/- (dark), Primary Yellow (medium) and Lemon Yellow (light) to each petal with a #3 round. Thin the paint slightly and apply with shape-following strokes pulled the length of each petal. Refer to the photos to help with placing values but keep in mind that it is not necessary to be exact. Use the different values to help define and separate the individual petals. You may need to add a touch of Buttermilk to the Lemon Yellow if you are not getting the desired definition in the light areas. The Buttermilk makes the Lemon Yellow more opaque. Place the values in succession while the paint remains wet. Some blending will occur

Use brush mixed variations of Tangerine + Terra Cotta + Cadmium Orange 2:1:tch, side loaded on a 3/8â&#x20AC;? angle, to apply shading to the petals and create depth. This is applied at the base of the petals (where they connect with the flower center and on underlying petals where they overlap. Refer to the step-bystep image and note that the front petals show a bit of yellow where they connect. To accomplish this, apply the shading at the base then use the clean side of the brush to lift the edge of the float from area that stays yellow.

Figure 12

August 2018 Issue

Painting World Magazine With Tangerine + Cadmium Orange 1:1 side loaded on the 3/8” angle, use the tip of the brush to pull irregular streaks, radiating outward from the center, on the petals to create visual texture. With Cadmium Orange + Cadmium Red + Russet 1:1:1 side loaded on a 3/8” angle, begin adding the russet-like hue to the petals. This is built up in several transparent applications to reach the desired depth of color. Incorporate irregular streaks, radiating outward from the center, on the petals to create visual texture. The last, and darkest application is Cadmium Red + Russet 1:1. This covers the smallest area. Use this to create deep shadows to separate the petals where needed and also to create the darkest streaks. Yellow Bloom: Use brush mixed variations of Tangerine + Terra Cotta + Cadmium Orange 2:1:tch, side loaded on a 3/8” angle, to apply shading to the petals and create depth. This is applied at the base of the petals (where the connect with the flower center and on underlying petals where they overlap. With Cadmium Orange + Terra Cotta 2:1 side loaded on the 3/8” angle, deepen underlying areas to further separate the petals. The darkest application is Cadmium Orange + Cadmium Red + Russet 2:1:1. Use this to create deep shadows and pockets of dark in triangular and crescent-shaped dark areas. Orange Bloom: Use brush mixed variations of August 2018 Issue

Cadmium Orange + Figure 13 Cadmium Red + Russet 2:2:1, side loaded on a 3/8” angle, to apply shading to the petals and create depth. This is applied at the base of the petals (where they connect with the flower center, where they curve away from the viewer, and on underlying petals where they overlap. Use the tip of the brush to pull irregular streaks, radiating outward from the center, on the petals to create visual texture. Several transparent layers to reach the desired depth of value will produce smoother results than a singular application. The final, and darkest value is Russet. Use this to create deep shadows to separate the petals along with pockets of dark in triangular and crescentshaped dark areas and also to create the darkest streaks. Flowers Stage III - Figure 13 Yellow Bloom (w/ russet accents): Use a brush mixed combination of Primary Yellow and Tangerine to pull fine rays of yellow on the front petals where they meet with the flower center. To do this, thin the color to an inky consistency and apply with a 20/0 liner. Then pull fine lines from the outer yellow portions of the petal inward onto the russet areas. Use this same color to define petal edges as needed. Likewise, add fine lines of Russet in the dark areas.

Reinforce shading in triangular and crescent-shaped dark areas as needed with a side loaded 3/8” angle. Strengthen highlights with Lemon Yellow + a touch of Buttermilk to increase opacity. Apply only to those areas of select petals you wish to appear foremost on the flower. Apply with a side loaded 3/8” angle. For light areas that are secondary (not as bright or as light a value) use Primary Yellow in the same manner. Yellow Bloom: Strengthen highlights with Lemon Yellow + Buttermilk 1:tch. Apply only to those areas of select petals you wish to appear foremost on the flower. Apply with a side loaded 3/8” angle. Evaluate the petals and refine shading if needed with Terra Cotta + Tangerine 1:1. Orange Bloom: Strengthen highlights with Primary Yellow + Lemon Yellow + Buttermilk 2:1:tch. Apply, with a side loaded 3/8” angle, to the

Painting World Magazine areas of select petals you wish to appear foremost on the flower.

Figure 15a

Figure 15b

Figure 15c

Figure 15d

Figure 15e

Figure 15f

Flower Centers Detail Figure 13 Varying between Tangerine, Primary Yellow and Lemon Yellow + Buttermilk 1:tch or any brush mixed combinations of the same, tap tiny dots surrounding each flower center. Apply with a 20/0 liner. Values are listed because you want to create lighter areas to the front, darker areas to the back with medium areas between, along with a few scattered values. Accents: Figure 14 Yellow Blooms: Vary between Scorching Yellow, Torrid Orange and Cadmium Red to accent individual and groups of petals to create variety. Apply transparent washes with a side loaded 3/8” angle. Note: This coloring is so subtle it is mostly not discernable in the photos; you can see where it is being applied if you access the video (see aforementioned “helpful tips”) or Figure 14

you can choose to apply in areas of like value on each flower. Orange Bloom: Apply transparent Cadmium Red washes to each petal. Begin at the base, where they connect with the flower center and end at irregular intervals covering one-half to two-thirds of each petal; dry. Strengthen in a more narrow area then retouch deepest shadows with Russet if needed. Accent with Scorching Yellow and Torrid Orange as described above. Define select petal edges with a fine line of Tangerine to show the thickness where appropriate, i.e., where the thickness would be visible or you need to create a separation between petals. Do not fully outline.

Trim: Figures 15a - 15c Thin Timeless (Chalky paint) with water so that it is semiopaque and use a #7 round to paint the perimeter of each lid as defined by the penciled border. Mark the checks using a white Scribe-all pencil and the pattern provided. Place Terra Cotta, Tangerine and Cadmium Red on your palette. Load a #3 round with Terra Cotta and stroke on your palette to flatten the brush. Alternate adding the other two colors to the brush so that each check has streaks of varying color. Trim the interior edge of the checks with Cadmium Red + Cadmium Orange 1:1. Thin to an inky consistency and apply with a 0 script liner. Antiquing: Figures 15d - 15e Working on one lid at a time, lightly spritz the top of each lid with water. Use a #1 Stenciler to apply Quinacridone Gold to the

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Painting World Magazine lid. Use a paper towel to remove excess allowing the color to remain in crevices of the embossed lids and cleaning it off of the flowers.

Figure 16a

Figure 16b

Figure 16c

Figure 16d

Figure 16e

Figure 16f

Spatter the embossed lids only with the same. Finishing: Figure 15f I am partial to a matte finish and suggest Deco Art Ultra Matte and/or Clear Wax. If you prefer a shinier finish select a different sheen and/or buff the wax to the desired sheen. Etching the jars: Variety creates interest so I have used two different methods (plus included an alternative third method) to decorate the sides of the jars. Wash the jars well or wipe with alcohol and allow them to air dry. Cut etchmask, that is a few inches larger that the sides of the jar. If you are using different jars decide what areas you would like to mask so they are not etched. To apply the mask to the jars begin at one edge and carefully remove the backing a little at a time and burnish with the squeegee as you go to prevent trapping air bubbles. (Figure 16a) Do not discard the backing paper. The perimeter of the mask should be turned up (rather than stuck down) to catch the crème. You can do this by pinching the corners. Use a template to trace a circle (I am using the center of an ornament. If you cannot find something of the desired size to fit your jars then use a compass to draw the desired size template on heavy cardstock, and then cut it out) with a black scribe-all pencil August 2018 Issue

and then use a sharp craft knife to cut the circle from the mask. As you are cutting the mask avoid lifting the knife. Figure 16b Once you have removed the circle of mask (Figure 16c) use a piece of nylon or magic eraser to remove any residual adhesive from the glass. Method 1 Spray the back of the small Petaline stencil (ST-629) with etchall spray adhesive and allow it to dry. Position the stencil on the masked jar. Figure 16d

Cover the stencil with the backing paper from the etchmask and burnish the stencil firmly in place, making sure all sections are in full contact with the glass. Figure 16e Use the squeegee to generously spread etchall crème over the stencil and allow it to remain there for fifteen minutes. Figure 16f Then use the squeegee to return the etching crème to the jar. Thoroughly rinse the jar under running water. When all of the crème has been rinsed away, remove the stencil and set it aside.

Painting World Magazine Figure 17a

Figure 17d

Figure 17b

Figure 17e

Figure 17c

Figure 17f

it to dry. Place the stencil on the etched glass, (Figure 17c) and burnish as before, making sure all sections are in full contact with the glass. Figure 17d Use a palette knife to gently spread the gel** over the stencil. The knife should be angled so that you are using the edge to spread the gel mixture. Try to keep the gel within the etched circle. Figure 17e Remove the stencil and place it in water to prevent the gel from drying until you can clean it. Use a damp 3/8” angle to clean up any gel that extends beyond the etched circle. Figure 17f

Remove the etchmask under hot running water and discard.

Then use the squeegee to return the etching crème to the jar.

Wash and dry the jar.

Thoroughly rinse the jar under running water. When all of the crème has been rinsed away, remove the etchmask under hot running water and discard.

Method 2 Use the squeegee to generously spread etchall crème over the masked glass, covering the entire circle and allow it to remain there for fifteen minutes. Figure 17a

Wash and dry the jar. Figure 17b Spray the back of the small Petaline stencil (ST-629) with etchall spray adhesive and allow

Method 3 [not pictured] ** I like the effect of the clear gel on the etched glass. It would also look nice with a touch of transparent color for a stained glass look. If you prefer to use a tinted version add a few drops of Quinicridone Gold to the gel before spreading it over the stencil. Do not substitute regular acrylics for this as they lack the transparency of the DecoArt Media Fluid acrylics.

This line drawing is full size The other patterns are on page 52 August 2018 Issue

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Painting World Magazine

Convention Etiquette by Margaret Riley Are you getting ready to go to a painting convention? You have to be excited! There’s just something about a painting convention or any convention/trade show in this industry. You can just feel the rush when you walk through the door, plus the excitement on the floor. I can remember my first convention and going to the exhibitor floor. My sister was with me and I walked through that arched doorway and said, “Oh my gosh! This is fabulous!” and “Someone somewhere had to put all this together for us! I’m going to do that someday!” Sure enough I did! I’ve learned a lot, seen a lot, and made

wonderful friends! I’ve also learned that there are some common-sense etiquette rules. Wondering what to pack? Let me help you! If you are planning on going to a convention to impress your fashion ability, you might want to reconsider. Yes, looking top notch is important but don’t wear your Sunday best to a painting convention. Even if you aren’t taking classes, paint can accidentally appear on you from nowhere. I’m told there are fairy artists lurking around corners just waiting to give your attire new coloring! You might consider an apron or an artist smock. Classrooms can be cold and a sweater is sure handy to have. It is kind of hard to hold your paintbrush steady when your teeth are chattering!

Comfy shoes….very important! You can wear nice shoes but make sure you feel pure comfort wearing them. Be considerate of close quarters and wear deodorant. Strong colognes are not recommended as many people have allergies. Shower every day and wear clean clothes every day.

Photo from the Painting World Magazine blog

August 2018 Issue

Painting World Magazine Are you are sharing a hotel room with someone you don’t know? Both of you agree on dresser drawers, desk space, and closet space. Set up a bathroom schedule. Find out bedtimes and when the other arises in the mornings. I had a roommate once that would sneak out in the mornings to go downstairs, grab a muffin and coffee, and place it on our nightstand while she took a shower. What a surprise to open my eyes to a breakfast treat! To this day, we are best of friends!! When dashing back to your hotel room between classes, be considerate of your roommate. And if returning late in the evening, progress to your room quietly as some people go to bed early to take early morning classes. It’s very annoying to have people laughing and talking loudly in the hallway if you are trying to get to sleep. If you have guests with you, check with your roommate to be sure it is ok with them and ask that person to join all of you. Oh, and a word of advice….try to get your room away from the elevator and ice machine as they can be very noisy in the majority of hotels.

Just like when you were in school, be quiet when the teacher is speaking. You certainly don’t want to miss any important instructions, do you? And if you need help, raise your hand! Every teacher I’ve ever taken from in this industry are always eager to help, because if your project isn’t great, it reflects on them as a teacher. If everyone is quiet and you know your neighbor, talk in a low voice….but when the teacher starts talking again, LISTEN! If you have booked classes close together and don’t have time to eat, plan on a snack to take with you. That does not mean a noisy bag of potato chips! And don’t “crunch” on your food to be annoying to your neighbors. I was in one class

that some lady had brought a snack for everyone in the room (I think it was peanut butter and crackers). Very nice of her! And I’ve had teachers give us mints and wrapped candy about half way through the class time. Heard enough? Good! Because I know your Momma raised you right to be considerate of others. Relax and enjoy learning plus broadening your horizons. Let’s not forget that you have probably added friends to your life. Big, big hugs when you leave and maybe a tear, too. That’s the best part of my being in this industry all these many years…. friendship! Go…ENJOY!!! And remember your manners (sound like your Momma, don’t I?).

Photo credit: Robin Prout/New England Traditions

August 2018 Issue

Painting World Magazine

Road Trip by Chris Jeanguenat

August 2018 Issue

Painting World Magazine

Many of the paintings I do, start with a trip to the thrift store. I head straight for the framed art section, looking for canvas paintings (framed or unframed). With luck, I’ll find an old painting on canvas, with a good amount of surface texture. These thrift store finds are perfect for upcycling/repurposing in to a completely new painting. If you can find one that is framed, even better! The frames can often be repainted or left “as is”, which is a bonus. The “Road Trip” painting is one such piece, bought at my local thrift store, and completely repainted. New OR used canvas works well for this painting.

Surface:

Preparation:

20”x 24” canvas

Prep the Canvas

Annie Sloan Chalk Paint:

If using a previously painted second hand canvas, remove the frame if there is one, and save for later.

• Antoinette • Old White • Florence • Emperor’s Silk Substitutes: Folk Art - Conch Shell (pink) 6447, Vintage White K515, Adrift 6460

DecoArt® Americana® Acrylic: • Scarlet DA345 • Sour Apple DA275

Plaid® Folt Art Paint: • Aqua JA481 • School Bus Yellow K736 • Burnt Sienna JA943 • Pure Black K479

Brushes: • Medium flat brush • Small brush • Large brush for prepping canvas

Miscellaneous Supplies: • Artist’s marker such as Faber Castell Brush Pen ( black) • Compressed graphite for sketching • Paper towels • Water

About Chris Chris Jeanguenat has her studio in her hundred year old home in Suffolk, VA, with her youngest son, husband and two sweet pitbulls. She draws inspiration from her hidden, secret garden, tucked neatly in the middle of downtown, unseen by the world around her.

I use quite a bit of chalk paint for my paintings, but acrylic works equally as well. They also work well together. Paint the entire canvas and sides in a pale, soft pink. I use Annie Sloan Chalk Paint in Antoinette. A good substitute would be Folk Art Conch Shell. Let the canvas completely dry. Sketching Once your canvas is completely dry, you can begin to sketch directly onto the painted canvas with compressed graphite. Don’t worry about any mistakes you make while sketching. They can easily be erased with a wet paper towel. Wipe the mistake away and begin again once the canvas has dried where you erased. For me, it is easier to start with the largest object first, which would be the camper. This is a teardrop vintage camper, but you can create whatever style camper you like. Start with the camper first, adding the details such as the luggage, hitch, and details of the camper (door, windows, stripes). The trees, left and right of the camper, can now be sketched in. The twistier and curvier the branches, the better. It’s ok if your graphite lines overlap, as long as you can see your sketch clearly. Any overlapping lines will be filled in with paint. The smaller details can be drawn in, beginning with the fox,

August 2018 Issue

Painting World Magazine flowers, willows, as well as the trees behind the camper. The background trees need tapering limbs drawn in graphite. The campfire branches can be as twisty and bendy as you like.

Instructions: Painting I use Annie Sloan’s Florence for the trees, but any turquoise chalk paint, or acrylic paint can be substituted. Folk Art acrylic paint in “Adrift” works well. Paint the two large trees using a small to medium flat brush. You can use the same turquoise for the lower half of the camper, or a slightly different hue for contrast, such as Folk Art “Aqua”. For the trees in the background, paint the tree trunks in turquoise (Adrift) with a small brush, dabbing turquoise between branches. For the ground, I used Annie Sloan’s “Old White” (substitute can be any white or off white acrylic paint), using the same brush I used for the larger trees. Uneven, sweeping motions create texture and more depth. For the smaller areas between tree branches, use a small, fine paint brush to get the white areas filled in. Continue using your small brush to paint the suitcase, the fox (tail, chest and cheeks), as well as the camper window. Small dabs of white can also be highlighted on the tree branches in the background. Let the paint dry for 5 minutes if you are in danger of smearing with your hand, which is the case for me! Once the paint is dry, you’ll be working on sections using red. Any bright red will work well. In August 2018 Issue

my painting, I used Annie Sloan Emperor’s Silk. A good substitute is Americana “Scarlet”. Paint the flowers, pussywillows, camper areas that are red, luggage, tea kettle and trailer hitch using your small brush. The kettle, sitting on the trailer hitch in my painting, is black. However, a good substitute would be red. For the green, (leaves and suitcase), I like a bright green, such as Americana’s “Sour Apple”. Let everything dry before beginning the outlining. The last two areas to paint: For the yellow door, I used “School Bus Yellow” mixed with white. Lastly, paint the tire, kettle trailer hitch and roof rack in black, using a fine brush. Outlining For this next part, you’ll need a clean, medium fine brush and water. Trace all the graphite lines with a wet (but not dripping wet) brush. It’s important to trace all these lines in water for the next step.

your branches will be “hidden” within the white cloudy fog, so it’s ok for them to disappear a bit. Shadowing and Antiquing For more of an antiqued/ shadowed effect, water down brown paint creating a wash for other areas such as the edges of the camper, as well as the clouds. Use a dry paper towel to mop up any areas that are too wet. For a more antiqued look, water down a small batch of brown paint, and a small batch of black paint. Using a paper towel, wipe down your painting using these to colors over the entire painting. Working quickly, use a damp paper towel to wipe back off any excess and lighten up the painting, leaving just a hint of color behind. This will allow the painting to show through, but leave a thin layer of wash, aging your painting.

Once the wet graphite lines have dried, go ahead and trace them with an artist’s marker. Be sure to use a light hand so the lines are not too thick, especially for the tree branches behind the trailer and the branches for the campfire. Creating Clouds / Fog To add clouds/fog at the top of the painting, dab white paint on a scrunched paper towel and blot the paint where you’d like them to be. You can “smooth out” your clouds with a brush as well. You can also lift the paint in areas to create thicker and thinner clouds, giving more depth. The tops of

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August 2018 Issue

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Happy Fall Yâ&#x20AC;&#x2122;all

by Marianne Andreazza This project was inspired by my favorite seasonâ&#x20AC;Śfall. I love to paint fall-themed projects because we do not have much of a fall here in Southern California. But I can always create something to remind me what a beautiful season it is. Fall is a happy time filled with wonderful family memories growing up on the East Coast. When I was growing up, the time between Halloween and Thanksgiving was purely magical, which is why I love it so much. This was my first experience with Roc-Lon as a painting surface, and I loved it! If you have never painted on it, you are in for a treat.

August 2017 Issue

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Painting World Magazine

• Emperor’s Gold DA148 • Lamp Black DA067 • Olive Green DA056 • Teal Green DA107 • Titanium White DA01 • True Red DA128 • Yellow Light DA144

DecoArt® Mediums: • Traditions Extender DATM02 • DuraClear Varnish, Matte DS60-3

About Marianne Marianne has been painting for the last 20 years, currently from her home studio in Temecula, CA. She has been honored to teach on the national level at HOOT, Creative Painting, NW Decorative Artists Convention, and the 2018 SDP Conference. She has had the pleasure to teach at several Southern California SDP chapter paint-in events as well this year. She does travel teach on a limited basis until she retires later this year from the U.S. Navy where she supports the Fleet as a Civilian doing cost and schedule analysis for acquisition programs.

Surface: Roc-Lon Fabric Cut to size (11 x 14” paintable surface) Marianne bought hers from www.bearwithus.com

DecoArt® Americana® Acrylic: • Avocado DA052 • Burnt Sienna DA063 • Burnt Umber DA064 • Cadmium Yellow DA010 • Canyon Orange DA014 • Cranberry Wine DA112

Preparation: Prep the Canvas Cut the Roc-Lon for an 11 x 14 painting surface, leaving 1” wide strips on the sides that are 3” long. Your cut surface will look like the picture below. When you are done, you can either use Velcro to fold over the tabs to make hanging loops, or you can fold over the tabs and sew them on. Figure 1 Figure 1

Stamps by Stampendous • 8 x 8 Decor Cling Rubber Stamp – Leaves #DCR101

• Décor Acrylic Handle, #SSH88

Dynasty Brushes: • Black Gold Flat Wash (206FW): 3/4” • Black Gold Shaders (206S): #2, #4 • Eye of the Tiger Flats (610 Series): #8 and #12 • Black Gold Script Liner (206SL): 10/0 • Black Gold Angle (206A): ½” • Black Gold Round (206R): #2 • Mezzaluna, XL • IPC1 Point Blender, Small (23580)

Miscellaneous Supplies: • Water Basin • Paper Towels • Grey or White Tracing Paper • Stylus • Baby wipes • Brayer • White chalk pencil • Water

Instructions: Basecoat Basecoat the entire surface with two coats of Lamp Black being sure that the first layer is dry before you apply the second. When I work with dark backgrounds, I prefer to paint the entire background and then mask the design on top of it with quick coats of Titanium White. In addition, when I start designing, I often do not know where the design is going, and I don’t want to have to touch up the background later. But if you prefer to apply the basecoat around the design, feel free to do so now.

August 2018 Issue

Painting World Magazine Tracing Trace the pattern with white tracing paper if you are tracing on a black background. Trace the pattern with grey tracing paper if you painted the background around the pumpkins, leaving the design area white.

design on them. Press the stamp uniformly with the palms of your hands and release it. Repeat the process until all of the background outside of the pumpkin design is covered. The beauty of the acrylic handle is you can easily see where the design stops, so you can cover bigger areas without error. Because this is such a large stamp, you might want to practice with the stamp on another surface to get the feel of the right amount of paint as well as the right amount of pressure on the acrylic handle. Clean the stamp immediately with a baby wipe or other stamp cleaner. This was my first experience with the Stampendous Décor stamps, and I LOVE them. (http://www.stampendous. com/shop/stamps/backgroundsborders/decor-cling-leaves/) Pumpkins:

Background Stamping: Now that you have traced where the painted pumpkins will go, you’ll have less work to do with the Stampendous Décor Cling Rubber Stamps. I used the Leaves 8 x 8 stamp. Secure the stamp to its acrylic handle. On a clean sheet of palette paper, squirt out a generous puddle of Emperor’s Gold. Roll a brayer through the puddle until it is uniformly covered with paint. Apply the paint to the stamp. You must work quickly because acrylic paint dries much more quickly on the stamp than ink made for stamping dries. When the entire stamp is loaded, position the first press of the stamp on the upper left hand corner of the background. So the background design is consistent, consider the tabs in the placement of the stamp because you want the August 2018 Issue

Basecoat: Using the ¾” flat wash brush or the #12 shader, basecoat the pumpkin with one quick coat of Titanium White to mask out the black background. Skip this step if you painted your black background around the pumpkins. Wash the brush and remove the excess water with a paper towel. When Figure 2 the white masking coat dries, apply two coats of Canyon Orange to the pumpkins, making sure the first coat is totally dry before the second is applied. You may need three coats if you are

painting directly on the Roc-Lon. Sections: Figure 2 Next, use the ½” angle brush loaded with Burnt Umber in the toe and water in the heel to float shading lines on the pumpkin sections. Be sure to shade on the outer part of each line so the shading is consistent on all pumpkins. For the right side of the pumpkin, the shading goes on the right side of the line. For the left side of the pumpkin, the shading goes on the left side of the line. Also, shade the pumpkins where they join to separate them. Highlighting: Use the Mezzaluna XL brush to dry brush some Cadmium Yellow into the center of the pumpkin. The Mezzaluna bush is made especially for dry brushing and you will find that this brush makes the task a breeze. Scrub the color in the center following the shape of the section you are highlighting. To lighten the highlight, do a second coat of dry brushing using Yellow Light + Titanium White (50/50) on the centers of the originally dry brushed area. Focus on the brightest point, not the entire highlight you just painted with Cadmium Yellow.

Painting World Magazine Stems: Use the #12 shader to basecoat the stems with Avocado. Pick up some Burnt Umber on the Figure 3 same brush and work it into the stem to define the valleys/shadows on the stem. Pick up a tiny bit of Titanium White and work it into the top of the stem where it was broken from the vine. Mottle the color in this small area so that it is not uniform. With the ½” angle brush loaded with Burnt Umber in the toe and water in the heel, apply some shading to the stem

Figure 4

where it meets the pumpkin. Load a 10/0 script liner with inky Burnt Umber and paint the curly ques on the pumpkins. Figure 3 Pumpkin Leaves: I used a #8 Eye of the Tiger flat brush for these leaves because I love the dry brushed effect I get with this brush. Figure 4 Basecoat: Apply a quick coat of Titanium White with the #12 shader. When that is dry, basecoat the leaf with two coats of Avocado, making sure the first coat is dry before the second one is applied. Wipe the excess paint from the brush on a paper towel. Do not wash. Highlight: Load the same brush with Olive Green and work the paint into the brush on the palette. Dry brush the outer edges of the leaves because the background is dark, I chose to highlight the edge instead of the center to make the leaves pop. Stand the brush on the edge of the leaf and swipe it into the center but not to the center. Wipe the brush clean on a paper towel.

FALL LEAVES: Basecoat: Apply a quick coat of Titanium White with a flat or round brush comfortable for you to get into tight spaces and to paint crisp leaf tips. When the white masking coat is dry, basecoat the leaves based on the colors in the table below with a brush size comfortable to you. The leaf numbers on the table below are referenced on the pattern so you can easily identify them. I used #2 and #4 shaders for the basecoat steps. Figure 5 Blending: Use the #2 round and the IPC1 Small Point Blender to do the blending on the fall leaves. When your base coating is done, put a dime-sized puddle of paint on your palette for each of the Shade #1 and Shade #2 colors. Also put a small puddle Figure 5

Shade: Load the same brush with Teal Green. Apply the shade to the other side of the leaf in the same manner, pulling strokes from the leaf’s edge into the center, but not to the center. Veins: Make a puddle of inky paint 50/50 with Olive Green and Titanium White. Paint the veins with a 10/0 script liner. Start the stroke at the point where the leaf attaches to the pumpkin and pull the brush out towards the tip of the leaf…but not to the tip. (Refer to picture)

August 2018 Issue

Painting World Magazine of extender on the palette. The depth of the shading is up to you. These are your leaves, but be careful not to get too heavy with the shading steps so that you do not delete all of the basecoat color. You will not shade in the same places in each step. Doing so will give you a fall color, but you will yield one color versus multiple colors in one leaf. The goal is to paint a leaf that has fallen from a tree while it was changing colors.

edge and into the center of the leaf…blend any harsh lines out with the blending brush. Figure 6 Be prepared with a clean paper towel. If there is too much extender in the brush, wipe it off. Do wipe the brush clean on the paper towel when you change Figure 6

To begin, swipe your #2 round into the puddle of extender, and pull some of your shade #1 color from the puddle to blend with the extender on the brush. Apply the mixture to an edge of part of the leaf. Use the IPC1 Small Point Blender to pull the paint from the

colors. Do not wash it. Repeat this process until you have desired shading with your Shade #1 color. Let the leaf dry…remember you’ve put Extender onto the surface so it will take longer to dry. Repeat the steps with the Shade #2 color. Experiment with the color by adding more…or less… of the shading colors I used, or try different combinations. There is no wrong combination. These are your leaves. After a few times you will learn what is the right amount of paint/extender to get the depth of color you desire. When your leaves are dry, reassess your shading. Lighten or darken as desired. You can add lighter color back into the leaf doing this same process if you think your leaves are too dark. Have fun with this!

Leaf #

Basecoat

Shade 1

Shade 2

Vein

Cadmium Yellow

Canyon Orange

True Red

Inky Cranberry Wine

Yellow Light

Burnt Sienna

Cranberry Wine

Inky Burnt Umber

Olive Green

Burnt Sienna

Burnt Umber

Inky Burnt Umber

Olive Green

True Red

Cranberry Wine

Inky Cranberry Wine

Light Yellow

Burnt Sienna

Burnt Umber

Inky Burnt Umber

Light Yellow

True Red

Cranberry Wine

Inky Cranberry Wine

Olive Green

Burnt Sienna

True Red

Inky Cranberry Wine

A picture of my palette for painting the worksheet is at the top of the next page. Veins: Use inky paint and apply with a 10/0 script liner. Be sure all strokes begin from the stem and move toward (but not to) the tips of the leaves. Bug bite marks on Leaves: Use the 10/0 script liner loaded with a mixture of Lamp Black and Burnt Umber and refer to the pictures for placement. August 2018 Issue

Lettering: Trace the lettering with a white transfer paper. Use the 10/0 script liner brush or a #2 round brush to paint the letters with Canyon Orange. When that is dry, shadow the lettering with a mixture of Light Yellow and Titanium White in a 75:25 ratio using the brush that is comfortable for you. Refer to the project picture to see where the shadowing is placed.

Cutting the Bottom: Use sharp fabric scissors to cut the Roc-Lon so the bottom edge is defined by the outer edge of the leaves. I do this last because it gives me more freedom when painting. Finishing your banner: I use DecoArt DuraClear Varnish to finish all of my work. I use the matte finish so that there is no shine to compete with the subject of the painting. I used three generous coats on this

Painting World Magazine

banner because I may decide to hang it outside during fall. Suggestions for Hanging: I transformed the top tabs into loops with Velcro dots. You can sew them if you desire, but I find the dots easier to work with, and they hold up well. You can hang this banner on a dowel that you can purchase from the craft store. If you hang it on an outdoor garden

flag holder, I would suggest that you place it in a covered area to protect it from the elements and fading from the sun. I hope you enjoyed painting this Fall project with me. I would love to see your rendition of my design, and I am happy to answer any questions for you along the way. Marianneâ&#x20AC;&#x2122;s contact information is on page 78.

August 2018 Issue

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August 2018 Issue

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August 2018 Issue

Painting World Magazine

Directory of Artists

Marianne Andreazza marianne@mariannepaints.com www.mariannepaints.com

Rebecca Baer arts@rebeccabaer.com rebeccabaer.com

Mabel Blanco mabelblanco25@gmail.com www.mabelblanco.com

Nicole Borgenicht nicoleborgenicht@gmail.com

Judy Diephouse distinctj@aol.com www.distinctivebrushstrokes.com

Karen (Wisner) Dyar kdolls.designs@gmail.com www.homespuncountrycollectibles.com

Jillybean Fitzhenry JillybeanDesigns@aol.com www.jillybean.net

Chris Jeanguenat acjeanguenat@gmail.com www.facebook.com/wanderlustandart/

Cindy Mann Vitale cindymannvitale@gmail.com

Sandy McTier SandyMcTierDesigns@aol.com www.SandyMcTierDesigns.com

Margaret Riley designsbymargaret51@gmail.com

Leslie Smith

David Walker

laspaints2@gmail.com

www.davidwakerstudios.com

August 2018 Issue

Painting World Magazine

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Remember Leslie Smith’s challenge from the May/June 2018 issue? The picture on the left is painted in acrylics, while the one on the right is painted in oils.

August 2018 Issue

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