October 2018 Ornament Issue Painting World Magazine

Decorative Painting, Mixed Media, Fine Art & More!

October 2018

Painting World Issue 17

ORNAMENT ISSUE

$7.99 USA $10.35 Canada

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magazine

Cover Artist: Cynthia Erekson

Wood Surfaces, Pattern Packets and More...

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October 2018 Issue

© 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

From the Editor

Letter from the Editor ‘Tis the season! Christmas ornaments are my favorite part of holiday decorating. Our family has ornaments that we received as gifts from all kinds of people who have been part of our lives at various times. The most precious ones are from family and friends who are no longer with us. Every year they evoke beautiful memories.

ORDERS FOR BACK ISSUES BETWEEN SUBSCRIPTION MAILINGS WILL PAY ACTUAL COST TO GET THEM FROM THE US TO CANADA.

This issue is full of ornament designs for you to create and share with your loved ones.

We hope you enjoy it!

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Make sure you send us your temporary address before you go! The Postal Service HAS NOT been forwarding our magazines and we don’t want you to miss out.

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.

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

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ALL RIGHTS RESERVED ON ENTIRE CONTENTS. August 2018, Issue 16 ©Loon Publishing, LLC. Painting World Magazine is published 6 times per year by Loon Publishing, LLC., 205 South State Street, Waseca, MN 56093, USA. All rights reserved on entire contents of magazine. We are not responsible for loss of unsolicited material. We reserve the right to edit and publish correspondence unless specific commentary and/or name and address are requested to be withheld. Reproduction of editorial or advertising contents in any way whatsoever without the written permission of the Publisher is strictly prohibited. The instructions in this magazine are published in good faith and have been checked for accuracy; however, no warranty, either expressed or implied, is made nor are successful results guaranteed.

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Painting World Magazine

Conventions & Events Save the Date!!!!!!

For the 39th Annual HOOT Convention The FINAL HOOT Convention Help Us Say "Thanks for the Memories!"

New Dates for 2019!!!!

Sunday through Thursday July 14-18, 2019 Visit our website for the latest information: www.heartofohiotole.org Contact us at 614-394-8028 By email at hootconvention@gmail.com On Facebook: HOOT Chapter

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

New England Traditions Regional Convention October 2-7, 2018 Best Western Royal Plaza Hotel & Trade Center Marlborough, MA 01752 Get registered: newenglandtraditions.org

OKC Painting Palooza!

“Yuletide Treasures” 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: okcpaintingpalooza.com

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

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October 2018 Issue

© 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

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© 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.

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Contents Painting World Magazine

10 Busy Santas by Featured Cover Artist: Cynthia Erekson

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Christmas Edition Stamps by Marlene Kreutz, CDA

October 2018 Issue

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Christmas Ornaments

by Annamarie Oke

31

Gnomes for the Holidays

by Lisbeth Stull

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

Painting World Magazine

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Christmas Bells

by Nancy Scott, CDA

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Have Yourself a Merry Little Christmas

by Mila Marchetti

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Fjord Horse Christmas Ornaments

by Jan Boettcher

58

Songs of Christmas

by Barbara Bunsey, ADP

63

Christmasy Trio

by Deb Antonick

68

Holiday Medley

by Sandy McTier

ALSO IN THIS ISSUE! $$$ With Your Art: 47 Make Licensing

by Thelma Hamilton

68

of Artists, 79 Directory Advertisers and Suppliers Festivi-Tea Orchids

by Tracy Moreau

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

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Painting World Magazine

Busy Santas

by Cynthia Erekson

These Busy Santas are working hard to have everything ready for Christmas! There are stockings to sew, and toys to make and that’s just the beginning!

About Cynthia I left my job in fashion design after welcoming three children in quick succession, and needed a creative outlet. Taking a few classes in traditional decorative painting with Susie Saunders, in the early 1980’s, launched me in a new direction.

I quickly found my niche, painting in a New England Folk Art style, reproducing the look of the primitive antiques that I love. A October 2018 Issue

local painting and quilting shop soon became available…my creative friend and expert quilter Sandi Schauer and I became the new owners of The Quilted Acorn Shoppe. After 26 years in retail, as well as teaching painting and quilting, we sadly closed our shoppe to allow us time to pursue some other interests. We are so grateful to all who supported us over the years, and continue to do so!!

© 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 Together, we still travel-teach, teach and display at conventions, and continue the online sales of my patterns and surfaces. My designs, which I have now been publishing for 20 years, are aptly called “Reflections of the Past.”

You can purchase my designs at www.reflectionsofthepastpatterns. com, see new creations on my Cynthia Erekson Facebook page, or type my name into Pinterest to view many of my older designs.

Feel free to email me anytime… cynthia.erekson@gmail.com

Surface: • Two three-piece wooden Santa ornaments - 5” x 4 ½” Available from JB Wood or The Quilted Acorn (978) 314-1489

DecoArt® Americana Acrylics: • Antique Green DA147 • Buttermilk DA03 • Camel DA191 • Country Red DA018 • Dark Chocolate DA065 • Dusty Rose DA025 • Honey Brown DA163 • Lamp Black DA067 • Milk Chocolate DA174 • Olive Green DA056 • Snow White DA01 • Terra Coral DA286 • Turquoise Blue DA268 • White Wash DA02

DecoArt Dazzling Metallics: • Bright Brass DA338 ®

Silver Brush, Ltd.® Brushes: • #4, #8, #12 Designer Rounds, 2431S

• 20/0 Lettering, 2411S • 20/0 Script Liner, 2407S

Miscellaneous Supplies: • Sanding disc • Paper towels • Tracing paper • Transfer paper • Stylus • Eraser • Masking tape • Waxed palette pad • 2” sponge brush • Large (1”) and small (1/4” – 1/2”) soft stencil brushes • 3/4” or 1” flat brush • Palette knife • 2 – 1/2” wooden spools • 2 – wooden skewers (5” each) • Faux wired greenery – 18” • JoSonja Clear Glaze Medium • JoSonja Flow Medium • Red and green thread • Thin rusty wire – 44’” • Aleene’s Thick Designer Tacky Glue • 8 – 3/4”-1” Black buttons (not necessarily matching)

Preparation: Sand all wood pieces smooth and wipe off dust using a damp paper towel.

Press masking tape onto both sides of each pull-toy “base” along the bottom edges of the Santa’s coats.

This will protect the bases while the Santa bodies are basecoated.

Using the 2” sponge brush apply a “press and lift” textured coat of paint onto both sides of each Santa, and onto both sides of the Santas’ arms. Use Buttermilk for one Santa and Camel for the other.

To create this textured basecoat, squirt a large puddle of the required paint onto the palette.

Dip the broad, flat side of the sponge brush into the puddle, picking up a good amount of paint.

Begin in the center of the area to be painted and repeatedly press the brush flat onto the wood’s surface. Lift the brush straight up without bending the brush. Continue from the center out toward, and to, the edges. Reload the brush often to maintain consistency. When the wood is completely covered with the textured paint, “pat” the dirty brush over the bumpy texture to slightly refine and diminish the texture to allow for easier painting of small details.

Also, press the color onto the narrow edges of each piece. Let dry completely and remove the tape. Wash and dry the brush.

Spatter the coats and arms to add a “wooly texture”. To do this easily, squirt a dime sized puddle of paint onto the palette. Dip just the bristle tips of the large stencil brush into water. Bring the brush (don’t shake it!) over to the palette and thoroughly mix the water that is in the brush with the entire puddle of paint. This thinned paint will be the correct consistency for the spattering. Spatter the Buttermilk Santa with Camel, and the Camel Santa with Milk Chocolate.

Hold the brush over the woods’ surfaces and repeatedly pull some of the bristles toward you using a palette knife. The brush should be held in a horizontal position…the bristles need not be pointing down toward the wood.

© 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.

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Painting World Magazine Turn the brush slightly in your hand as you spatter to access fresh paint. Reload from the thinned puddles when needed.

This has been a “foolproof” method of spattering for my students, over many years, who previously had refused to spatter!

Next, press masking tape onto the bottom edges of the Santas’ bodies, leaving the pull toy bases exposed.

Repeat the woodgraining process on both sides of each base. Use the same flat brush, sparsely loaded with glaze, to tap color onto the narrow edges of each base.

Let dry.

“Press and lift” Honey Brown onto all sides of each base. Let dry and don’t remove the tape.

Woodgraining: On the center of the palette squirt out a dime sized puddle of Dark Chocolate. Around, and right next to this puddle squirt out four dime sized puddles of Clear Glaze Medium. Mix these puddles together well using a palette knife.

Onto these mixed ingredients carefully and slowly add a dime sized squirt of Flow Medium. Mix well.

Working one side of a base at a time, create the woodgrained effect on the Santas’ bases.

Heavily load the 1” flat brush with the glaze mixture. The glaze should cover the Honey Brown, but it should not appear puddly.

Immediately reload (not too heavily) the flat brush with glaze.

Hold the brush so the bristles are in a horizontal position and the handle at about a 45-degree angle. Begin at the left end of a base. Touch the bristles onto the base, press down slightly, slide the brush forward, and lift. Move the brush slightly to the right.

Repeat the process. Continue October 2018 Issue

across the base. As you slide the brush forward you are creating those vertical lines in the glaze.

“Age”, all around the edges of the woodgrained bases using the small stencil brush loaded sparsely with Lamp Black. “Dust” the dry brush softly along the edges. Darken the outermost edge. Remove the tape.

Santas: Trace the patterns and transfer the main design areas onto the bodies and arms. Continue the designs onto the backsides of the ornaments, if desired. Add details as needed. Base the design areas using the Designer Rounds.

Basecoat faces with Dusty Rose. Use several coats, letting the paint dry thoroughly between applications, to achieve opaque coverage.

For the cheeks, nose tip and shading along the forehead, mix a wash of Terra Coral plus a bit of Country Red. Load the large Designer Round with the wash.

Remove some of the wash on a paper towel. Paint the cheeks, dab color onto the nose tip and the forehead. Let dry and repeat if needed. Use the Script Liner and thinned Lamp Black to create the eye. Add White Wash stylus sparkle dot.

Hat brims, sleeve cuffs, and the “Stockingmaker’s pocket are Lamp Black. Add Antique Green

holly leaves on the brims. Dab an Olive Green wash on the left sides of the leaves. Veins are Lamp Black. Dot berries using a stylus and Country Red. Buttermilk “Stockingmaker” Santa: Add his hat with Country Red. Use the Script Liner to paint the tiny Lamp Black stars. Load the Lettering brush with thinned Olive Green and add the narrow bands along the hat brim and next to the cuffs. Create the Lamp Black checks on each band with thinned paint. Pull the checks from the outer edges of the Olive Green bands onto the black cuffs, and brim. Add a diagonal plaid to cuffs and pocket using the Script Liner and thinned Country Red. Mittens are Country Red. Use a “flattened” Designer Round to add dry brushed Terra Coral highlights onto mitten centers and between the stars on the hat.

Flatten the brush as you load it, pulling paint from the edge of the puddle, and repeatedly stroking the brush on the palette. Flip and repeat. Drag both sides of the flattened, loaded brush on a paper towel to “dry” it.

Repeatedly “drag” (don’t scrub) the dry brush over the textured surface on the areas to be highlighted. Repeat, if necessary.

Gradually build up the color.

Drybrush Bright Brass highlights through the centers of the black cuffs and the pocket. Add Bright Brass brush handle buttons on pocket corners. Use a stylus to dot Lamp Black holes in the buttons.

Undercoat the beard with Camel.

© 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 Paint the mustache White Wash, leaving some Camel visible through the center area. Stroke the beard hairs using the Script Liner and thinned White Wash. Leave Camel visible beneath the mustache and between the hairs.

Santa’s spool is Milk Chocolate.

Shade the right side, line the top and add the hole using Lamp Black.

Highlight the left top Honey Brown.

Line thread Country Red. Lighten the Country Red with a touch of Terra Coral and stroke highlights onto the left side of the thread on the spool.

Line beneath the thread with Lamp Black. The needle is Lamp Black.

Paint the stocking Antique Green.

Add a Country Red toe and heel.

Dry brush Terra Coral onto the toe and heel, and Olive Green through the stocking’s center. Line toe and heel stitches with Lamp Black. The cuff is Olive Green striped with Country Red and Turquoise Blue. Line the cuff’s top edge with Antique Green and add a Country Red “hanging loop”. Create “lace” along the cuff’s lower edge with strokes of White Wash. Dot Turquoise Blue along the tops of the lace strokes and through the center of the stocking using a stylus. Dot Lamp Black at the bottom and top of the

loop using a stylus and a brush handle for the different sizes.

Scissors are Lamp Black highlighted with strokes of Bright Brass. Use a stylus to dot a Bright Brass screw.

Use the large Designer Round, with excess paint removed on a paper towel, to dab on a very thin Milk Chocolate wash to add subtle shading on Santa’s coat around the stocking, spool, pocket, next to his hat and along the coat’s bottom edge. Also, shade the arms’ lower edges lightly.

Camel “Toymaker” Santa: Paint Santa’s hat and mittens Antique Green. Line tiny snowflakes on the hat with White Wash using the script liner. Dry brush the mitten

centers, and between the snowflakes using Olive Green on the flattened round brush.

Use the Lettering brush loaded with thinned Country Red to add the narrow bands along the hat brim and cuff edges. Line the bands with Lamp Black using the Script Liner. Add a diagonal Antique Green plaid on the black cuffs. Dry brush cuffs with Bright Brass.

Undercoat the beard with Honey Brown. Paint the mustache with Buttermilk. Pull Buttermilk strokes for hairs down through the beard from beneath the mustache. Leave Honey Brown showing beneath the mustache and between the hairs.

Add the Country Red pocket.

The wide band on the flap, 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.

October 2018 Issue

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Painting World Magazine the stitching on the lower section, are Lamp Black.

Create the diagonal plaid on the flap, first with Lamp black, and then, with Bright Brass.

The short lines on the band, and the center closure are Antique Green.

Line around the closure, and along the plaid section, with Bright Brass.

Dot the closure’s button with Lamp Black and the button’s holes with Camel.

Paint the rocking horse’s body and tail Dark Chocolate.

Add a Country Red blanket with a Turquoise Blue border. Stripe the border and line the outer edge with Lamp Black.

Dot the center with Lamp Black.

Highlight the horse’s head and body with Honey Brown.

Lightly shade the body’s outer edge with Lamp Black. Add hair first with Dark Chocolate and then, add some with Lamp Black. The harness and reins are lined Lamp Black first, then Country Red offset to one side.

Dot hardware with Bright Brass, and the eye with Lamp Black.

Add a Buttermilk sparkle dot.

The horse’s rocker is Turquoise Blue. Shade edges lightly and add thin stripes with Lamp Black.

Highlight through the center with Bright Brass. The lower “runner” on the rocker, and the horse’s legs are Lamp Black.

October 2018 Issue

Paint the middle and lower sections of the snowman’s body with Buttermilk. Highlight with Snow White. Add a Snow White head and arms, leaving space between the arms and body center to act as shading to separate the arms and body.

Add a Lamp Black hat and Country Red mittens. The hat band and scarf are Turquoise Blue. Dot eyes, scarf knot and buttons Lamp Black using a stylus.

and along the coat’s lower edge.

Lightly dab on the wash. Let dry and add more color if needed.

This should be soft and subtle.

Erase all transfer lines on both ornaments.

Cover both Santa’s faces.

Spatter arms, bodies and bases with Snow White.

Finishing:

Line the snowman’s stick Antique Green. Add Antique Green and Olive Green pine needles.

Dot Country Red berries.

Paint the wooden skewer Dark Chocolate and the spools Honey Brown. The top and bottom rims are Lamp Black.

Use a thin wash of Milk Chocolate on the large Designer Round with excess paint removed, to shade the coat around the horse, pocket, snowman, next to the hat

Cut the greenery into 2 – 9” pieces. Cut each 9” piece into 2”, 3” and 4” pieces. Hold a 2” piece vertically, extending over the top of the one skewer. Wrap one end of the 3” piece of greenery

© 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

This line drawing is 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.

around the skewer securing the top 2” long piece creating the upper branch. Wrap the remaining piece around the skewer to form the lower branch. The branches are both near the top of the skewer.

Apply two coats of the Soft Touch Matte Varnish to all Santa surfaces, the skewers and the spools. Let dry thoroughly between coats. This may take longer on the textured surfaces.

Assemble: Wrap your chosen colors of threads around each spool.

Secure thread ends with glue.

Glue the spools in place onto the Santa bases. Let dry.

Glue the skewer “trees” into the spools.

Attach the Santas’ front arms to the bodies. Add glue to the skewers where they meet the backs of the arms. Let dry.

Glue back arms onto Santas.

Cut thin rusty wire into 2- 10” pieces and 2 -11” pieces. For each ornament thread the 10” piece through the top hanging hole , overlapping the ends slightly.

Twist the ends together to secure them. Pull the twisted ends into the hole. Tightly twist the wire above the hole into a “rope” leaving a large “loop” at the top.

Repeat the process, using the 11” wires to create “pull strings” on the fronts of the Santa bases.

Glue button wheels in position on fronts and backs of bases.

© 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.

October 2018 Issue

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Painting World Magazine

This line drawing is 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.

October 2018 Issue

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

Painting World Magazine

Christmas Edition Stamps

by Marlene Kreutz, CDA

These cute Christmas ornaments will give you a chance to have some fun and discover new techniques. They include sketching with Pigma pens, creating form when shading with graphite pencils, plus adding a splash of color with colored pencils; all this while creating some beautiful Christmas gifts. My hope is you, too, will discover the soothing and relaxing nature of this art form.

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DecoArt® Products:

General Instructions:

• Lamp (Ebony) Black Acrylic Paint DA067 • Multi-Purpose Sealer DS17 • Decou-Page, Matte DS106

Trace the pattern onto vellum tracing paper. I find the best way to transfer the pattern for inking, is to scribble on the back of the line drawing with a 4H pencil and then position on the paper and trace on with a stylus. This can be erased later without damaging the ink drawing. Graphite does work, but it must be a wax free paper, and it can sometimes be hard to erase if you haven’t completely covered it with ink.

Varnish: • Spray Varnish, Matte 156-0519 available from Viking Woodcrafts

Primsacolor® Pencils:

About Marlene: Marlene was born and raised in Minnesota and has been interested in drawing and painting all of her life. One of her greatest thrills comes from creating something new and seeing it come to life.

In the early 80s she took her first painting classes and later started teaching and designing her own instructional packets.

She is a member of the Society of Decorative Painters and earned her Certified Decorative Artist award in 2004.

As of late, she has added pen, ink and pencil shading to her designs and finds it to be a very relaxing form of art. With this technique, she has created pattern packets and authored three books; Marlene’s Ink Creations, Marlene’s Ink Therapy and Happy Tangles.

Marlene enjoys sharing her patterns and designs so that others may create beautiful projects.

Surface: • Two Postage Stamp Ornament Blanks 31-L355 from Cupboard Distributing

October 2018 Issue

• Apple Green PC912 • Dark Green PC908 • Crimson Lake PC925 • Scarlet Lake PC923 • Carmine Red PC926 • White PC923 • Colorless Blender Pencil PC1077

Sakura Pens: • Pigma Micron, Black 005 and 01 • Gelly Roll, White

General’s® Pencils: • Drawing Pencils, 4H and 2B

Faber-Castell®: • Perfection Pencil Eraser

Strathmore®: • Bristol Paper, Vellum

Royal® Aqualon Brush: • Series 2150 12 shader

Miscellaneous Supplies: • White Eraser • Old Credit Card • Pencil Sharpener • Sanding Block • Tracing Vellum • Blending Stump • Deckle Scissor • Old Mop Brush • Stylus

Complete all the inking and then go on to the colored pencil; leaving the pencil shading until last.

I used the 005 micron pen for most the detail on these designs.

I switched to the 01 for bolder lines or to block in solid areas.

When adding detail, I use my 4H pencil to give myself a guideline.

This is a soft lead and these lines can be easily erased after inking.

When inking on a white background, the white Gelly Roll pen works great to correct mistakes or add a white dot highlight in a black inked area.

I use a 1/4” blending stump because most of the areas shaded in my technique are quite small. With time, your blending stump will get dirty. It can be cleaned with a sanding block.

A white eraser works for erasing large areas without damaging the paper. A kneaded eraser can be molded to a point and used to tap highlight areas in your shading. The Perfection pencil eraser can be sharpened with a pencil sharpener and works great to get into small areas.

© 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.

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Preparation: Seal the wood stamp with multipurpose sealer. Let dry. Use the 12 shader to paint a frame around the outer edge with Lamp Black.

Cut out two pieces of Bristol vellum paper to measure 3 ½” x 4 ½” and trace on the pattern. It will be adhered to the wood when finished.

Instructions: Chickadee Postage Stamp Ink Detail Refer to the chickadee photo. Use the 005 Piqma pen to etch in the top of the head with small feather like strokes. Allow a small amount of white between the top beak and the head. Also use the 005 for etching in the detail on the bird’s back, allowing an area of highlight to the center of the back. Ink the feather detail of the chickadee’s wing and tail; again allowing white areas on the wing and tail.

Outline and ink the remainder of the detail. With a ruler, draw in the background grid with the 4H pencil. Ink over this grid with a wave line and add dots. When finished, erase the pencil lines.

Santa Postage Stamp Ink Detail Referring to the Santa’s photo for ink detail. Use the 005 Piqma pen to add all the detail line work on the face and hat. Trace on background stripes and ink in dots and add solid lines with 01 Piqma pen. Fill the ribbon work on each end with the 005 pen, leaving a highlight area in the centers.

to the middle value color and then the darkest color. Overlap each color to get a gradual change of color. Repeat with a couple layers to build up color using heavier pressure. Now blend the layers with the colorless blender pencil, pushing the colors into the texture of the paper so no background white shows through.

At this last stage, white may be used in the highlighted areas.

Leaves Lightest value — White Medium value — Apple Green Darkest value — Dark Geen Hats Lightest value — Carmine Red Medium value — Scarlet Lake Darkest value — Crimson Lake Santa — add some red to his lip and green and red slashes between the ribbon.

Shading General Instructions Shading adds depth, contrast and shape or roundness to the project.

Plus, it adds a third color, interest or accent to the light area of the ink design. Resist the urge to start shading before all the inking has been done. This will eliminate the smearing of the pencil shading while you are working

on the inking or color pencil.

Holding the pencil as you would to write in an upright position, this allows for accurate shading with the tip of the pencil. Try to achieve smooth gradation to make the shading look realistic.

Step #1 — Using a 4H pencil, lightly stroke in the area with soft even strokes.

Step #2 — With a blending stump, soften these strokes.

The 4H is a soft pencil that can easily be softened and blended so no pencil strokes show.

Step #3 — In the final stage, reinforce the shading in the deepest shadow areas or corners with a 2B pencil and blend so no pencil strokes show.

Colored Pencil Detail It’s important to stay within the inked outline. Apply the colors with a circular motion, starting with the lightest color, proceeding © 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.

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Finishing Trim around the chickadee piece with a deckle scissor. Spray the inked pieces with a coat of the matte varnish to protect them. Spray the wood cutouts with several coats of varnish.

Chickadee Postage Stamp Shading Shade the fur on the hat to give it form, reinforcing in the deepest shadow areas. Shade the back of the head, in front of the eye and the beak next to the head.

Shade the breast allowing for highlight in the center under the wing and reinforce at the rump.

Santa Postage Stamp Shading Shade the fur on the hat to give it form, reinforcing in the deepest shadow areas. Shade the face allowing for highlight in the center of the forehead, center of the nose, top of the cheeks and tip of the nose. Allow for some highlight in the center of the beard.

Decoupage the inked pieces on to the wood stamp cutouts as followed: apply a coat of decoupage to the center of the wood and apply another coat to the back of the ink design.

Position the inked piece on the center of the wood and smooth out air bubbles with an old credit card. With a damp cloth, wipe off any decou-page that may have seeped out of the edges.

Add a red cord to the stamp to hang.

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.

These line drawings are full size.

October 2018 Issue

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

Painting World Magazine

Christmas Ornaments

by Annamarie Oke

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I thought that these designs would look pretty cool on surfaces from Cupboard Distributing.

Mixed Media gives you a chance to become more creative....being out of the box is more fun!

Add an evergreen wreath, some lights and a few ornaments for a wonderful, personalized decoration.

Let your creative soul explore the possibilities!

and just recently started submitting projects for magazines. A new book that I am in with five other Dynasty designers will be out late summer early fall. Exciting!!

Surfaces: • Mason Jar Plaque #31-L290 • Teardrop Ornament Plaque #31-L499 • Pocket Watch Frame Kit #31-L082 All from Cupboard Distributing®

DecoArt Americana Acrylics:

®

• Lamp Black DA067 • Warm White DA239 • Zinc DA304

Pebeo® Vitrail: • Black #15 • Crimson #12 • Greengold #22 • Lightening Medium

About Annamarie I’ve been creating and designing for over 25 years and have been teaching most of that time.

I live in Corner Brook, Newfoundland Canada where I have been just recently retired as a nurse and now teach full time in my own studio here at home. I travel teach throughout the United States and Canada at national conventions and chapters.

I am a mixed media artist, fluent in acrylics, oils, pencils, and just about anything creative. I am a Pebeo product specialist and a Dynasty brush designer. I have been designing my own patterns October 2018 Issue

• Annamarie’s Texture Paste – available from Annamarie • Palette knife - metal, triangular shape • Empty bottle caps • Paper towels • Odorless turpentine or mineral spirits for cleanup Additional supplies are listed with the individual projects

A Christmas Postcard Surface: • Teardrop Ornament Plaque

Miscellaneous Supplies: • Tim Holtz postcard paper TH93181 • Black seed beads • Decoart Soft Touch Varnish DMM26 • Decoart Glamour Dust DAS37

Dynasty® FM Brushes:

Preparation:

Faux Sable • 3/4” Angle 172A Eye of the Tiger • 3/4” Flat Glaze 635F • #10, #12 Shader 610S Ink - Pastel - Chalk • Series 1 Large Point Blender 23582 Mastodon • #12 Shader 721S • 3/4” Angle 721A Black Gold • #1 Script Liner 206SL

Using a large brush, I basecoated the front of the piece with Warm White. This is very important because the paper is transparent

Figure 1

Miscellaneous Supplies: • DecoArt Americana Decoupage DS115 • Tracing paper • Pen

© 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.

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Figure 2

and you want a light color underneath to make the letters show up. Let dry. Figure 1 Cut the paper the same shape as the piece. Apply a generous amount of decoupage to the front and place the paper over the piece. Figure 2

Instructions: Trace off the line drawing for the skates and floral.

Basecoat the skates Warm White and the blades Zinc.

Using the liner, make a thin line with Lamp Black to make a sole. I also made small stitching lines and laces with the liner and thinned Lamp Black. I did this very looseygoosey! These skates are vintage!

Shade the skates as shown on picture -- inside of skate, in between the two skates, and on top of each skate.

Shade blades with black as shown on the picture also.

Highlight the blade with Warm White towards the centre.

Paint the top holder black.

Figure 3

Shade around the entire edge with black. Shading on a surface that has been decopaged feels really nice and so much easier to shade or float color on. Let dry!

Apply an even coat of Decoart Soft Touch Varnish. While it is wet, you may add a small amount of glamour dust!

Applying Texture and Pebeo Vitrail to the Floral: Apply texture with the palette knife. I like to pick up texture from the back side of the knife and form the leaves and petals, leaving ridges to make it look like veins and show some depth for the floral. Figure 3 While you are waiting for the texture to dry, shade around and in between the leaves and petals.

Using the 3/4� Eye of the Tiger, fully load with Lightening Medium and completely cover the textured area. Do not be skimpy with the medium, this helps the color to flow and cause shades and highlights where needed!

Figure 4

TIP: Do not clean the brush with odorless turps in between colors.

Just pinch the brush in between a paper towel as shown in Figure 4.

Helpful Hints: Pebeo Vitrail is an oil and dries transparent.

It is a liquid so to prevent the colors from running all over my palette I use empty water bottle caps to hold the paint.

When the Vitrail is poured it all looks black in color.

I place the bottle caps on a piece of paper towel.

That way I can touch the paint with a brush handle and make a mark next to the cap to show its color.

Add the Greengold for the leaves and the Crimson for the petals. Figures 5 and 6 With the smaller Eye of the Tiger brush, add a dab or two of the Black Vitrail to make centres.

Add the black seed beads to the centres.

Š 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.

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Figure 5

Figure 6

I also used my smaller brush with the Greengold and made a few fuller leaves just to bring it all together.

Lay your piece flat so it does not run. It takes a few hours for the Vitrail to dry completely.

You will notice that the Vitrail dries out a lot brighter... and of course transparent!

A Christmas Melody Surface: • Pocket Watch Frame

Miscellaneous Supplies: • Pebeo Cerne Relief, Black • Decoart Soft Touch Varnish DMM26 • Decoart Glamour Dust DAS37 • Black seed beads • Small brayer • Stampendous Stamp – 6CR006 Cling Ornate Scroll

Figure 7

October 2018 Issue

Preparation:

Instructions:

Basecoat the round background with Warm White. Basecoat the frame with Lamp Black.

Trace the birdcage and floral on the piece...yes it’s only half of the birdcage!

Using a brayer and Lamp Black, roll the paint on the stamp. This stamp is 6x6 so it fits on top of the piece.

Paint the little bird shape black.

I like to stamp first on my palette paper to make sure that there are no globs. Figures 1, 2 and 3 Once dry, give your pieces a coat of the DecoArt Soft Touch Varnish. Let Dry!

Figure 8

Outline the birdcage with the Cerne Relief. This gives the piece more texture.

TIP: It looks a lot more natural to outline the wire starting each stroke from the top. You will notice that the top is thicker.

This gives the cage shadows.

Figure 9

© 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.

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Figure 10

Figure 11

Using the smaller Eye of the Tiger, add the Greengold to the leaves.

Pinch your brush in a folded paper towel (Fig 4) and go ahead with the Crimson for the petals.

With the corner of the brush dab the centres with Black. While the floral is still wet, add a few seed beads to the centres.

Leave your piece flat to dry completely which may take up to a couple of hours.

Adding Texture Using the back of the palette knife, add the texture to the leaves and flowers. Leave the ridges there to make the floral more realistic. The tip of the knife makes the tip of the flower or leaf. Let dry! Figure 4

You may add ribbons, wire or bells to this piece. It looks nice on an evergreen wreath with a large rusty bell attached!

Glue the frame to the piece.

Give the piece another coat of the Soft Touch varnish, avoiding the texture. You may add a dusting of Glamour Dust while it is still wet!

Adding the Pebeo Vitrail: Pour the three colors and Lightening Medium into the empty caps and place them on a clean paper towel.

With the handle of your brush, dip into each color and touch the paper towel next to cap.

This will tell you which color is in the cap. When Pebeo Vitrail is poured into the caps, the colors all look dark and alike!

Using the larger Eye of the Tiger brush, apply a generous coat of the Lightening Medium over the textured area.

Š 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.

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A Christmas Jar

Figure 12

Surface: • Mason Jar Plaque

Miscellaneous Supplies:

Shade the outer edge of piece with Lamp Black and also across the top lid making a few ridges. Figure 15

• Napkin of choice; remove the backing if it is two-ply • Prima Marketing Art Alchemy Opal Magic Wax -Vintage Silk 655350964283

Adding the Pebeo Vitrail:

Preparation: Basecoat the jar with Warm White and the top with Zinc.

TIP: When using a napkin for background make sure you basecoat the background warm white or white. This is important because if you paint it a dark color, the napkin will be too dark. I basecoated the jar and top with zinc but the napkin was too dark. Figure 12 When dry, give the jar a generous coat of decoupage.

Place napkin on top and with the brush give another coat of decoupage. You may give the whole jar and top a generous coat of the decoupage. This Figure 13

October 2018 Issue

While you are waiting for the texture to dry, shade with Lamp Black around the florals and down the outer edge of vase.

product is a sealer and provides a really nice finish. Figure 13 Trace your design on jar. Paint the vase with Lamp Black.

Applying Texture: Using the back of a palette knife, pick up texture paste and begin to form the leaves and flowers.

I like to start at the very top and go around in clockwise direction.

The tip of the knife forms the ends of the florals leaving ridges and bumps...making it look like real veins. Figure 14 Figure 14

With the 3/4” Eye of the Tiger, fully load into the Lightening Medium and give the texture areas a generous coat. Do not skimp at this. You need this medium to help the Vitrail to fall off ridges on the floral design giving shades and highlights where they should be! Figure 16 Do not clean your brush in between colors -- just pinch the bristles in between a paper towel.

Add the Greengold where you feel there are leaves and then Crimson where the flowers are.

There are no mistakes. Make sure you have a nice coverage.

With the smaller brush, dab black for centres. Add seed beads to centres. Figure 17

Figure 15

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Figure 16

Adding Prima Marketing Opal Magic Wax Cream, Vintage Silk Using the Vintage Silk and the IPC 1 Large Blender, I loaded the cream and blended a burnish on the vase and on the jar lid. I use this Opal Magic on anything I want to have a vintage look. Figures 18 and 19 Lay piece flat to dry. It may take up to 4 hours before your piece can be touched.

Figure 19

Figure 17

Figure 18

I added a ribbon and a few stars to my piece.

Please feel free to adorn the way you want to!

Any questions?

Pease feel free to contact me!

Annamarie’s contact information can be found on page 79.

Š 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.

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This line drawing is 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.

October 2018 Issue

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

Painting World Magazine

This line drawing is full size.

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

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.

October 2018 Issue

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Painting World Magazine

This line drawing is 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.

October 2018 Issue

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

Painting World Magazine

Gnomes for the Holidays

by Lisbeth Stull

Christmas ornaments are special gifts painters offer their families, friends, and customers, when painted to sell. It is a privilege to be a part of those recipients’ tradition of a beautifully decorated Christmas tree. Your painting becomes a beloved memory and heirloom to those lucky enough to get a treasure that you lovingly created! What an amazing legacy for us as artists! I hope you enjoy these quirky little fellows and they, lovingly created by you, become a part of a beautiful Christmas tradition. Š 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.

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About Lisbeth Art has always been a huge part of my life. As a child, I enjoyed creating through painting, collage, decoupage, clay, pencil, ceramics, and crayon. This planted seeds that grew into what I am today.

I have taken classes of all kinds from college courses in fine art, to painting along with public television! In 1990, my Mom and I took a beginning class at a local tole shop and life was never the same! I began teaching classes within a few years and learning from as many teachers as I could. Friends and family encouraged me to design patterns, but it was just never the right time, until 2011 when I launched my website and began travel teaching. I feel so fortunate to share what I love with all of you!

Surface: • Scalloped Tag Ornaments from Cupboard Distributing, 31-L538

DecoArt® Americana® Paint: • Bleached Sand DA257 • Bright Salmon DA329 • Burgundy Wine DA022 • Burlap DA319 • Burnt Umber DA064 October 2018 Issue

• Deep Blush DA137 • Foliage Green DA269 • Hauser Medium Green DA132 • Lamp Black DA067 • Natural Buff DA311 • Pebble DA303 • Plantation Pine DA113 • Slate Grey DA068 • Warm Beige DA078 • Warm White DA239 • Watermelon Slice DA324 • Zinc DA304

DecoArt® Products: • Believe Stencil DKS03-K • Multi-Purpose Sealer DS17

Brushes by JoSonja®: • 2010 Oval Dry Brush (ODB)- 2, 4, 8 • 1318 Oval Wash – ½” • 1375 Square Wash – ¾”, ½” • 1370 Flat – 2, 8, 10 • 1360 Script Liner – 10/0, 18/0

Miscellaneous Supplies: • Paper Towels • Make-up Sponges • Stylus (a variety of small sizes) • Ruler (clear with grid) • Water Basin • Circle Template for 7/16” • Graphite Paper • Pencil or Chalk Pencil • Eraser • Ribbon or bakers twine to hang

Preparation: Seal the surface with a 50/50 mix of Multi-Purpose Sealer and Burlap. Sand lightly with a fine sandpaper. I only seal, basecoat, and varnish with an Oval Wash.

Give the ornaments a second

Helpful Hints: To paint the edges of ornaments, load a make-up sponge with the basecoat color and slide it around the edges of the ornaments. I never paint just one ornament, usually there are 3 or more so I can be painting while I am waiting for things to dry. I use a lot of water in my painting, with many layers of color. I use a large brush, ¾” or ½” flat, loading the very corner of the brush. The remaining clean bristles keep my surface wet enough to walk the paint out.

coat of Burlap. With a ruler, draw a line 1” from the bottom edge. Transfer the main elements of the pattern with graphite paper and a stylus. With a #2 flat loaded in washy Bleached Sand pull stripes from the line to the edge of the scallops. Using a make-up sponge loaded in Bleached Sand and the Believe stencil, randomly stencil small snowflakes on the background.

These are soft and airy at this point. If you get them too bright, wash over them with washy Burlap. Base all of the banner flags in Bleached Sand. Softly shade between the banners, under the gnome bodies, and under the line on the stripes with a 1/2” flat loaded in Pebble.

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Painting Instructions:

Painting Palettes:

Nic the Gnome with Presents:

Basecoat

Highlight Shade

Green: Hauser Med Green

Foliage Green

Plantation Pine

Red:

Bright Salmon

Burgundy Wine

White: Bleached Sand

Warm White

Burlap/Pebble

Black:

Slate Grey

Lamp Black

*Note: The faces, beards, stockings, snowflakes, shoes, and banners are the same for all of the gnomes. Refer to these instructions for each of the ornaments as you paint.

Base his face with Warm Beige.

Shade the bottom of the face and nose with Deep Blush. Softly rosy his cheeks with a side load of Watermelon Slice. Eyes and lashes are Lamp Black done with an 18/0 liner. Highlight the eyes and the top of the nose with Warm White. Base hat with Watermelon Slice, shade with Burgundy Wine and highlight with a dry brush using a #4 ODB loaded in Bright Salmon in the center open space. Base the body and green package with Hauser Medium Green. Line the diagonal stripes on the package with Foliage Green. Chalk lines on the body from top to bottom about 1/4” apart, curving slightly with the shape of his body.

Using an 10/0 liner pull little strokes of Plantation Pine in a “v” shaped in vertical columns, toward the chalk line, to simulate a knitted pattern. Figure 1 Shade the bottom of the body and under where the beard will fall on the body with Plantation Pine. Using the same color, shade the lower edge of the green package. Highlight open areas with an ODB loaded in Foliage Green. Base the legs in Bleached Sand. With a #2 flat, line the stockings with washy Watermelon Slice and shade

Watermelon Slice

Zinc

Basecoating

the stripes with Burgundy Wine.

With a fine liner, line between the stripes with Hauser Medium Green. Base the boots with Zinc.

Shade with Lamp Black and highlight with Slate Grey. Base the hearts and red packages with Watermelon Slice. Line the stripes on the red packages with Bright Salmon. Shade the bottom edge of the red packages with Burgundy Wine. Use a wet-on-wet technique to line the ribbons on the packages.

Use the base color and tip into the highlight color (see palette

chart). While the ribbon is wet, skip the highlight in the center of the ribbons. Use the shade color in the same way in the darkest areas. Shade the hearts with Burgundy Wine and highlight with a ODB loaded in Bright Salmon. Line on the beard and mustache with Zinc. Repeat with Slate Grey, letting the Zinc layer show through. Shade next to the face, nose, and under the mustache with Lamp Black.

Finally line the highlight layer with Warm White. Keep the strongest, full strength paint in

© 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.

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Green, shaded with Plantation Pine and highlighted with Foliage Green. The berries are Watermelon Slice, shaded with Burgundy Wine and highlighted with Bright Salmon using an 18/0 liner and a tiny stroke across the top of the berry.

Figure 1

Shorty the Gnome with a Tree:

the brightest areas you want to pop forward. The banner is done with a simple pattern of your choice using the palette colors.

This is just a quick little pattern of stripes, dots, and plaid. Shade softly across the tops, letting it also shade the background, with Pebble. With a liner loaded in Lamp Black stroke on the line for the banners. While wet, tip your dirty brush into Slate Grey and skip over the line to highlight. Brighten in smaller areas with a dirty brush tipped in Warm White. Strengthen shades on the background with Burnt Umber. Dry brush softly with Warm White on the few forward snowflakes you would like to dot and bring forward.

I chose three, as odd numbers are more pleasing to the eye.

Dot using Warm White and your stylus on the snowflakes and the bottom edge. Not all of the snowflakes have dots… just a few! Glitter and crystals could be added for a pretty effect. Stylus dots are tapped on with Warm White. Stroke on the line near the bottom with Watermelon Slice and tip the dirty brush in Bright Salmon to touch a highlight in the center.

Touch that same brush into Burgundy Wine and touch each October 2018 Issue

of the edges of the line to shade.

Norm the Gnome with a Wreath:

This gnome, banner, snowflakes, and background, and bottom line are painted the same as the first gnome, changing only the body and hat color. The body is base coated in Watermelon Slice and the hat in Medium Hauser Green. The knitted texture is the shade color, Burgundy Wine.

The socks are the same, only the colors of the stripes are opposite of the first gnome, wide stripes are greens and the narrow are reds. Refer to the instructions for the Gnome with Presents for the step by step instructions.

The wreath is tapped on, or stippled with Plantation Pine, then brightened with Hauser Medium Green, and highlighted with a touch of Foliage Green.

Dot on tiny berries with the red palette. The bow is done with a wet-on-wet technique. Line first with Watermelon Slice and tip the dirty brush in Bright Salmon to highlight in forward areas. Tip the same brush into Burgundy Wine and tap in the deepest areas. The tiny mitten was based with Bright Salmon and shaded with Watermelon Slice. The tiny holly leaves are Hauser Medium

This gnome, banner, snowflakes, background, and bottom line are painted the same as the first gnome, changing only the body and hat color and leaving the legs off of the design. His hat is using the green family. The body is based in Bleached Sand and the knitted texture is stroked on in Burlap with an 18/0 liner.

Shade with Burlap and deepen with Pebble. The Nordic pattern on Shorty’s sweater is simple over strokes with palette colors on the texture stitches. I used Plantation Pine, Watermelon Slice and Warm White, but you could do what you like! The tree trunk and bough across the bottom are done in the same way. With a longer liner, any size (18/0 to 1) will work fine. Load in washy Burnt Umber and tip in Pebble. Stroke the trunk and bough on and streak the color back and forth to blend and create darks and brights. Shade under the bough softly with Burnt Umber. Use the green palette for the needles, washy, with a liner brush. Begin with the shade color, Plantation Pine. Next add a few Hauser Medium Green.

Finally spark here and there with Foliage Green. The mitten and ornaments are based with

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Watermelon Slice, shaded with Burgundy Wine, and highlighted with Bright Salmon. The little hangers on the ornaments are based in Zinc, highlighted with a little touch of Slate Grey.

Finishing:

Let your ornaments set for a day or two and then look at them

with a fresh eye. Check to make certain that your brights are bright enough. Look for areas in the deepest darkest areas that may need deepening. When you are pleased, you can finish as you like. I always brush varnish with an oval wash and at least a 3, 2, 1 method; three coats of varnish, wet sand, two more

coats, wet sand, one more coat, and then wax with cabinet wax.

My hope is that you enjoy painting these little fellas and learn something new to carry forward in your artistic life. Share your talent when you can to make our world just a little bit prettier! Merry Christmas to you and yours!

These line drawings are full size.

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

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Christmas Bells

by Nancy Scott, CDA

This ornament will make a lovely addition to your Christmas collection, or a special gift for your child’s teacher or your favorite co-worker. Don’t forget to personalize the back of the ornament for the lucky recipient!

October 2018 Issue

Painting World Magazine

About Nancy My love of Decorative Painting goes back more than 25 years. I belong to my local SDP chapter, Capitolers, having served as their vice-president, president and seminar chair. I have taught at New England Traditions, World of Color, OKC Painting Palooza, and the SDP National convention, and earned my CDA in 1994.

I also enjoy travel teaching.

Surface: • 6” Bulb Ornament (MDF) surface available from Lynne Andrews Folk Art

DecoArt® Americana Acrylics: • Antique Gold DA09 • Antique White DA058 • Burnt Umber DA064 • Country Red DA018 • Hauser Light Green DA131 • Lamp Black DA067 • Light Avocado DA106 • Light Buttermilk DA164 • Midnite Green DA084 • Milk Chocolate DA174 • Moon Yellow DA07 • Rookwood Red DA097 • Tangelo Orange DA196 • Toffee DA059

Royal Langnickel® Aqualon Brushes: • R2700 - 3/4” wash • R2250 #1, #3 round • R2160 1”, 1/2” 1/4” angles • R2595 sz 1 liner • R2585 sz 4 script liner • RBOBBIE – SM, MD mops

• Paper towels • Graphite paper • Tracing paper • Stylus • Water basin • Fine grade sandpaper • Red ribbon for hanging • Varnish of choice

Preparation: Lightly sand the cut edges of the ornament. Wipe clean with a slightly dampened paper towel to remove dust. Trace the pattern.

Transfer the line for the inner circle only. Base coat outside the circle with Midnite Green to solid coverage. Base coat inside the circle with Antique White to solid coverage.

When dry, transfer on Santa’s hat and just the shape of Santa’s face leaving off details.

Painting Instructions: Santa: Paint the face Toffee. Now lightly transfer on just the most necessary details of his face. Float a soft shade of Milk Chocolate across the top of the forehead and around the left side of the face. Float Milk Chocolate to form the nose and the nostrils. Float the “bags” under Figure 1

Helpful Hints: Most shading and highlighting is done with floated color using the appropriate size angle brush. There are some areas, though, that are very narrow and may be difficult to float with a traditional angle. In these instances, I will sideload on a round brush. It is helpful to dampen the area first, apply the color and mop to soften. the eyes and the surrounding wrinkles. Mix Toffee/Light Buttermilk and paint a highlight down the bridge of the nose using a back to back float. Add some of this light value to accent the “bags” and wrinkles if necessary.

Inside the nostrils is painted Lamp Black with the liner. Using Country Red and the 1/2” angle, float a very soft blush to the bottom of his cheeks and nose using the mop to soften. Figures 1 & 2 The entire eye is first painted in with Light Buttermilk. The iris is then painted Milk Chocolate.

Brush mix a slightly lighter brown Figure 2

Miscellaneous Supplies: • Palette paper © 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.

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Painting World Magazine Figure 3

dry, stroke in fine hairs of Light Buttermilk with the #1 liner. Figure 5

Figure 4

Paint the mouth opening with Lamp Black. Paint the lip with a brush mix of Toffee/Rookwood Red/touch Burnt Umber. Add a little highlight line in the middle of the lip with Toffee/touch Rookwood Red. Figure 6 Using the 1/2” angle, float

using Milk Chocolate/Light Buttermilk and stroke a lighter value brown around the lower left side of each iris. Darken the whites of the eyes in the corners and under the upper lid with a soft float of grey made from a mix of Light Buttermilk and a touch of Lamp Black. Use this color to lightly line the upper lid and paint a few eyelashes.

The pupil is Lamp Black. Place a Light Buttermilk highlight dot in the upper right. Figure 3 We will add the hair, eyebrows and mouth after painting the hat.

Basecoat the hat with Country Red using the #3 round. Float shading in the lower left corner and above the fur brim with Rookwood Red using the 1/2” angle.

Figure 5

October 2018 Issue

Figure 6

Paint in the fur brim using the #3 round with Milk Chocolate. Keep the outer edges a little choppy. Float Burnt Umber on the bottom edge of the fur, above the face with the 1/2” angle.

Using the #1 round, begin adding texture and value change to the fur with Burnt Umber (in the darkest areas), Milk Chocolate and Milk Chocolate/Antique Gold brush mixed (in the mid value area), and Antique Gold/ Light Buttermilk, brush mixed and then straight Light Buttermilk (in the lightest area). Figure 4 Now that the hat is complete, we can paint Santa’s hair, beard, mouth and eyebrows.

Eyebrows - Using the 1/4” angle, float Milk Chocolate across the lower edge of each eyebrow. When

Milk Chocolate along the inside edge of the beard (next to the face) and under the mustache.

Using the script liner and Light Buttermilk, stroke in the hair, beard and mustache. Figure 7 The gold rim around the outside of the circle and around the circular opening at the top of the ornament is painted with Antique Gold using the script liner. There are stylus dots of Country Red around the gold border, but add those at the end of the painting so you don’t get your hand in them while painting the rest of the ornament.

Transfer remaining pattern for bells, holly and berries.

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Painting World Magazine Figure 7

repeated a couple of times to get it bright enough. Float a little Moon Yellow across the bottom edge of the openings and with the liner, stroke a little along the raised edges to make them stand out.

With a mix of Moon Yellow/Light Buttermilk, add a brighter highlight, as necessary, down the center of each bell and across the raised rims. Figure 8

Bells: Basecoat with Antique Gold using the #3 round. Float first shading with Milk Chocolate across the top and down the sides with the 1/2” angle. Float the shading to form the bell openings and the raised rims.

Add deeper, less wide shading with Burnt Umber using the 1/4” angle.

Ribbon and Berries : Base coat with Country Red. Shade with floats of Rookwood Red using either the 1/4” or 1/2” angle. The highlight is Tangelo Orange. It is floated on the ribbon. Just a dot of it is placed on each berry opposite the shaded side.

Holly Leaves : Base coat with Light Avocado using the 1/4” angle brush to try and achieve crisp, sharp scalloped edges. Float shading with Midnite Green at the base of each leaf and where they come from under the bells or behind one another.

Float highlight along one outside edge with Hauser Light Green.

The line work for the veins is Midnite Green. Figure 9 Don’t forget the Country Red dots around the outside of the gold border.

When all is dry, varnish with your choice of varnish following all manufacturer’s instructions. Hang with a red ribbon and enjoy!

The back of the ornament can be personalized as you desire or after painting the back with one of the colors from the palette just add some writing such as “Jingle Bells” or “Merry Christmas”.

Figure 9

With the 1/2”angle paint a backto-back float of Moon Yellow, adding a highlight down the center of each bell. This will need to be

Figure 8

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Painting World Magazine

These line drawings are reduced.

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.

Mila Marchetti The pattern for the front is on page 46.

October 2018 Issue

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

Have Yourself a Merry Little Christmas Painting World Magazine

by Mila Marchetti I love decorating for Christmas! Cleaned gourds are simple to find and often they have great prices. It’s time to start to paint this Santa project like a gift for a special person.

About Mila Mila lives in Tuscany, Italy, with her lovely, furry friends.

She has been painting with acrylics for 15 years and has been a member of the Society of Decorative Painters since 2007. Since 2005, Mila has worked on the staff of the Italian decorative painting magazine “Arte del Decorare” as artist, technical advisor and editor advisor. She has also published projects in “The Decorative Painter” and collaborated with “Painting Ezine” and “Pixelated

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Painting World Magazine Palette” online magazines. Mila has taught Decorative Painting at Italian conventions since 2006.

Her whimsical and soft e-pattern projects are available through Etsy - www.etsy.com/ shop/MilaMarchetti, and her website - milamarchetti.com.

Surface: • Natural gourd (approximate circumference 25 1/2”, height 13 1/2” including the stem) available from a garden center or local produce growers.

DecoArt® Americana Acrylics: • Antique White DA058 • Avocado DA052 • Base Flesh DA136 • Black Plum DA172 • Blush Flesh DA110 • Burnt Orange DA016 • Burnt Umber DA064 • Crimson Tide DA021 • Driftwood DA171 • French Grey Blue DA098 • French Vanilla DA184 • Gingerbread DA218 • Blue Mist DA178 • Honey Brown DA163 • Indian Turquoise DA087 • Jade Green DA057 • Lamp(Ebony)Black DA067 • Light Buttermilk DA164 • Medium Flesh DA102 • Moon Yellow DA07 • Neutral Grey DA095 • Payne’s Grey DA167 • Plantation Pine DA113 • Primary Red DA199 • Pumpkin DA013 • Purple Cow DA272 October 2018 Issue

• Rookwood Red DA097 • Shale Green DA152 • Snow(Titanium)White DA01 • Soft Black DA155 • Traditional Burnt Sienna DA 223 • Warm White DA239 • Watermelon Slice DA324 • Wild Orchid DA233

Brushes Loew-Cornell® La Corneille:

DecoArt® Neons:

Miscellaneous Supplies:

• Fiery Red DHS4

DecoArt® Mediums: • DecoArt Multi-Purpose Sealer DS17 • DecoArt Glamour Dust Ice Crystal DGD09 • DecoArt Glamour Dust Sprinkle on Glitters, Crystal DAS37

• Series 7550C 1/2” Wash • Series 7500C 6, 12 Filbert • Series 7350C 10/0 Liner • Series 7000C 2 Round • Series DM 1/4” Stippler • Series Maxine’s Mop 1/4”, 3/8”

• Palette paper • Paper towels • Pencils • Stencil • Stylus • Transfer paper (both light and dark) • Water bin

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Preparation Select your best natural gourd and prepare it for painting. Clean the gourd just by wiping off the dust. Use the wash brush and Rookwood Red to base the entire surface. Let dry and repeat until you do not see any gourd thru the paint. Transfer the pattern using white graphite paper and a stylus.

Painting Instructions: Face of Santa Claus Fill in the entire face with a thin coat of Base Flesh. When this paint is dry, position the line drawing on the surface and lightly trace the facial features using white transfer paper. Using the short liner and thinned Lamp Black, detail the eyes. Fill the eyes with Warm White. The irises are Lamp Black; highlight with a very small amount of Snow White and thin lines of Indian Turquoise across the lower sections. Mix Medium Flesh + Traditional Burnt Sienna to paint the shadow under the brows and just under the hat fur trim. Mix Medium Flesh + Crimson Tide to define the nose shadow, cheeks and mouth. Lightly highlight the nose with Base Flesh + Warm White. Base the inner mouth with Lamp Black. Shade the lips with a small amount of Rookwood Red and highlight with a touch of Snow White. Use the script liner loaded with Snow White, pull the brows; then pull with a small amount of Neutral Grey.

Paint the lashes and nostrils with a very fine liner loaded with Lamp Black. Refine the nose using a script liner loaded with a mix of Lamp Black + Snow White.

Transfer the glass details. Using an appropriately sized brush, paint the

lines with Lamp Black and over stroke with Indian Turquoise; float the lens with a washy Snow White.

Pockets Place out on your palette Soft Black and Black Plum. Using the 1/2” wash side loaded with this nicer value of color, shade the pockets and mop softly with 1/2” mop. Now use Fiery Red to highlight in the open areas. Refine the edges of each pocket with a very fine liner and thinned Soft Black tipped with Warm White.

Coat sleeves Place out on your palette Soft Black and Black Plum. Using the 3/4” wash side loaded with this nicer value of color, shade the sleeves and mop softly with the 1/2” mop. Now use Fiery Red to highlight the opposite side areas of the sleeves. Increase the brightness by adding Gingerbread. Line the creases with a very fine liner and thinned Soft Black. Use the 3/4” wash side loaded with Soft Black and Black Plum to shade around the sleeves and the pockets.

Beard, hair, brows, mustache Base the beard, hair and mustache with Grey Sky. Using the 1 round loaded in thinned Warm White, begin pulling the beard, hair and mustache. Shade under the mustache with Neutral Grey. To create more dimension on the beard and mustache, mix inklike consistency puddles of Snow White and stroke on. Let dry.

Refine the beard with a very fine liner and thinned Snow White.

Bear Basecoat the entire bear with Honey Brown using the 8 filbert.

Using the 1/4” DM stippler loaded

with French Vanilla, highlight the arm and the top of the head.

Now use the same kind of brush and Traditional Burnt Sienna to shade the fur. Add Purple Cow and Indian Turquoise to highlight the fur. Load the 3/8” mop with a small amount of Crimson Tide.

Scrub out most of the color in a dry section of paper towel. Dry brush in the cheeks. Paint the nose and the bow with Lamp Black.

Candy Cane Transfer the details. Basecoat the candy cane stripes with the 4 filbert, Rookwood Red and Antique White. Using the 10/0 liner, paint the fine lines with Rookwood Red. Use the 1/2” wash with a side load of Soft Black to float along the lower section of candy cane. Highlight through the center using a 1 round loaded with Snow White (scrub out most of the color on a dry section of paper towel).

Gloves With the snowflake stencil placed firmly on the center of the gloves, use the 1/4” DM stippler loaded with Honey Brown to stencil. Shade the gloves with a side load of Avocado using the 3/4” wash. Highlight with side load floats of Light Buttermilk.

Fur Trim (sleeves) Basecoat the fur trim with the no. 8 filbert and Light Buttermilk; then use the 1/4” DM stippler and the same color to stipple in and over the fur along the outside.

Stipple in the opposite side with Snow White in and over the fur.

Allow to dry. Shade softly with a side load of Burnt Umber.

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Painting World Magazine with thin Burnt Umber and Soft Black. The little pine needles are stroked on using thin Green Mist and Jade Green. Dot the berries with the stylus and Crimson Tide.

Highlight over with Fiery Red. Allow this to dry. Dry brush with Crimson Tide around the berries.

Star Transfer the details and fill in with Moon Yellow. Shade the star with Burnt Orange and highlight the opposite side with Light Buttermilk.

Banner scallops Basecoat the scallops with Honey Brown. Stencil the snowflakes and the checks with the 1/4” DM stippler loaded with Grey Mist.

Add dots between the checks with the stylus and Snow White. Stitch along the edges of each scallop with the same white color. Use the 1/2” wash side loaded with Traditional Burnt Sienna to shade along the top of each scallop.

Fur Trim along the hat and pine needles Transfer the details. Basecoat the fur trim with the 8 filbert and Warm White; then use the 1/4” DM stippler and the same color to stipple in and over the fur along the edges. Allow this to dry. Stroke in the branches using a fine liner October 2018 Issue

Leaves and vines border on the hat Transfer the details and fill in with Jade Green. Shade the leaves randomly with Green Mist.

Add very fine veins to each leaf with 10/0 liner and Plantation Pine tipped with Avocado. Using the 10/0 liner loaded with Shale Green, stroke on the vine. Add stylus dots of Crimson Tide to create the berries. Allow to dry.

Highlight with Fiery Red. Back of Santa’s coat Transfer all the main lines.

Snowflakes, trees and dots.

Stencil the dots with the1/4” DM stippler loaded with Blue Mist. Stencil the snowflakes and the trees with the same kind of brush loaded with Snow White.

Snowmen and gingerbread Basecoat the snowmen with Light Buttermilk and Honey Brown. Basecoat the Gingerbread with Honey Brown and the overalls with Primary Red.

Snowmen at the top Transfer the facial details. Using the 10/0 liner with Lamp Black, paint the eyes and mouths. The noses are stroked on using the same kind of brush loaded with Burnt Orange. Tip the brush in Pumpkin and then in Snow White and place tiny highlights along the noses. Float the shadow along the lower section of the faces and the bodies with a side load of French Grey Blue using the 1/2” wash.

Highlight the opposite sides with a small amount of Snow White.

Using the 10/0 liner loaded with thin Lamp Black, add the bows along the necks. Load the 3/8” mop with Crimson Tide and scrub out most of the color in a dry section of paper towel. Dry brush the cheeks. Fully load the 2 shader with Avocado, stroke in the leaves.

Dot the berries with Crimson Tide and then highlight with Fiery Red. Snowman with the pom pom hat Shade the face and the body with a side load of Burnt Umber using the 1/2” wash. Transfer the facial details and fill in with Lamp Black.

Tip the brush in Snow White and place a tiny highlight in the eyes and just under the eyes. Paint the nose with Burnt Orange. Tip the brush in Burnt Umber and then in Snow White and place tiny shadow and highlights along the nose. Dry brush the cheeks with 3/8” mop and Crimson Tide. Line the Honey Brown body and add the bow with the 10/0 liner tipped with Soft Black. Highlight the body lines with thin Snow White.

Shade the hat with Plantation Pine and add the fine lines with Snow White. Paint the pom-pom with Purple Cow. Shade with Wild Orchid and highlight with

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Painting World Magazine a small amount of Snow White.

Accent the highlights using a fine liner with thin Snow White to create some fur effect.

Snowman on the left Transfer the details.

Basecoat the hat and the hatband with Driftwood and Indian Turquoise.

Base the scarf with Purple Cow and the buttons with Lamp Black. Shade the right face and the body with a side load of French Grey Blue using the 1/2” wash.

Shade just under the hat, along the left side of the face, scarf and buttons with Burnt Umber.

Apply the facial features and fill in with Lamp Black. Tip the brush in Snow White and place a tiny highlight just under the eyes. Paint the nose with Burnt Orange. Tip the brush in Burnt Umber and then in Snow White and place tiny highlights and shadow on the nose. Dry brush the cheeks with 3/8” mop and Crimson Tide.

Hat, Scarf, Buttons and Arms Shade the hat with Burnt Umber and the hatband with Payne’s Grey. Stroke the branches with the 10/0 liner loaded with thin Soft Black. Line the pine needles with Limeade.

Line and add the fringe to the scarf with a fine liner loaded with Wild Orchid. Tip in Snow White to highlight the scarf with a 3/8” mop.

Highlight the buttons with thin Warm White.

Use the 10/0 liner loaded with Burnt Umber and tipped with Soft Black to stroke the arms.

Using the dirty brush, add thin line of Snow White.

Gingerbread Transfer the pattern for the facial features. Using the 10/0 liner and Light Buttermilk, paint the gingerbread frosting. Add dots with the stylus and Light Buttermilk.

Use the 1/2” wash to shade and highlight. Shade with Traditional Burnt Sienna and highlight with a small amount of Light Buttermilk.

Use the 10/0 liner and Lamp Black to paint the gingerbread eyes, lashes, brows and mouth. Line the eyes with thinned Honey Brown.

With the tip of the brush, line in Snow White eye highlights. Paint the nose with Gingerbread. Tip the brush in Burnt Umber and then in Snow White and place tiny highlights and shadow on the nose. Dry brush the cheeks with 3/8” wash and Crimson Tide.

Overalls Add dots with the stylus and Blush Flesh. Allow this to dry.

Shade with Black Plum and dry brush in the open area with a small amount of Snow White.

Big snowman on the right Transfer the details. Using the 10/0 liner and Driftwood, paint the frosting; then add dots between with the stylus and the same color.

Allow to dry. With Soft Black, line the stitches along the left side of the body. Base the entire scarf with Jade Green. Using the 8 shader and Crimson Tide, fill in the red stripes. Using the 10/0 liner and Blush Flesh, paint the lines on the red stripes. Using Plantation Pine, paint the lines on the green stripes.

Shade the scarf with Burnt Umber and dry brush with Snow White.

Shade the right side of the face and the body with a side load of French Grey Blue using the 3/4” wash. Shade along the lower left side of the face and around the scarf with Burnt Umber. Highlight in the open areas with Snow White. Use the 10/0 liner and Lamp Black to paint the snowman eyes, lashes, brows and mouth.

Line the eyes with thinned Honey

© 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.

October 2018 Issue

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Painting World Magazine

This line drawing is reduced.

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.

The pattern for the back is on page 40.

Brown. With the tip of the brush, line in Snow White eye highlights.

Paint the nose with Burnt Orange.

Tip the brush in Burnt Umber and then in Snow White and place tiny highlights and shadow along the nose. Dry brush the cheeks with the 3/8” wash and Crimson Tide.

Arms The arms are lined on using the 10/0 liner loaded in Soft Black and tipped with Driftwood. Using the dirty brush add Warm White for lighter tones. Shade the arms at the base using the 8 shader October 2018 Issue

with a side load of Burnt Umber.

Candy Canes Use the same colors and repeat the float of the Santa candy cane.

Final details Use the 8 filbert brush full loaded with washy Snow White to float the ground. Allow this to dry.

Using the 1/4” DM stippler loaded with Snow White, stipple on the snowy ground as you like.

Float the Ice Crystal on the Santa sleeves fur trim and along the fur trim of the snowman with pom-

pom hat. Load an old brush with thinned Snow White and spatter the snowflakes on the background.

Repeat with Blue Mist in random areas. Stencil the checks along the bottom of the gourd with the 1/4” DM stippler loaded with Snow White. Apply craft glue along the Santa fur trim and just under the arms of the snowmen at the top. Sprinkle with Glamour Dust.

Shake off excess. Allow this to dry.

Allow the entire piece to dry, and then erase any remaining graphite.

Varnish as desired following manufacturers instructions.

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Making $$$ With Your Art Look around your home.

Who is creating the flower designs on the curtains and comforter you purchased for your bedroom? What about the art on the paper plates at the party you attended last week?

Sometimes the art is created “inhouse” by a team of artists the manufacturer employs full time.

While other manufacturers’ license art from artists just like you! My focus in this article is that amazing segment of artists that create art for use in the manufacturing field.

A manufacturer can get several different designs to use, on the same shape plates, décor, towels, furniture, etc by contracting with a variety of licensed artists. Their inventory of art is unlimited.

While you continue to maintain ownership of your art, you allow a company to use your designs for a specific purpose. That allows you to license it to another manufacturer, at the same time, for a different application.

For instance, one company may want to use your cardinal on a flag for the garden and another company may want to put the exact same design on coffee mugs, whilst yet another licenses it to use on Christmas wrapping paper.

by Thelma Hamilton The ownership stays with you, yet there are many opportunities in the marketplace.

I have been familiar with the concept of licensing art to manufacturing companies for over 25 years. When I was attending gift shows, sometimes called trade shows, to purchase for my store, I might see the same design on plates in one manufacturer’s booth and on rugs in a different manufacturer’s booth. At that point in time, it was normal for the artist to sign with an agent.

The licensing agent would represent the artist to the potential manufacturer. This is still a very reasonable scenario today. Many artists have agents who find work for them. However, keep in mind there are up and down sides to every situation.

The up in this scenario is that you have someone who is trained in this field and has honed their connections over a period of time, looking for possible opportunities for your work. The down side is that they

are representing other artists as well. When the opportunity comes along that could reap a larger payout for the agent, they could be inclined to offer up a more in-demand artist for the job.

After all, the licensing agent makes

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Does it have a story?

3) Do you have a vision for your artwork?

As you were creating it did you see it on any particularly different or unusual applications?

4) Your artwork in a respectful and professional presentation 5) A note of Thanks for taking their time to review your submission DO NOT INCLUDE: 1) Information they do not need to make a decision if they want to work with you.

Lori Siebert lorisiebertstudio.blogspot.com

their living collecting a portion of the licensing fee, which could be as high as 50 percent of the proceeds you collect from the sale of items containing your art.

If you want to represent yourself, getting your foot in the door can be a little more difficult. You have to find the “right fit” for your art.

What can you see your original art on? Can you see it on a variety of objects? Who manufactures a product that would be enhanced by your designs? Great, you have that narrowed down. Now put your work together and submit it to the manufacturer. Oops! Not so fast! You have to approach the company and find out if they license work. Sometimes they license for one department and inhouse for another. You have to do the agents job now and make the calls. Find out if they license, and October 2018 Issue

if so, where do you submit your entries? Entries? More than one?

Yes, you will want to prepare a submission that includes mock ups (showing your work on products that they do or might produce in the future). This can be done digitally with a program on the internet. Not computer savvy?

There are a ton of graphic artists out there that can assist you with this endeavor. If you do not know of one, check out Fiverr.com.

What should you include and what should you not include when approaching a manufacturer to pursue doing licensing with your art?

DO INCLUDE: 1) An introduction – Tell them a little about yourself and your journey.

2) Designs they have produced in the past.

Believe me, they know what they have done in the past.

3) Anything negative. Nothing saps a good intro like, “I noticed your competition has this item.”

Don’t expect a call on the following Monday either. It can take weeks or months to come to the top of the pile. If they don’t have a use for it now, they will probably keep it on file in case they can use it or your style in the future. Don’t get discouraged.

You can certainly follow up but don’t expect them to call you.

They receive tons of art daily.

I believe that it takes years of working with manufacturers to get to the point that you could rely on licensing alone to be your sole source of income. As I wrote in a previous issue of Painting

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World, it takes several lines of income to support an artist full time. This is just one of them.

There are sources out there where you can learn more about this form of art business. I sampled it last year in Kansas with Art Biz Jam. ArtBizJam.com is a group that has put together all the information you could ever need to have a career in licensing. They gather once a year somewhere in the United States, to teach the business of licensing and open up opportunities with manufacturers for like-minded artists. Lori Siebert and Phyllis Dobbs have

created a company to introduce and nurture the business of art.

As Phyllis said to me recently, “There is nothing like seeing your art in stores on products – it’s always a thrill seeing a product the first time, you want to hug it!”

If this sounds intriguing to you, you can also check out ArtOfLicensing.com. This is a free resource that anyone can join and participate in. They just celebrated their 10th anniversary.

Thelma L Hamilton’s artist studio is nestled between the foothills of the Adirondacks and the

1000 Islands River Region in Northern NY. Her specialty is designing and freehand painting glass ornaments. She has been painting collectible ornaments for almost 30 years. Thelma also has experience in wholesale, retail and online marketing.

Thelma L Hamilton Designs is looking to the future with vintage prints. Thelma loves yesteryear and the new prints will reflect that. She is also writing a series of children’s books to honor her granddaughter, titled The Adventures of Sydney Sunshine.

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Fjord Horse Christmas Ornaments October 2018 Issue

by Jan Boettcher

Painting World Magazine

I hope that you will enjoy painting these four fjord horses. Each one is painted in a different style of Rosemaling. The fjord horse is very special in Norway. Fjord horses are often used for wedding processions as well as for working on the farm.

The horse is a symbol of “strength” and “virility” as the Rosemalers of the past used them in their painting. They are commonly seen on ale bowls, trunks, and walls. Horses were often depicted in scenes that represent that particular time in history.

a certain valley of Norway.

Jan and her husband Roger have owned and operated Turn of the Century Wood Products in Thorntown, Indiana since 2002. The website is http:// www.turnofthecentury-in.com./ Jan is a resident artist at Sugar Creek Art Center in Thorntown, Indiana. She teaches classes there as well as travel teaches.

She is also a member of Hoosier Salon in Carmel, Indiana. She has represented Traditional Arts Indiana which is based at Indiana University since 2015. She was juried into Indiana Artisan in 2011 and represents her work at their annual Marketplace as well as demonstrating her art. She is part of the wonderful group of “Oil Painting Expressions” beginning this year. She has had her work published in several painting magazines.

Jan also has 3 Rosemaling clubs, which are available for people interested in learning Rosemaling. They are Design of the Month Club, Beginning Rosemaling Club, and new this year, Christmas Ornament Club.

Surface:

About Jan Jan has been Rosemaling for over 30 years. She has studied with Rosemalers here in the U.S. and also in Norway. Her main goal is to promote and preserve this beautiful art from Norway. She is very interested in the history of this art and teaches that right along with the actual painting. She paints 12 different styles, each depicting

• These fjord horse ornaments are available from Turn of the Century Wood Products www.turnofthecentury-in.com OR call 765-436-2647 to order

Background Acrylic Paints: • Jo Sonja Sky Blue JJ3468 Hallingdal Fjord Horse • DecoArt Americana Burnt Orange DA016 - Os Fjord Horse Head • Apple Barrel Black 20504 - Rogaland Fjord Horse

• Delta Ceramcoat Red Iron Oxide 02020 - Vest Agder Fjord Horse • DecoArt Americana Dazzling Metallic Emperor’s Gold DA148

Oil Paints: I use mostly Rembrandt and Grumbacher* oil paints • *Lamp Black - LB • Burnt Sienna – BS • Burnt Umber - BU • Prussian- Blue PB • Titanium White – TW • *Unbleached Titanium White - UT • *Cadmium Red Light – CRL • *Cadmium Yellow Light – CYL • *Cadmium Yellow Medium CYM • *Thalo Yellow Green TYG • Sap Green SG • * Chromium Oxide Green – COG • Venetian Red – VR • Yellow Ochre – YO • *Paris Blue PRB • Alizarin Crimson AC • Krylon GOLD and SILVER pen

Brushes: I use Scharff brushes and Raphael liners • Small Tear drop brush, Sable #426 • #2 & #4 shader, Syn-sable #130 (I refer to this brush as a flat) • #2 & #4 Cat’s Tongue, Synsable, #429. (I refer to this brush as a filbert) • Scharff Champagne handle #6/0 scroller and/or Raphael #2 synthetic liner #8829

Miscellaneous Supplies: • Tracing, transfer, and palette paper • Fine and medium sandpaper

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• Walnut Oil Alkyd – WOA • Odorless brush cleaner for oils • Blair finishing spray, matte and satin • Stylus & wipe out tool • Paper toweling • Palette knife • Plastic wrap

Preparation: Prepare and paint each of the ornaments. The colors are listed in the supply list. Once back grounded, spray with several light mists of matte finishing spray. Trace and transfer the designs to each ornament.

Blue Hallingdal Fjord Horse

Palette: Blue: Dark mixture – equal parts PB + BU + BS Middle mixture – Add TW to dark mixture Light mixture – Add TW to middle mixture Red: BS 1 part + CRL 1/2 part

the liner brush or teardrop brush to help the paint flow.

1. Paint in the leaves with LB. Outline with LB if necessary.

2. Flower saddle: Paint the center of the flower with red. Paint the blue around the red with middle blue mix. Use the light blue mixture for the side petals.

Lighten the light blue mixture with TW to paint the next side petals. For the outside petals use this mixture and a touch of UT. Each of these side petals is outlined with the lightest mixture used on the outside petals.

Paint the long teardrops on the light blue petals with light white mixture. Using the liner brush and LB, paint the crosshatch of the red middle. Paint each LB outline petal equally onto the blue ring around the red center.

Dots at the crosshatch junctures are light blue mixture. Place light blue dots equally around the red center. Dots are done using the stylus and thinned paint.

3. Mane, tail, and hooves: Paint these areas using the middle

blue, side loaded with dark blue mixture, blending as you paint the dark side. The light side is painted loading the brush with middle blue, side load with light blue mixture. Blend well for a nice gradation of color. Paint LB petals on the mane, straight lines on the tail and the three round bumps of the hooves. Place light blue dots between mane petals and base of the tail and three dots at the top of the tail. Paint three light white teardrops onto each of the rounds of the hooves, making sure the middle teardrop is longer than the side teardrops.

4. Dot flowers: Using the stylus, paint the large red dots, then the small light blue dots between the red dots. Center dot is LB. Paint a smaller set of dots for the eye in the same colors.

Line work and teardrops are LB. Outline the horse as shown with red and paint three long teardrops next to the tail.

5. Edges: Using the Silver pen, paint the edges of the entire ornament.

Black: LB White: Light blue mixture + TW Light blue mixture + TW + small amount of UT Use Walnut Oil Alkyd (WOA) when using October 2018 Issue

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point, I usually let the yellow dry a bit before painting the lines onto the yellow. When you feel the yellow has dried a bit, paint one line of LB following the contour of the section, then a green line, and then a red line.

Vest Agder Fjord Horse:

Palette: Green: COG - Add a small amount of VR. Add just enough to tone the green down a bit.

Red: VR White: TW UT Blue: Dark mixture: Equal parts of PB + BS + BU Middle mixture: Dark mixture + TW Yellow: Middle mixture: YO Light mixture: YO + TW Emperor’s Gold Use Walnut Oil Alkyd when using the teardrop brush or liner brush to help the paint flow.

1. Saddle: Paint the center of the saddle with gold paint. It may need two coats.

2. Saddle Strap: Paint the saddle strap by painting the center of the strap with green. Wipe and re-load the brush with green, side load with dark blue. Paint and blend as you paint the dark side of the saddle. Re-load with green, side load with light yellow mixture. Paint and blend as you paint the light side of the saddle. Outline the light side with LB and the light side with light yellow mixture. Paint the crosshatch onto the strap with LB. The dots flowers are done using a mixture of TW and UT, equal parts. Next, paint the green points of the saddle, leaving the red points which will be the back ground color showing through. You may want to outline the green points to refine the points nicely. Outline the line between the gold and the points section and the outside of the point section with LB. Dots are YO. Paint the LB lines onto the gold section.

3. Mane: Paint the sections one at a time using YO. Outline these sections with LB. At this

4. Tail and Breast Strap: Using the liner brush and middle blue that has been thinned, touch the point of the brush into the dark mixture. Paint the line from the front of the chest up to the saddle, pressing and blending as you paint this stroke. It will blend and look like it is variegated in appearance. Using the #4 filbert, load with dark mixture of blue. Touch the tip of the brush into the thinned middle blue. (You may add a little more TW if there is not enough difference in the shades of blue). Press the tip of the brush down on the surface and paint inward toward the line. You will lift and turn the brush to end up with the thinner tail of the stroke. Re-load the brush often and continue to paint each of the strokes along the line both on top and bottom. If the line “disappears” you may go back and repaint it. Dot yellow dots along the line. Using the liner and loading in the same manner, paint the halter and rein, pressing and blending as you paint the strokes. The Tail is painted with

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the #4 filbert in the same manner as the breast strap. Again, reload often to keep the color looking nice. Outline the strokes lightly with thinned light blue.

5. Small Flowers: For the flower on the left, paint the petals in with YO, outline with LB. Paint the lower leaves with green and outline with light yellow. Paint a small red circle at the base of the flower and paint dots all the way around with TW + UT mix. The teardrop flower is painted using the teardrop brush. Paint the 4 white petals, then the smaller yellow petals. LB center dot and also a small dot between the outer edge of each petal all the way around .

6. Hooves: Using the flat brush, load with middle blue. Side load with dark blue. Paint the hooves with the dark side down and then the light side up. Using the teardrop brush, load with thinned light yellow paint. Place the teardrops equally on top of the hoof line. Paint TW + UT dots above along the upper edge of the blue.

7. Line work, the ear and the eye: Place a dot in the center for the eye with dark blue. Dots around this dot are yellow, fairly close together. The line work is done by loading your liner brush with thinned yellow. Place the tip of the brush into the green. Press and paint the lines to the small flowers and the side lines. Paint the white dot flowers at the base by the strap. Yellow dots are placed along the lines next to the stem. Using the teardrop brush, load with light yellow, October 2018 Issue

tip into the blue and paint the two teardrops for the ear.

8. Edges: Using the Gold pen, paint the edges of the ornament.

Rogaland Fjord Horse:

Palette: Blue: Dark blue mixture - Equal parts of PB + BS + BU Yellow: Dark mixture: BS Middle mIxture: YO LIght mixture: YO + TW + touch of BU Red: Dark mixture: Alizarin Crimson + LB (1/4) Middle mixture: CRL + BS (1/2) Light mixture: CRL Green: Dark Mixture: Same as dark blue Middle mixture: CYL + small amount of LB a little at a time until you achieve a nice moss green Light mixture: YO Out line mixture: Same as Light yellow White: Dark mixture: YO Middle mixture: UT Light mixture: TW 1. Leaves around the saddle flower: Paint middle green down the center of each leaf. Leave unpainted area on both sides

of the petal. Re-load the brush with green, side load in dark blue. Paint the dark side of the leaf, pressing and blending as you form the leaf edge. Wipe and re-load with green, side load in YO. Paint, press and blend as you paint the light edge of the leaf. Using the liner and thinned outline mix, paint the light edge of the leaf and also the two vein lines. These veins are always painted on the dark side of the leaf and round inward. Outline the dark edge with thinned dark blue mix.

2. Red flower: Painting from side to side, paint the lower part of each petal with dark red. Next, paint the middle red, side to side, blending and rounding as you paint this stroke and form the petal. Next, using the CRL, pain the entire petal edges. The light color should outline the petal. You may also want to outline the edges of the petals with thinned CRL. Paint the inner petal line with thinned CRL as well.

3. Center of red flower: Using the #4 flat, paint a small circle of light yellow in the top of the circle. Next, load with green. Paint around the yellow center, blending as you paint outward. The edge is painted by loading the brush with green, side load with dark blue mix. Paint all the way around the circle with the dark outward. Blend carefully as you paint. If you “lose” the yellow center, paint in more light yellow. With thinned outline mix, very lightly paint the semi

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circles from one petal juncture to the next and also along the edge of the blue center circle. Place yellow dots between each petal at the base and also at the top middle of the circle. Red dots are around that yellow dot.

4. Small white flower: Paint the lower leaves middle green and outline with outline mixture. The two red petals are painted with the dark red mixture and outlined with CRL The white flower is painted with YO at the base, UT next, rounding as you paint. Then TW to form the outer edge of flower. Outline with TW. Paint the rounded stroke at the tip of the flower with TW and place two TW dots. Outlining for the stem etc. is done with the liner. Load with light yellow, tip into green and paint blending as you do the strokes. Teardrops are done by loading the teardrop brush in the same manner, light yellow tipped in green.

5. Yellow Mane, Tail and

Hooves: Using the three shades of yellow, paint each area with middle color, then dark, then light. The dark is inward on the mane and tail, and at the bottom of the hooves. Outline the points on the hooves with light yellow. Paint the straight lines of the hooves, the rounded lines of the mane and tail with light yellow. Dot the lines of the tail and mane, and paint the 4 dots into the points of the hooves. Paint the red dots above the hooves in an arched manner with CRL. The ears are two teardrops. Load with light yellow and tip into green.

6. Edges: Paint the edges with the Gold pen.

Os Fjord Horse Head:

When using the teardrop or liner brush, use WOA to thin the paint to help it flow.

Back of Ornament: Wipe the back of the ornament with a light coat of WOA. With a

clean piece of paper toweling, wipe the back of the ornament with thinned BS that has a small amount of BU added to it. When wiped on, use a small piece of plastic wrap. Put the wrap onto the surface and press, moving the paint around. Lift the wrap up off of the surface, wad the plastic up and “bounce” the surface to soften the appearance. Allow this to dry completely. Spray with several light mists of Satin finishing spray. When completely dry, trace and transfer the design to the front.

Palette: Blue: Paris blue + a touch of LB. Add TW to lighten just a bit, not too much Yellow: CYL and CYM Red: CRL Black: LB White: TW and UT Green: TYG + small amount of SG 1. Paint the band at the top of the flower PRB. Using the flat brush, load with CYL. Paint each of the petals at the top of the flower. Place the brush just inside the blue, press, round and blend the yellow to make

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green as you blend. Outline the petals with CYL. If necessary, repaint the blue band to clean the band. Fill in the yellow bowl of the flower with CYL + CYM mix. Using the filbert brush, load with CYL that has a bit of TW added to it. Paint the center stroke bulb to tail at the base of the flower. Re-load with CYL + CYM mix and paint a stroke on each side of the first stroke, painting them slightly leaning outward from the middle stroke. Next, re-load with CYL + CYM mix that has had a small amount of CRL added to it. I usually mix this with my brush. Paint the lower two outer strokes. Paint CRL dots above each of these strokes. Paint the lines onto the blue band with TW. You might want to add a small amount of CYL to the white. The first set of side petals next to the yellow bowl are painted with the TW that has a small amount of UT added to it. The next set of side petals has the first mixture plus a small amount of CYL + CYM mix added to it. Using the liner brush and thinned mixture that you used for the first petal, paint a nice accent stroke on the outer edges of both of the first sets of petals. The lower outside petals are painted with TYG, tip the tip of the brush into SG. Outline the green petals October 2018 Issue

with PRB. Paint the side petals from wider bulb of the stroke to the tail which should end at the base of the flower. Add a PRB dot at the base of the flower.

2. Outlines and Stems: Using the liner brush, load the brush with TYG and tip into the PRB. As you paint these lines, the green and blue will blend for a nice gradation of color. The lower stroke at the base of the stems is painted with the #4 filbert and PRB. Using the #2 filbert, load with CYL + CYM mix. Paint a small stroke just at the top of the blue stroke and blend into the blue stroke. Paint the dots along the lines using CYL + CYM. The small yellow side flower is painted with the #2 flat. Load with CYL + CYM mix. Tip in CRL, using the side of the brush. Set the brush down on the surface and press to form the small petals of the flowers and the small green leaf cups at the base of the flower.

Outline with light yellow. Dot with LB and then a small TW dot on top of the black. The

teardrops are done by loading brush with TYG, tip into PRB. 3. Outline on the top edge of the ornament: Paint the line CYL + CYM mixed that is thinned.

4. Side edge: Lighten the PRB a bit more with TW. Using the #4 flat, paint the points onto the edge evenly on the whole edge of the ornament except the ears. You may want to outline these points with thinned blue to outline them nicely. Place a CYL dot between each point.

Finishing the Ornaments: Allow the ornaments to dry completely! Once dry, clean off any stray marks, smudges, or tracing lines. Once all are clean and completely dry, spray them with very light mists of Satin finishing spray. Follow the instructions found on the can for best results.

Happy Painting!

Jan Boettcher

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These line drawings are reduced.

Enlarge 125% 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.

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

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Songs of Christmas

by Barbara Bunsey, CDA October 2018 Issue

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Christmas songs always put me in a good mood.

They evoke the peace and joy of the season and bring back many treasured memories. I hope these song birds help make the “Songs of Christmas” more special to you this year.

painted an ornament to grace the Christmas tree at the Library of Congress. In 2008, Barbara was chosen to paint 1,000+ ornaments which President and Mrs. Bush used as gifts to family, friends, and White House staff.

In 2017, Barbara was awarded the distinction of Accredited Decorative Painter (ADP), and Certified Decorative Artist in 2018 by The Society of Decorative Painters.

Barbara lives in Ohio with her husband and their crazy cat, Cuni.

Surface: • Mitten Ornaments, Set of (3) available from Tole Painting Designs, SLDPK130

Decoart Americana® Acrylic Paints: About Barbara Barbara has been painting and teaching for over 30 years and has taught at SDP National Conference and mini-conventions, and continues to travel teach at painting chapters. Her designs have been featured in all of the decorative painting magazines.

Barbara has been named to the Directory of Traditional American Crafts by Early American Life Magazine since 2004. She paints pieces which are sold in the Colonial Williamsburg foundation’s shops. She also demonstrates “country tin painting” at the St. George Tucker House in Colonial Williamsburg when she visits each December.

In 2004, Barbara was honored to have an ornament selected for the official White House Christmas Tree. In 2005, she

• Avocado DA052 • Avocado Dip DA254 • Camel DA191 • Dark Chocolate DA065 • Graphite DA161 • Grey Sky DA111 • Light Avocado DA106 • Lilac DA032 • Margarita DA299 • Purple Rain DA327 • Royal Purple DA150 • Slate Grey DA068 • Tuscan Red DA265 • Warm White DA239 • Wild Orchid DA233 • Zinc DA304

• #0 Liner • #2 & #4 Round • #10 Dynasty Dry brush

Miscellaneous Supplies: • DecoArt Extreme Sheen: Vintage Brass DPM05 • DecoArt Decoupage • Stylus • X-acto knife • Old credit card or heavy cardboard • Snowflake charms available from Tole Painting Designs, EMB01 • 24 gauge wire • DecoArt Varnish

Instructions: Mittens: Base Purple Rain. Be sure to paint inside the oval.

Cuff: Using a scruffy, fairly damp #10 shader, load into Wild Orchid and lay in vertical “lines” for the ribbing. Use the chisel edge of the brush. Repeat, picking up Lilac in dirty brush and adding to the centers of “rows”; dry. Repeat, using Royal Purple in between each of these rows to shade.

Mediums: • Decoart Americana® Matte Spray Finish DAS13

Dynasty® Brushes: • #8, #10, #16 Shader

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Painting World Magazine Mitt: Thin Wild Orchid and apply to the entire surface; stipple with a dry #10 Dry brush until “set”. Dry; repeat using Lilac. Shade under the cuff and around the entire mitten with Royal Purple. Base the edges with Extreme Sheen Vintage Brass.

Ovals: Trace around the ovals on the music, then cut out, leaving about 1/4” more around the edge.

Apply Decoupage to the oval and apply the music. Smooth it out using an old credit card or heavy cardboard. Apply one more coat of Decoupage; dry well. Lay oval on a piece of glass, upside down, and cut excess paper from around oval, using X-acto knife. Shade around the outside edge with Dark Chocolate.

Pine Branches: Line the branch in with Dark Chocolate. Pick up Avocado Dip on dirty brush and add a hit-and-miss line for highlight. Add needles with a liner and Light Avocado; repeat using Avocado Dip; repeat with Margarita. Repeat, adding a few more needles and adding Grey Sky to the dirty brush. Be sure not to cover up all the needles on the “under” layers when adding more.

Berries: Dots of a mix of Tuscan Red + Purple Rain (approx. 1:2) with the large end of a stylus.

Add a highlight dot to each berry with a mix of Wild Orchid + Warm White (approx. 1:2) with the small end of the stylus.

October 2018 Issue

Holly Branch: The branch is same as above. Leaves are Light Avocado. Highlight with Avocado Dip; add Grey Sky to dirty brush to brighten a few areas. Shade with Avocado. Note: I didn’t do much detail on the leaves as they are just there to add some interest to the branch.

Berries: Same as above.

Birds: All are based Grey Sky. I used the #4 round to do this.

Trace on pattern. Note: All the highlighting and shading on “feathers” is done with a barely damp #2 round. Load the brush in the first color, then add the next colors to dirty brush until you get the look you like. Repeat as necessary. Just “feather” these colors on, making each new “color” area a little smaller than the last. You may need to go back and forth on these areas until you get them “just right”! For tail feathers and ends of wings, side-load #8 or #10 shader, blend, and pull lines in with the chisel edge of the brush.

Black-Capped Chickadee White Areas: Grey Sky + Warm White; add more Warm White to the dirty brush as necessary. This is also for the feathers (scallops) at top of wing. Float Camel at the back of the body behind the leg. Add shading to the white area next to the beak with Slate; reinforce with a little Zinc.

Shade: Slate Grey; add Zinc to the dirty brush; add more Zinc; add Graphite to the dirty brush.

Shade the tail under the wing, under the wing and “collar”, in front and behind the leg.

Head and Throat: Base Graphite, using a barely damp #2 round as above. Highlight front of the throat and back of the head with Zinc; reinforce by adding Slate Grey to the dirty brush.

Beak: Base Camel + Zinc (approx.

2:1). Add a highlight line with Camel + Grey Sky (approx. 1:1).

Line with Graphite to separate to top and bottom. Shade next to the head with Dark Chocolate.

Legs: Liner of Slate Grey—be

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Painting World Magazine

sure to add claws where they hold onto the branch. Highlight with short lines of Grey Sky; add Warm White to the dirty brush if necessary. Shade next to the body with Graphite.

Eye: Graphite. Outline with a very thin line of Slate Grey + Zinc (approx. 1:1). Add a highlight with a dot of Grey Sky + Warm White (approx. 1:1).

Tufted Titmouse White Areas: Grey Sky + Warm White; add more Warm White to dirty brush as necessary.

Shade: Slate Grey; add Zinc to the dirty brush; add more Zinc; add Graphite to dirty brush. Shade the tail under the wing, the bottom of the wing, and above the beak with

Zinc; reinforce with Graphite. Float Camel on the body under the wing, walking color down a bit. Repeat, adding Dark Chocolate to the dirty brush, not walking down as far. Float a little Purple Rain over this area.

Beak: Base Slate Grey. Highlight with a line of Grey Sky; add a bit of Warm White if necessary.

Separate the top and bottom with a liner of Graphite.

Legs: Liner of Slate Grey—be sure to add claws where they hold onto the branch. Highlight with short lines of Grey Sky; add Warm White to dirty brush if necessary. Shade next to the body with Graphite.

highlight with a dot of Grey Sky. Mockingbird White Areas: Grey Sky + Warm White; add more Warm White to the dirty brush as necessary.

Tan Areas, Wing, Tail: Grey Sky + Camel; reinforce with more Camel; add a bit of Dark Chocolate to the dirty brush for the bottom of the tummy; add Zinc to the dirty brush for the darkest areas. Add lines to the wing and tail with Dark Chocolate + Zinc

Eye: Graphite. Highlight the top left with a float of Slate Grey + Zinc (approx. 1:1). Add a

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Painting World Magazine (approx. 1:1). Shade the wing sections, on the tail under the wing, and under the wing on the body with Zinc; reinforce with Graphite. Highlight the bottom sections of the wing with a sideload of Warm White, using chisel edge of the brush to bring it up into the wing. Float light Wild Orchid at the top of the wing.

Beak: Dark Chocolate plus a tad of Grey Sky. Highlight with a line of Camel + Grey Sky (approx.

1:1). Line in Graphite to separate the top and bottom. Shade next to the head with Dark Chocolate.

Legs: Line in with Camel.

Add a highlight with Camel + Warm White (approx. 1:1).

Shade with Dark Chocolate.

Eye: Dark Chocolate. Add a highlight dot with Camel.

Finishing Varnish. Add hangers with thin wire and attach the snowflakes.

I did dry-brush Extreme Sheen Vintage Brass on these.

These line drawings are 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.

October 2018 Issue

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

Painting World Magazine

Christmasy Trio

by Deb Antonick

Join this festive trio in celebrating the holidays!

The bright colors and sweet faces will make wonderful gifts for giving this Christmas.

About Deb I live in beautiful Penticton, British Columbia, Canada with my recently retired husband and

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

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

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

Surfaces: • Sandi Strecker Ornaments – Santa 2098, Snowman 2099, Penguin (Gingerbread) 2100 Available from Bear With Us

DecoArt® Americana Acrylics: • Wild Berry DA362 • Buttermilk DA03 • Tuscan Red DA265 • Electric Pink DA231 • Napa Red DA165 • Light Buttermilk DA164 • Shoreline DA365 • Spa Blue DA277 • Victorian Blue DA039 • Prussian Blue DA138 • Mocha DA60 • Terra Cotta DA062 • Burnt Sienna DA063 • Cocoa DA259 • Asphaltum DA180 • Purple Cow DA272 • Grape Juice DA236 • Wisteria DA211 • Dioxazine Purple DA101 • Foliage Green DA269 • Margarita DA299 • Mistletoe DA053 • Hauser Dark Green DA133 • Canyon Orange DA238 • Tangerine DA012 • Titanium White DA01 • Lamp Black DA067

October 2018 Issue

Dynasty® Black Gold Brushes (206 Series)

Painting Instructions:

• #10, #6, #4, Flat Shaders 206S • 10/0 Liner 206L • #2 Round 206R • 1/4”, 3/8”, 1/2” Angular Shaders 206A • #6, #8 Decorator Series 200 Dome Round • 1” or 5/8” Dynasty Decorator Series 400 Mops • 1/2” Stencil Brush

Hat –

Project Supplies • Stencil – Tim Holtz THS032 Flourish • 9 x 1/8” Flat Back Crystals • Glue • Stylus • DecoArt Ultra Fine Writer tip

Paints & Mediums:

Snowman: Basecoat with Lamp Black.

Highlight with Shoreline. Line stripes with Purple Cow. Face – Basecoat with Buttermilk. Shade with Cocoa. Drybrush with Light Buttermilk. Deepen shading with Asphaltum. Drybrush brighter with Titanium White.

Drybrush the cheeks softly with Wild Berry.

Base the nose with Canyon Orange. Shade with Burnt Sienna. Highlight with a float of Tangerine. Deepen the shading with Napa Red. Dot the eyes with Lamp Black.

• DecoArt Media Ultra-Matte Varnish DMM24 • DecoArt Media Gesso DMM18 • DecoArt Media Modeling Paste DMM21 • Glamour Dust, Crystal DAS37

Preparation Basecoat all of the surfaces entirely with Gesso.

Sand lightly.

Trace on the design.

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Painting World Magazine Highlight the nose with Light Buttermilk. Drybrush the cheeks with Wild Berry. Dot with Titanium White.

Base the eyes with Shoreline. Shade under the eyebrows with Victorian Blue. Highlight along the bottom with Spa Blue.

Dot the pupil with Lamp Black. Dot the highlights with Titanium White.

Hat – Basecoat with Wild Berry. Stencil with Tuscan Red. Shade with Tuscan Red. Float highlights with Electric Pink. Deepen shading with Napa Red. Hat Brim and Pom Pom – Stipple with Modeling Paste using the #6 Dome Blender. Let dry.

Basecoat with Shoreline. Base over the texture with slightly watered down Victorian Blue. Let dry.

Drybrush with Shoreline. Drybrush again with Spa Blue, then with Titanium White.

Beard, Mustache and Eyebrows – Basecoat with Soft Lilac. Shade with Grape Juice.

Dot the cheeks and the eyes with Titanium White.

Scarf – Basecoat with Shoreline. Stencil with Victorian Blue.

Shade with Victorian Blue. Float highlights with Spa Blue. Deepen shading with Prussian Blue.

Buttons – Basecoat with Purple Cow. Shade with Grape Juice. Float highlights with Wisteria.

Deepen shading with Dioxazine Purple.

Dot with Lamp Black. Line the “x” with Titanium White.

Santa: Face – Basecoat with Mocha. Shade with Terra Cotta.

Drybrush with a brush mix of Mocha and Light Buttermilk. Deepen shading with Burnt Sienna. © 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.

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Painting World Magazine Base the white stripes with Light Buttermilk. Shade with Fawn.

Line around the door with Warm White.

Gingerbread: Head and Arms Basecoat with Terra Cotta.

Shade with Burnt Sienna.

Drybrush with Cocoa. Deepen shading with Asphaltum.

Drybrush the cheeks with Wild Berry mixed with a touch of Canyon Orange.

Drybrush the cheeks with Wild Berry. Line the nose with Canyon Orange.

Dot the berries with Tuscan Red, then again with smaller dots of Electric Pink.

Dot the eyes with Lamp Black.

Dot the eyes and the cheeks with Titanium White.

Line the swirly vines on the Snowman hat with Foliage Green.

Line the vine on the snowman’s head with Asphaltum tipped in Lamp Black. Tap in the leaves with the liner brush loaded with Mistletoe, tipped in Margarita.

Dot the berries with Tuscan Red, then again with Electric Pink.

Holly Leaves and Berries:

Scarf – Basecoat with Purple Cow. Stencil with Grape Juice. Shade with Grape Juice. Float highlights with Wisteria. Deepen shading with Dioxazine Purple.

Basecoat all the leaves with Foliage Green. Shade with Mistletoe.

Highlight with Margarita. Deepen shading with Hauser Dark Green.

Finishing Touches: Outline as desired with Lamp Black.

Line and dot all the snowflakes with Titanium White.

Place the fine liner tip on the Titanium White to line the icing on the Gingerbread. While wet, sprinkle with Glamour Dust.

Use the same to apply all the snow. I use the liner tip to pull the paint to create the drips. While wet, sprinkle with Glamour Dust.

Snowman – Basecoat with Light Buttermilk.

Shade with Cocoa. Highlight with Titanium White. Deepen shading with Asphaltum.

October 2018 Issue

© 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.

These line drawings are full size.

Painting World Magazine

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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.

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

October 2018 Issue

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Painting World Magazine

Holiday Medley

by Sandy McTier

I loved creating this little collection – highlighting snippets from some of my favorite holiday tunes!

Learn how to use stamps for a subtle background and layer Fluid Acrylics to paint these whimsical and fun designs. Make them as ornaments or turn them into gift tags. Paint a gift bag to coordinate!

I promise, while you’re painting them, you’ll be humming or singing the holiday tunes just like I was!

October 2018 Issue

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Painting World Magazine

• Pyrrole Red DMFA18 • Carbon Black DMFA05 • Quinacridone Gold DMFA32 • Sap Green DMFA07 • Green Gold DMFA14 • Raw Umber DMFA37 • Titan Buff DMFA38 • Yellow Green Light DMFA46 • Primary Magenta DMFA29 • Paynes Grey DMFA20

About Sandy 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.

Surface: • Three Postage Stamp Ornaments Item: BEV139 Available from Bear With Us

DecoArt® Media Products: • Gesso – White DMM18 Fluid Acrylics:

• Titanium White DMFA39 • Cobalt Teal Hue DMFA10

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

Dynasty® Brushes: • 3/4” Flat Wash (206FW) • #12 Shader (206S) • #8 Shader (206S) • #5 Shader (206S) • 1/4” Angle (206A) • 1/2” Angle (206A) • 3/8” Angle (206A) • #0 Liner (206L) • Small Mezzaluna (for drybrushing) • 1/4” Mop

Stencil: • Décor Cling Music – SKU #DCR105 – Available from Stampendous

Miscellaneous Supplies: • Paper Towels • Pencil & White Eraser • T-Square Ruler • Water Basin • Heat gun • Identi-Pen • Staz-On Ink Pad – Black • Sanding Pad

Helpful Hints:

Assembly line the surface prep: sealing, base coating, stamping and measuring!

Then you can start on the fun part – painting the three different designs.

I truly love painting with the Media Fluid Acrylics!!

They are transparent and can be layered to achieve beautiful effects. If you aren’t familiar with using them, there are a couple tips I’d like to share with you. Lay the paint on instead of using heavy pressure to apply it. Don’t go over and over and over the same area – it will start to lift the color.

It helps to let the layers dry between applications.

The Fluid Acrylics also make beautiful washes and glazes and are super fun to use!

Preparation: Using a 3/4” brush, paint all of the ornaments with DecoArt MultiPurpose Sealer; let dry. Lightly sand and wipe away any dust.

With the 3/4” brush, paint all of the ornaments with Gesso and let dry.

Lightly sand if necessary. Figure 1 Load stamp with ink and stamp on a piece of paper first. This will allow you to see if you have enough ink on the stamp.

Re-ink and then stamp on the ornament. This is a large stamp so pick an area that you like the

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Painting World Magazine

Figure 1

Figure 2

best; however, very little shows after we’ve painted our designs.

Stamp all of the ornaments, reinking in between each one. Thin down some Gesso with water and paint a layer over the surface; let dry. This will help take the image down a notch or two… still visible but not as prominent. I painted two thin layers on mine, letting them dry in between. A heat gun will speed up the drying process.

Measure 1/2” from the top, bottom and sides and lightly draw the rectangle in the center of each ornament. Then go over the lines with the wider tip of the Identi-Pen. Figures 2-4

Instructions: Background Colors for All Three Ornaments: Load a rather damp 1/2” Angle brush with Cobalt Teal Hue and paint the inside of the Reindeer background; let dry. We’re going for more of a wash for the background. Then, load the toe only of the 1/2” Angle brush with Cobalt Teal Hue and float the color around the edge of the rectangle.

TIP: You’ll want the brush slightly damp when floating on the color.

Set the toe of the brush next to the line and the heel of the brush toward the center of the rectangle and lightly tap and pull to float on the color. Then use the Mop

brush to soften the area where the heel of the brush was so that it blends into the washed background.

Repeat this for all of the backgrounds. The Snowman background is done with Yellow Green Light, and I used Pyrrole Red for the Holly background. Let all of the backgrounds dry and then transfer the patterns.

TIP: Cut the pattern and transfer paper to fit the size of the ornament. This will help you line up within the rectangle better.

You can transfer the words or just free hand them like I did.

Reindeer Ornament: Reindeer: Using the #8 brush, paint the reindeer and scarf with Titanium White and let dry. Outline around the eyes with the Identi-Pen and then paint them in with Titanium White. Let dry. Reload the brush with Titan Buff and paint the reindeer again. Figure 5 Once dry, load the brush with Quinacridone Gold and paint the reindeer; let dry. Wipe the brush

Figure 3 Figure 4

October 2018 Issue

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Painting World Magazine

Figure 5

off, load with a touch of Titan Buff and paint inside the ears. Dip the end of the #8 brush into Carbon Black and dot the eyes. Load the toe of a slightly damp 3/8” Angle brush with Raw Umber and shade along the inside edge of the reindeer and underneath the scarf.

Load the liner brush with Pyrrole Red and paint the nose. Rinse the brush and load with Titanium White. Paint a few small strokes inside the ear, a highlight on the right side of the face, the right side of the body and a highlight on the nose. Load the liner brush with Raw Umber and paint the antlers and three little hairs on the top of the head. Wipe the brush off, load with Quinacridone Gold and a touch of Titan Buff and mix on the palette. Highlight the antlers and hairs. Load the #5 brush with Yellow Green Light and paint the wide stripes on the scarf and paint the thinner lines with the liner brush. Reload the liner brush and add small dots on the end of the top scarf section; let dry. Load the toe of a slightly

Figure 6

damp 3/8” Angle brush with Sap Green. Shade around the knot on the scarf and along the bottom of each section of the scarf. Load the liner brush with Titanium White and highlight the scarf, adding small white dots randomly on the end of the scarf. While the liner brush is loaded with Titanium White, paint a small highlight in each eye. Figures 6 & 7 Words: I found it easier to write the words with a pencil first and then use the wide end of the Identi-Pen. Optional: Add a shadow on the side of the letters with Cobalt Teal Hue. Finishing Touches: Go over the rectangle with the Identi-Pen if necessary. Load the toe of a slightly damp 3/8” Angle brush with Paynes Grey and shade under the left ear and antler, the side of the face and under each part of the scarf. Go around the eyes again with the IdentiPen and add eyebrows. Once everything is dry, varnish with the Soft-Touch Varnish. Hang

Figure 7

with a ribbon or wire! Figure 8 Snowman Ornament: Figure 9 Snowman: Load the #12 brush with Titan Buff and paint the snowman; let dry. Reload the brush with Titanium White and paint the snowman again. Load the toe of a slightly damp 3/8” Angle brush with Paynes Grey and shade along the sides, underneath the scarf and hat. Load the toe of a slightly damp 1/4” Angle brush with Paynes Grey and float a small

Figure 8

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Painting World Magazine

Figure 9

backwards “c” where the left arm comes out. Load the liner brush with Raw Umber and paint the arms. Add some Quinacridone Gold and Titanium White to the brush and mix on the palette.

Highlight the arms. Dip the handle of the #8 brush into Carbon Black and paint the eyes and buttons; let dry. Load the liner brush with Pyrrole Red and paint the oval nose. Rinse the brush then load with Carbon Black and paint the mouth. Once everything is dry, add a small highlight of Titanium White on the nose, a small dot on the eyes and 4 dots on the Figure 10

October 2018 Issue

buttons with an “x” connecting them. Load the #5 brush with Pyrrole Red and paint the stripes on the scarf; let dry. Load the toe of a slightly damp 3/8” Angle brush with Pyrrole Red and float color along the bottom of the scarf sections. Once dried, load the liner brush with Titanium White and highlight the scarf.

Load the toe of a slightly damp 1/4” Angle brush with Paynes Grey and shade the left side of the buttons. Figures 10 & 11

Load the Mezzaluna brush with Titanium White and wipe most of it off on a paper towel. Dry brush some white on the top of the hat, on the right side, on the top of the gray band, along the rim of the hat and on the tops of each of the petals on the flower.

Hat: Load the #8 brush with Carbon Black and paint the hat.

Add a touch of Titanium White to the brush and mix on palette to make a gray; paint the band. Load the toe of a slightly damp 1/4” Angle brush with the gray mixture and add a touch more black, then shade along the bottom of the band. Soften with the Mop brush if necessary to avoid a line between the dark and light color.

Load the liner brush with Primary Magenta and paint the flower. Dip the end of the brush into Cobalt Teal Hue and dot the center.

Finishing Touches: Go over the rectangle with the Identi-Pen if necessary. Use the fine tip of the pen to outline the flower. Load the toe of a slightly damp 3/8” Angle brush with Sap Green and shade under the arms, left side of the hat, the body and under each part of the scarf. Once everything is dry, varnish with the Soft-Touch Varnish. Hang with a ribbon or wire! Figure 12

Figure 11

Words: Once again, I wrote them with a pencil first and then use the wide end of the Identi-Pen. Optional: Add a shadow on the side of the letters with Pyrrole Red.

Holly Ornament: Figure 13 Figure 12

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Painting World Magazine

Figure 13

Holly Leaves: I layered several colors on the leaves, letting each layer dry before moving on to the next. Load the #12 brush with Titanium White and paint the holly and berries; let dry. Rinse the brush, load with Sap Green and paint the leaves again; let dry. Load the brush with Sap Green, Green Gold and a touch of Titanium White and mix on the palette.

Paint over the leaves again. Load the #8 brush with Sap Green and Paynes Grey; mix on palette. Slide on the chisel edge of the brush to paint a vein down the center and then paint a wash the color on Figure 16

Figure 14

the left side of each of the leaves.

Load the toe of a slightly damp 3/8” Angle brush with Paynes Grey and shade at the base of the leaves. Reload the toe of the brush and shade underneath the left side of the leaves, the lower right side of the right leaf and underneath the berries. Rinse the brush. Load the toe with Green Gold and Titanium White. Slide on the chisel edge of the brush, leading with the heel, pulling a thin vein down the center. Reload the toe and then float the color along the left side of the leaves.

Figure 17

Figure 15

Using a Mop brush, soften where the heel of the brush was to avoid a line. Let dry. Figures 14 - 17 Berries: Load the #8 brush with Pyrrole Red and paint the berries; let dry. Repaint the berries to intensify the red. Load the 3/8” Angle brush with Pyrrole Red and then load only the toe with Paynes Grey. Shade along the bottom of the berries; let dry. Load a damp #8 brush with Primary Magenta and wash over the top half of the berries. Load the liner brush with Titanium White and add a highlight on each of the berries.

Figure 18

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Painting World Magazine

Figure 19

These line drawings are full size.

Load the Mezzaluna brush with Green Gold and Titanium White, mix together and then wipe most of the paint off on a paper towel.

Dry brush the color on the brighter side of the leaves. Repeat. Load the liner brush with this mixture and add a highlight line down the right side of each leaf. Rinse the brush. Load with Sap Green and Paynes Grey and add a small curl on the upper left side and tip of the leaves. Figure 18

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.

Words: Go over the words with the wide end of the Identi-Pen. Optional: Add a shadow on the side of the letters with Sap Green. I chose to leave the shadow off of this ornament to show you both ways.

Finishing Touches: Go over the rectangle with the Identi-Pen if necessary. Once everything is dry, varnish with the Soft-Touch Varnish. Hang with a ribbon or wire! Figure 19

October 2018 Issue

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

Painting World Magazine

Festivi-Tea Orchids

by Tracy Moreau

I love florals and I love working with a variety of media. So I thought it would be fun to incorporate them into a set of tea cups! These pieces use DecoArt Media Products -- I think you will enjoy working with them. The transparency makes for lovely deep shadows and vibrant colour and they float BEAUTIFULLY! Have some fun with this and feel free to change up the colours as you see fit. These pieces just cry out to be experimented with!! Enjoy!

Thanks for playing in my sandbox! Š 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.

October 2018 Issue

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Painting World Magazine Las Vegas, Heart Of Ohio Tole, Northwest Tole Liners, Art Waves West (Alberta, Canada), Art Waves /Pin It Canada (Ontario Canada), AFCI CREATIVATION (Phoenix).

Surface: • Tea cup ornaments, available from Viking Woodcrafts Item #207-1116, #207-1117, #207-1118

DecoArt® Americana® Acrylics:

About Tracy Tracy Moreau is a classically trained artist with more than 35 years of experience. Educated in Europe, Canada and the US, her work has a great many influences.

Her combination of Fine Art, Faux Finishing and the Decorative Arts makes her work unique.

Tracy’s design work is varied, from home decor to mixed media, she is versatile and creative and is generous with her knowledge and experience. Her sense of humour and relaxed approach to teaching endears her to her students, creating an atmosphere of fun and unabashed creativity.

• Dragon Fruit DA300 • Warm White DA239 • Apshaltum DA180 • Lamp Black DA067 • Titanium White DA01

Author of several books, three in French, Tracy’s work has been published in a wide variety of publications, from craft and painting magazines to home improvement and decorating magazines, online publications and hundreds of patterns.

• Matte Medium DMM20 • White Gesso DMM18

Tracy teaches and travels extensively. She is attending or teaching at numerous conventions and workshops in 2018/19 -- OKC Painting Palooza, Creative Painting

Miscellaneous Supplies:

October 2018 Issue

DecoArt® Media® Fluid Acrylics™: • Cobalt Teal Hue DMFA09 • Primary Magenta DMFA29 • Green Gold DMFA14 • Sap Green DMFA07 • Diarylide Yellow DMFA11 • Dioxazine Purple DMFA12 • Vermillion DMFA45 • Titanium White DMFA39

• Gold Embossing Powder • 3 pc set Polka Dot Stencils 1/8, 1/4, 3/8 - www.tracymoreau.net • Stazon Stamp Pad in Black • Stazon Embossing Ink Pad • Uniball Signo DX .038 UM-151 pen

Preparation: Begin by base coating the ornaments with a coat of Lamp Black. Once dry, apply Warm White using a Chip Brush, pulling the strokes in a vertical manner (dry brush effect). The resulting finish should be dry and somewhat streaky looking with small lines of the black base coat showing through. Let it dry thoroughly. Figure 1 Use the Old Script stamp and apply in a random fashion over the background. just here and there, and don’t worry about them being too perfect. Let dry.

Figure 2 Trace and transfer the line drawing onto the ornaments.

DecoArt® Media® Mediums:

Dynasty® Brushes: Faux Squirrel 1827

Figure 1

• #2 Rigger • 1/2 and 3/8 Angle • #4 and #6 Round • Chip Brush • Old Script Stamp Stampendous CRP249 • Merry Christmas Stamp

Figure 2

© 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

Adding the colour: Apply patches of each of the following all over the ornaments (in no specific order): Cobalt Teal Hue, Primary Magenta, Diarylide Yellow, Dioxazine Purple, and Green Gold. Use a little water or glaze to thin it a little and gently blend the colours together by allowing them to overlap slightly. It should become very transparent. Allow the colour to be weak in some areas and stronger in others. Keep the brush moist as it allows the colour to move easily. I try to keep a brighter area near where the Floral will be placed (makes applying highlights to the background simpler in the end). Figure 3

Use the 1/4 Polka Dot stencil and Warm White to apply a few irregular dots to the back ground.

These are not perfect and are are often incomplete. Repeat in a few areas with the 1/8th Polka Dot stencil. Figure 4 Apply a shadow on the edges of the blanks with a 1/2� Angular and Asphaltum thinned with water. Figure 5 The Leaves: Apply Green Gold over the entire surface of the leaves. shade the leaves with a slip slap wash of Sap Green (thinned), keeping it darker on one side. (Refer to the photos for placement.) Shade down the centre vein of the leaves with a float of Asphaltum mixed with a touch of the Sap Green. Add a final float of thinned Asphaltum to deepen the shadow. Figure 6 The Orchids: Base the orchid petals with White Gesso first, then when dry, with Warm White. Shade the petals with floats of thinned Cobalt Teal Hue. Deepen them with floats of thinned Asphaltum. Figure 7

Let it dry and then soften the colours with another weak float of Asphaltum. Let it dry. Apply a light wash of thinned Dragon Fruit to the tips of the orchid petals -- allow it to be a little irregular and focus it on the lower areas of the petals. Let dry. Figure 8 Soften the shading at the bottom of the petals with a float/wash of heavily thinned Asphaltum.

Let dry. Brighten the highlights opposite the shadows with a couple of floats of Titanium White.

The centre petals are based with DragonFruit/Warm White (to make a soft pink). Shade the centres on the pink areas with floats of thinned Primary Magenta. Highlight with small strokes of thinned Warm White.

The centre stamen is based with Diarylide Yellow and shaded with a touch of Vermillion.

The Buds and Stems: Apply a light coat of gesso to the stems and buds. Let it dry. Base the stems with Green Gold and let dry.

Shade with a float of Sap Green, then deepen the shadow with a

Š 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.

October 2018 Issue

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Painting World Magazine

float of Asphaltum. Float the lower edges of the buds with Warm White, then immediately float over this with thinned Dragon fruit.

These line drawings are full size.

Final Shading: Apply a few washes of Asphaltum to the area around and under the flowers to deepen and soften the shadows. Highlight the background above the flowers with floats of Warm White. Lightly spatter the surface with thinned Lamp Black, thinned Asphaltum and thinned Warm White. Use the gel pen to apply a light, irregular sketchy line on and around the leaves and the flowers. Rub the ink pad along the edges of the ornament for a quick aged effect!!

Optional Add Ons: I used a “Merry Christmas� stamp with an adhesive embossing stamp pad and gold embossing powder to add a little bling.

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.

October 2018 Issue

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

Painting World Magazine

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

Thelma Hamilton thelmahamilton@yahoo.com thelmaLhamilton.com

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

Jan Boettcher rboett@frontier.com turnofthecentury-in.com

Marlene Kreutz mfolkart@marlenekreutz.com marlenekreutz.com 507-451- 5064

Annamarie Oke annamarie860@gmail.com

Barbara Bunsey, ADP bbunsey@calicogoose.com 330-467-7402 calicogoose.com

Mila Marchetti milamarchetti@libero.it milamarchetti.com

Cynthia Erekson cynthia.erekson@gmail.com reflectionsofthepastpatterns.com

Sandy McTier SandyMcTierDesigns@aol.com SandyMcTierDesigns.com

Nancy Scott, CDA artistns@icloud.com nancyscottcda.com Lisbeth Stull artsyfrtsy@nventure.com

Directory of Advertisers & Suppliers Aleene’s aleenes.com

Grumbacher® grumbacher.chartpak.com

Prima Marketing, Inc. primamarketinginc.com customerservice@ primamarketinginc.com

Bear With Us, Inc. bearwithusinc.com 407-347-5939

Heart of Ohio Tole® heartofohiotole.com 614-394-8028

Cupboard Distributing® cdwood.com 937-652-3338

JB Wood Products® jbwood.com 508-222-5790

DecoArt® decoart.com 606-365-3193

Jo Sonja’s® lynneandrews.com andrews181@cox.net

Dynasty® Brushes dynastybrush.com 718-821-5939

Lynne Andrews Folk Art® www.josonja.com 888-567-6652

Scharff Brush® artbrush.com 770-461-2200

Faber-Castell® fabercastell.com

Pebeo® en.pebeo.com

General Pencil Co., Inc. generalpencil.com 650-369-4889

Plain & Simple LLC plainsimplemagazine.com 260-768-7651

Scottie’s Bavarian FolkArt bavarianfolkart.com 540-341-8884

Prismacolor prismacolor.com ®

Royal Brush® royalbrush.com 800-227-2441 Sakura® of America sakuraofamerica.com

© 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.

Silver Brush® silverbrush.com 609-443-4900 Smooth Cut Wood® smoothcutwoodproducts. com 888-982-9663 Stampendous® www.stampendous.com 800-869-0474 Strathmore® strathmoreartist.com Tim Holtz® timholtz.com Tole Painting Designs® winsornewton.com Viking Woodcrafts® vikingwoodcrafts.com 800-328-0116

October 2018 Issue

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