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APRIL 2019 ISSUE

Contents

A WREATH OF LOVE by Lori Puszakokwski-Schmidt

KALEIDOSCOPE A BUNCH OF BUTTERFLIES

12 By Leslie Smith

LAMB FAMILY FARMS

21 By Lonna Lamb

A COOL REFRESHING DIP

36 By Susan V Cochrane

LILAC ORCHIDS

By Mabel Blanco

THE SEASIDE By Chris Jeanguenat

BUTTERFLY COLORS

By Marlene Fudge

ENTER WITH A HAPPY HEART By Cindy Mann Vitale

More Great Articles! 40

Where do artists get their inspiration? By Thelma Hamilton

76 68

SPRING VISITOR By Ursula Wollenberg

Directories of Artists, Advertisers and Suppliers

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ALL RIGHTS RESERVED ON ENTIRE CONTENTS. PAINTING WORLD MAGAZINE (ISSN 2472-694X). April 2019, Volume 01, Issue 20 ©Loon Publishing, LLC. Painting World Magazine is published 6 times per year by Loon Publishing, LLC., 205 South State Street, Waseca, MN, USA. Subscription price $29.99 per year. POSTMASTER: Please send address changes to Loon Publishing, LLC., 205 South State Street, Waseca, MN 56093. 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. rate 29.99Magazine + 5.19 S&H for 6 Edition. issues. Distributed in the United Canada and worldwide. Printed byYou Quality Print, Waseca, MN. ©Subscription 2019 Painting World Digital All rights reserved. Not States, for distribution, resale or reproduction. 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.

APRIL 2019 ISSUE

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APRIL 2019 ISSUE

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Kaleidoscope A Bunch of But terflies

This is one of those projects that looks much harder than it is and that is the beauty of it. The two cutout butterflies are optional. The layering of wood, combined with layering of paint makes it appear that the butterflies are in flight. And, you get all the credit.

By Leslie Smith ABOUT LESLIE:

I live in paradise. After a rich, but stressful career of technical data and regulations regarding environmental contamination, I retired. Now, I play in the garden, play with paint, make jewelry, cook, and I watch butterflies (many Monarchs live their entire lives in Florida, too). Life is good!

APRIL 2019 ISSUE

ÂŠ 2019 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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SUPPLIES:

Helpful hints

Surface:

• 2 cutout Butterflies - item #130605 - available at Hobby Lobby (optional) or you can cut butterflies out of leather, scrap linoleum, and vinyl tile that is not backed with adhesive.

• There are many ways to create depth. We will use several of them on this piece. • We will make the forward butterflies and flowers brighter, lighter and warmer.

In addition, Fredrix manufactures canvas coasters and placemats that can be cut into any shape with scissors and painted; they are available from multiple sources online. Any of these alternative materials work well for “adding parts” to any painting.

• We will use more detail to the objects that are most forward, and make the outlines of the forward objects more crisp and sharp, i.e., less fuzzy.

• Three piece triptych #0685available from JB Wood

DecoArt Americana Acrylics:

• We will glaze a darker tone behind the areas or objects we wish to come forward; this will also obscure detail in the items pushed back.

• Light Avocado: DA106 • Celery Green: DA208

• Lamp Black Ebony: DAX067 • Spiced Pumpkin: DA310 • Orange Twist: DA266

• We will place some objects in front of others, partially blocking them, and cast shadows from one object onto another.

• Moon Yellow: DA07 • Bleached Sand: DA257 • Grape Juice: DA236 • Cranberry Wine: DA112 • Zinc: DA304

• And, finally, we will use cutouts and wire.

• Plantation Pine: DA113 • Hauser Light Green: DA131 • Hauser Medium Green: DA132 • Raw Sienna: DA093 • Burnt Sienna: DA063 • Snow Titanium White: DAO1

Mediums/Other Products:

• DecoArt’s All-purpose Sealer:DS17 • DecoArt’s Soft Touch Varnish:DS123 • Woodfiller • Sandpaper • Thin black wire – available in any craft store, typically in the jewelry making section

Brushes:

I don’t normally specify brushes or brush sizes, as I expect painters to change the size of the design to fit their surface. However, in order to keep the flowers and butterflies realistic, this design should be painted similar to the size it was designed. • Flat 1/2” for base coating • Flat 3/8” • Round brush – size 4 – or whatever size you would need to use for the petals • Thin liner for painting antennae and to touch up webbing lines on butterflies

© 2019 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.

APRIL 2019 ISSUE

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Miscellaneous Supplies:

• Drill and bit of size appropriate to the wire you have • Thin black wire (approximately 20-22 gauge)

• Wire cutters, pliers, etc. to handle the wire If using wooden butterflies: X-Acto saw, coping saw, or other fine bladed cutting tool If using another material for the butterflies: scissors of sufficient strength to cut out the shapes

PREPARATION:

FIGURE 2

The two cutout butterflies are optional. If you want to add them, cut two wooden butterflies in half (you could do more if you want). Trim off any remaining wood from the bodies. Drill holes where shown; do not drill too close to the edge or the strength of the butterfly will be compromised. See Figure 1 Seal all the wood parts with DecoArt’s Allpurpose Sealer. An outline of the butterfly cutouts is included in the line drawing.

FIGURE 1

Alternatively, create two butterflies from your own choice of material. Cut both in half for a total of four pieces. Tip: Again, I don’t recommend enlarging or reducing the pattern. The butterfly’s size needs to be realistic. The wingspan of a monarch butterfly is typically about 4” (wing tip to wing tip). Objects in paintings can be painted smaller than they are. The human mind interprets that as distance. But, if they are painted larger than they really are, they tend to appear to be imaginary and/ or grotesque. If you want to enlarge a line drawing, never make it larger than reality. Basecoat the triptych with loose “x” strokes of Celery Green and Light Avocado, to create loose patches of both colors. Blend the two just enough to avoid sharp ridges and lines. Add a little DecoArt Adhesion Medium to your paint when you cover the hinges. Basecoat both sides. Let dry. See Figure 2 Transfer the outlines for the butterfly wings (not the legs, antennae or markings) onto the triptych. Basecoat the butterflies (including both sides of the cutouts) with Lamp Black. See Figure 3

PAINTING INSTRUCTIONS: The beginnings and back of the bush: FIGURE 3

APRIL 2019 ISSUE

Tip: The idea of painting all those tiny blossoms is frightening. Fortunately, we

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FIGURE 5

FIGURE 4

FIGURE 6

don’t have to. In fact, the painting would be too busy and lack depth if we did. Details on distant objects are not seen. The further away something is, the less detailed, duller, and cooler colored it appears to be.

center stems for the floral cones (suggestions are shown in red in the line drawing). Base coat leaves with Hauser Green Medium.

The painting will progress in layers with each layer appearing to come closer to the viewer. Each layer will have more detail and a warmer palette. The first few layers are very simple and go very quickly.

Use the edge of your flat (the bristles/ferrule on the brush used for the sample were 3/8” in width) to stamp in the little tube-like flower part that support the petals. Be random, using first Burnt Orange, Cranberry, and Celery Green. The motion is a rocking motion and the pressure varies.

Using a 1/2” flat brush, slip slap a few patches of Raw Sienna, Zinc, and Plantation Pine into the dry background. The Raw Sienna will give the illusion of butterflies further back in the bushes. Keep them irregular. Don’t worry about going over the black; you can touch up as needed. These loose blobs of color will actually appear to be more flowers, leaves, and butterflies in the distance.

With the brush handle standing straight up, place the knife edge of the brush on the surface with almost no pressure. Because there is no pressure on the brush, the bristles are not bent and stand straight up, creating a thin line. Rock the handle away from you; this will cause the bristles to flare slightly and make the “tube” wider at the end where the petals begin.

Transfer the outlines of the leaves and the

Note how, on the photo, the lines form

APRIL 2019 ISSUE

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little fans. See Figures 4 and 5 It is truly ugly at this point. See Figure 6

FIGURE 7

As a bonus, I included Figure 7. This figure shows how this same method can be used to create pine branches; if white is loaded on the forward side of the brush, you get snow. Or you can create a tiny tip pinecone with a pair of browns. Please note that the two colors are not dressed or blended on the brush. The green (or dark brown) is loaded onto the brush and one corner is tipped into white (or lighter golden brown).

A Few Leaves:

Shade the outer edges, center vein, under the flip (the leaf on right panel), and upper portion of the leaves with Plantation Pine. Highlight with Hauser Green Light on either side of the vein. Highlight a second time with the tiniest amount of Moon Yellow or Bleached Sand, in the same area as was highlighted with Hauser Green Light. However, these lightest highlights cover a smaller area. The veins are curved; they do not extend to the very tip of the leaf. The flip is based with Hauser Medium Light and then highlighted with first Moon Yellow and then Bleached Sand. The highlight is line-shaped and runs the length of the flip.

FIGURE 8

APRIL 2019 ISSUE

FIGURE 9 ÂŠ 2019 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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Finally, if the tips of the leaves have become lost, highlight them with Moon Yellow. If you are not happy with your highlights, they can be repeated. With each successive highlight, the leaf will come more forward. (By the way, I added another butterfly. You aren’t dreaming if you are comparing the figures.) See Figures 8 and 9

Blossoms:

Tip: The blossoms are painted with a round brush and only four colors. Four colors equal at least 10 different combinations ranging from dark to light and cool to warm. The lighter mixes are fairly warm as they all include yellow. The darker mixes are comparatively cooler as both reds contain blue. The blossoms are painted in layers.

Each petal is a small shortened comma stroke pointing to the center of a flower. They have almost no tails and end up being somewhat tear drop shaped. The tubes that were painted earlier support these petals. Each blossom has four petals, but the orientation of the blossoms makes it unnecessary to count them and the eye does not require that the flowers be distinct, except when they come forward. If you look at the flowers in the lower left corner (left panel), you will see that the petals are quite blurry. This technique is not unlike the one used by photographers when they blur out the background. The flowers that come forward (see line drawing) are the ones that are kept the most distinct.

Paint the first layer with petals of Cranberry Wine and Grape Juice. Do not clean your brush as you switch back and forth. Don’t cover all the background and be sure to let some of the background and flower tubes show. In the second layer, pick up a little Moon Yellow with the dirty brush. If the petals get too yellow and are no longer mauve, pick up some Cranberry Wine and/or Grape Juice. There should be fewer blossoms in the second layer than in the first. Don’t scatter these lighter petals evenly. They should be clustered in a few areas. Again, if in doubt, refer to the photographs and line drawing. For the third flower layer, add some Bleached Sand to your dirty brush and paint even fewer lighter petals. The majority of these lightest petals should go in the lighter areas already established by the second layer. Most of the petals in this layer are in the center triptych panel. Only a few lies on either of the two outer panels. For the fourth layer of petals, clean your brush and add some clusters of tiny unopened blossoms. Use the round brush loaded with Hauser Green Medium and tipped with Hauser Green Light. If they do not show, tip your brush with Celery Green. The brush is held so the handle stands straight up and little two-tone dots are “stamped”. Finally, use a stylus to put tiny dots in the centers of some blossoms for stamens. Find those flowers that appear to be complete. Use Moon Yellow for a few of the lightest petal flowers on the center panel of the triptych and Burnt Orange for the rest. In this case, less is more. The sample has only 13 blossoms with yellow stamens. See Figure 10

FIGURE 10 © 2019 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.

APRIL 2019 ISSUE

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In general, the wing edges are bordered with black, and there are white dots or dashes in the border. The upper wing has two or three main orange/brownish sections that start near the body and one more section that completes the wing. There may also be some beige or golden sections. The lower wing can have three to six sections. Their bodies are black with some white dotshaped markings. The antennae are black; legs, if visible, are also black. Several photos (courtesy of Lynn Hamilton) are shown in Figure 11. The lower photo is male. Some suggested butterfly panes are shown on the line drawings. For this reason, you don’t need to overthink your butterflies. You can paint them differently and imperfectly. You can paint them with the same markings as I did or (please forgive me) you can wing it. Using a round brush, paint the outer border and webbed lines with Lamp Black. Paint a thin line of Zinc to outline the edge of whichever section (top or bottom wing) lies on top. Base coat in the “orange” sections with Burnt Sienna and the brownish sections with Raw Sienna. The “white” border dots or dashes are really not white; they are painted with Bleached Sand.

FIGURE 11

Butterflies:

Tip: Each of our butterflies is different. All humans are built with similarities: one nose, two eyes, hair on head, etc. But, the shape of the nose, color of eyes, texture of hair, etc. varies from person to person.

The same is true with the markings of Monarch butterflies. Their overall markings and coloring are all very similar in that one can easily identify a Monarch butterfly by their appearance. When the Monarch’s wings are open, the viewer sees the brighter colors. Also, the top section of the wing lies on top of the lower section. When the butterfly’s wings are closed, he is in camouflage mode. His colors are duller, and the lower section of his wing overlaps the upper section of his wing. This is demonstrated by the line drawings. The black webbing on the male is thinner and he has a small black rectangle on his lower wing (scent organs to attract his lady-love). But each butterfly is also different and unique. APRIL 2019 ISSUE

Highlight the orange sections of all but Butterfly 3 with a series of lighter colors in this sequence: Spiced Pumpkin and then Orange Twist. The highlights are created with the linear strokes starting at the top of the orange section. The intensity of these highlights will depend upon how big an area is highlighted and how much paint you applied. Butterfly 3 has a somewhat dull highlight of only Orange Twist. Highlight on the brown sections with a mixture of about 50/50 Raw Sienna and Bleached Sand. (There is so little paint used, it didn’t justify having you buy another bottle.) Paint all six butterflies, including the cutouts. Remember, the colors are brighter and lighter on the inside wings than on the outer side of the wings. The bodies are painted with Lamp Black and dotted with Bleached Sand. I

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painted antennae for Butterflies 3, 4, and 6. The others have wire antennae.

The Jazz and all the Pizazz:

We are down to the “home stretch.” Now, we will add those wonderful details that make the piece “come alive”. The most important skill to any painter is not brush technique; it is the ability to see. Look at the final photo. Butterflies 4 and 5 are the most forward. They have the biggest and brightest highlights. Butterfly 3 is the furthest back, terribly dull, and has almost no highlights. Highlight the orange sections of Butterflies 1, 2, 4, 5, and 6 with Moon Yellow. Make this highlight on Butterfly 4 very bold; it is next brightest on Butterfly 5 and so on. Highlight the Moon Yellow on Butterflies 4 and 5 with a second highlight of Bleached Sand. Remember the hierarchy. Butterfly 4 and 5 are the most forward. Give Butterflies 3, 4, and 5 antennae with a liner and Lamp Black. There are tiny highlights of Bleached Sand. Add a few more blossoms to push back Butterfly 3 and 6. They are in front of the wings and are lighter/brighter/warmer. They are painted with considerable Moon Yellow and/or Bleached Sand in the mix with either Grape Juice of Cranberry Wine. They are, however, still in the mauve color family. The blossoms in front of Butterfly 6 can also form a platform for Butterfly 4 to perch on. Other petals can be added to push back the part of the leaves, so they appear to be coming out of the bush. Repaint the dots along the forward wing border on Butterfly 4 with Snow White. This is the only white used on the piece. The viewer’s eye should automatically be drawn to this area. Tip: Both Cranberry Wine and Plantation Pine are transparent. And, red and green are complimentary colors. They are also already on the palette, so they will automatically look good on this piece and fit into its color scheme. This gives us three bonus techniques. (1) Their transparency will allow us to use them to glaze over areas of the background and drive those areas back into the painting. If you glaze Cranberry Wine over an area

that is bright green, it will dull it. If you glaze Plantation Pine over some mauve petals, it will dull them. In both cases, the glazing will push the area back into the background. (2) If you mix Cranberry Wine and Plantation Pine, you will get a delicious dark transparent brown. It can be glazed into and over areas to push them back. (3) Because both of these paints were designed to be transparent, they can be used as a glazing medium. Add the tiniest tiniest bit of Lamp Black to the Cranberry Wine, Plantation Pine, or the dark mix of both and you have a glaze that will provide both shading and shadows in this piece and blend into the color scheme perfectly. Glaze areas that appear too bright/light with Cranberry Wine, Plantation Pine, a mix of both, or any of the three with a tiny bit of black to push them even further back. On the sample, this was done beneath the leaves and in the triangles formed by some of the Butterfly wings. The glaze was applied right over many blossoms. Paint a curved shadow cast by Butterfly 4’s antenna onto the leaf below. It is painted with a liner brush and our transparent black mix. Use the same mix can to paint a shadow from the blossoms on top of Butterfly 6. Slip slap more Plantation Pine and Cranberry Wine into the background, especially near the leaves and butterflies. Use a mixture of both in some of the areas you want to be the darkest.

Finishing:

Sign your name and let dry. Varnish with DecoArt’s Soft Touch Varnish.

Assembly:

Cut two pieces of thin black wire approximately 18” (one for each of the cutout butterflies). Match up the wings. Remember that the brighter side is the inside of the wings and the duller side is the outside or the visible side when the wings are closed. Also, be sure that you get the wings paired together; you have four cutouts to create two butterflies. Thread wire through the drilled hole. Bend the wire and pull back to the front over the triptych’s edge. For Butterfly 5, the wire comes

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PAINTING WORLD MAGAZINE

up between the left and center panel. Twist the two wires close to the surface to anchor. Run one of the ends through a wing, loop back and twist. Run the other end of the wire through the other wing and twist. Twist the wires holding the two wings together. Continue twisting for about two inches to form the body. Fold in half. Be creative. When you are satisfied that it forms a butterfly body and supports the wings up and firmly, twist and cut both ends of the wire, leaving about 1â&#x20AC;?. Turn ends down and spread to make antenna. Repeat for other butterfly. Make antenna for Butterfly 2 using a scrap of black wire.

Leslie Smith Contact info:

LASPAINTS2@gmail.com

Due to the large size of this painting, the drawings have been reduced by half. Enlarge 200% for full size painting.

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. APRIL 2019 ISSUE

Download all line drawings ready to print here: https://bit.ly/2SZUIUN

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This project will teach a layered wood look for any rustic style background! You will be surprised how easy it is! Painting fruit is my passion so learning to layer colors to give them depth is important and Iâ&#x20AC;&#x2122;m excited to show you just how to do it!

Lamb Family Farms By Lonna Lamb

I am a self taught Decorative Painter and I have been painting for over 30 years. I live in Missouri with my wonderful husband of 38 years. The beginning of my career I worked mostly on murals. I love to travel teach and I have taught at SDP National Convention as well as OKC

Palooza. I have many educational videos on YouTube and I love to inspire new artists and guide as many as I can to Decorative Painting and help them find the joy in the journey. Teaching new artists to find their passion is my gift to them. It is so exciting to be able to do what I love!

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SUPPLIES:

Brushes by Winsor Newton: • 1 Round 222

Surface:

• 12” Palette Plaque 31-L475 www.cdwood.com

Paints by DecoArt:

• Pencils or Pen

• Burnt Orange: DA014

• Misting Bottle

• Cadmium Red: DA015

• Water Bin

• Cocoa: DA259

• Stylus

• Cranberry Wine: DA112 • Dried Clay: DA356 • Hauser Dark Green: DA133 • Lamp Black: DA067

• Pumpkin: DA013

• Artist Sponge www.lonnalamb.com

• Plum Suede: DA360 • Snow White: DA01

• Stippling Sponge www.lonnalamb.com

• Soft Black: DA155 • Summer Squash: DA363

PREPARATION:

• Tuscan Red: DA265

Apply one coat of Multi Purpose Sealer and let dry.

Mediums/Other Products by DecoArt: • DuraClear Satin Varnish: DS21

• Multi Purpose Sealer: DS17

• 6 Flat Shader: 7300 • 1/4 Filbert Rake: 7520 • 10/0 Script Liner: 7050 • 1/2” Maxine’s Mop: 270

Brushes by Scharff:

• 16 Flat Syn-Sable 140

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Helpful hints Creating a wash of color

Mix paint with water. 5% to 10% paint and 90% to 95% water. All you are doing is tinting the water. The more paint you add to the water, the darker the wash will be. This is a great technique to add a bright pop to a color.

• Tracing Paper

Additional Supplies Lonna Lamb:

• Olive Green: DA056

• 10 Flat Shader: 7300

• Graphite Paper: Grey and White • Fine Sanding Pad

• Milk Chocolate: DA174

• 12 Flat Shader: 7300

• 1/2” Filbert Rake SG930 • Paper Towels

• Burnt Umber: DA064

Brushes by Loew Cornell:

Brushes by Royal:

Miscellaneous Supplies:

• Aloe: DA364

• Glazing Medium: DS18

• 4 Round 111

Paint the surface with one coat of Dried Clay, let dry and then lightly sand. Mix Glazing Medium with Milk Chocolate and apply in a streaking manner with a damp artist sponge. Spatter water on the surface and using a dry sponge, mop up all the water. When you are done mopping up the water, let it dry completely. Repeat this process with Burnt Umber and Soft Black using less paint or leaving less paint on the surface with each color. Repeat the water and mopping up. Let dry completely.

Optional:

Add a final layer with the Glazing Medium with Plum Suede and spatter with water and mop. This gives it a more aged look but if you don’t want that, then don’t apply this layer. See Figure 1 Trace the pattern to tracing paper and transfer on the pattern lines with white graphite paper, leaving off the leaves on the strawberries and the lines on the jar when you transfer your lines.

Base Coats (2 Coats Each Color):

Lid - A mix of Snow White and Lamp Black to make a light grey.

FIGURE 1

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FIGURE 2

Jar & Strawberries - Equal mix Summer Squash and Pumpkin Basket - Cocoa

PAINTING INSTRUCTIONS: Strawberries:

Create a wash of Cadmium Red & Cadmium Orange by mixing a little bit of paint into some water on your palette. Wash over one of the strawberries with this color and then using another brush, tap in some Summer Squash in the highlight area. Wipe off brush and blend them while they are wet. Repeat on all the strawberries. You can do the outside of the half strawberry as well. Add seeds with a mix of Cranberry Wine and Soft Black.

FIGURE 3

Add a highlight next to some of the black seeds on all the strawberries with Summer Squash mostly in the highlight areas. Side load a flat brush with Tuscan Red and paint in all the strawberries, keeping it lighter as you get to the end or side of the strawberry. Mop, if you get any in the highlight area, to remove it. Shade the strawberries with Cranberry Wine where one lays over another and where the shadow side is. Repeat the shading with a mix of Cranberry Wine and Soft Black 2:1. Wash over all the strawberries with Cherry Red. Highlight the strawberries with Summer Squash, then repeat a smaller highlight with Snow White. Wash over the red areas, not the highlight areas of

each strawberry with Tuscan Red. See Figures 2 & 3

Leaves:

Base the leaves on the vines and strawberries with Aloe. Shade with Hauser Dark Green at the base of each, highlight at the tips with Olive Green. Add a few highlights of Snow White on just a random few tips. Add stems with Hauser Dark Green. Paint a few white flowers with Snow White, using a small round, and dot the centers with Summer Squash. Double load a small flat brush with Aloe and Tuscan Red and blend this at the base of the leaves on the strawberries. Deepen any areas on the strawberries that need it with the Cranberry Wine and Soft Black mix 2:1. See Figure 4

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1/2 Strawberry:

Brush a light coat of Cadmium Orange on and let dry. Transfer on any lines you need to. Double load an 8 flat with Aloe and Snow White and wiggle this at the top of the strawberry next to the stem. When dry, dampen the strawberry with water and double load Snow White and Cadmium Red. Wiggle this color from the white at the top all the way down one side and then the other, meeting at the bottom. Use dabs to add Snow White and Cadmium Red throughout the slice to get the desired effect that you like. Look at reference photo to see where the colors go.

FIGURE 4

Add seeds on the outside right edge and a highlight on them with Summer Squash. Shade on the outside edge with the mix of Cranberry Wine and Soft Black. Float Cadmium Red along the outer edges of the top from stem to stem. When you have the center like you want, wash over it with a very sheer wash of Cadmium Red. See Figures 5 & 6

Basket:

Using a Rake or Comb brush, thin paint to flow off the tips of the brush easily. You will brush on each edge of the reed, Dried Clay,

FIGURE 5

One third of the way into the each section on both sides for the ones in the middle of the basket and just one edge on the ones that are not showing much of the reed. Brush some of this along the top of the basket edges too and along the entire top. Do the same with Milk Chocolate and with Burnt Umber. Paint the lines that separate the reed with Burnt Umber. Shade each edge that you used the comb brush on and the top and bottom of the lines that separate the reed with Soft Black. Also, add some of this along the bottom of the basket.

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FIGURE 6

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Highlight down the center of the reeds with a back to back float with a mix of Summer Squash and Dried Clay 1:2. Add some of this in a hit and miss fashion along the top edge of the basket. Final highlight is Summer Squash. Float on a few touches here and there of Plum Suede and Tuscan Red. Wash over the basket with a very sheer color of Burnt Umber by mixing a very little bit of paint with some water. See Figures 7, 8 & 9

Jar: FIGURE 7

Brush on Glazing Medium on the jam area and dab on these colors, wiping the brush out before picking up the next color: Cadmium Orange, Cadmium Red and Pumpkin. Lay a piece of plastic wrap or a bag from the store on the jar, crinkle it up to create some texture, and gently lift the plastic off. If your paint does not go to the edges, gently brush in some Cadmium Red on the edges, trying not to disturb your texture you added. Let dry completely. Repeat the above step but add in some Tuscan Red more to the center and left side before you lay your plastic on, let dry.

FIGURE 8

Add some seeds with a mix of Cranberry Wine and Soft Black. Add a tiny dot of Summer Squash to the seeds but not all of them and let it dry completely. Next layer of Glazing Medium add on the far right, coming about 1/2 way across Cadmium Red and then Tuscan Red to finish the jar. Lay plastic over and create wrinkles and remove the plastic and let dry completely. Make a wash of Cadmium Red, and brush over the jar and let dry completely. Add more seeds in at this time. Wash over jar with Tuscan Red and let dry completely. Shade under the lid and on the left side with a mix of Cranberry Wine and a little bit of Soft Black.

FIGURE 9

When dry, wash over the jar with Tuscan Red. Let dry and transfer on lettering.

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Create a reflective light on the left side of the jar near the bottom with a float of Cadmium Orange and Cadmium Red. You will need to let this dry and repeat one or two more times. See Figure 10

Jar Lid:

If needed, wash over the entire jar with Tuscan Red and let dry.

Shade with Lamp Black. Highlight with Snow White.

Jar And Lettering On Jar: Shade outside the lines of the letters on the jars with values within the jar.

So, on the left side, the lettering will be shaded with a mix of Cranberry Wine and very little dot of Soft Black. Continue across the word using other colors within the jar to get lighter as you go to the light side of the jar. You will end up using all of these colors: Soft Black, Cranberry Wine, Tuscan Red and Cadmium Red and Cadmium Orange and possibly some Summer Squash, depending on how light or dark your jar colors are. Go with a slightly lighter value on the right side of the letters on the outside, not inside the letters.

FIGURE 11

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Drag a little bit of light colors on the right side of the L letters and a touch on the A letter in the word BALL.

Dry brush a highlight on the right, a bit right of the center, with a mix of Cadmium Orange and FIGURE 10 a little bit of Summer Squash. Add this highlight out closer to the edge of the jar as well. If it gets too bright, wash over it with Tuscan Red.

Dry brush or tap on some Lamp Black in random areas for aging. Dry brush or tap on some Snow White for highlight areas.

Add a final highlight with Snow White, wiping it back with your finger so it isn’t super bright.

Drop shadow on the left side with Lamp Black a little bit away from the letters, not right up next to them. See figure 11

Lettering:

Finishing Details:

Base with a Light Grey mixed with Snow White and little bit of Lamp Black.

Shade under the elements with Lamp Black. Use a damp artist sponge and pick up a little bit of Lamp Black on the edge and work it into the sponge with the water that remains in the sponge just on the very edge. Don’t let the paint cover the sponge. Smooth this around the outer edges of the surface to give a more aged look and streak just a little bit into the background. Varnish with two coats of Satin Varnish.

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Download all line drawings ready to print here: https://bit.ly/2SZUIUN

APRIL 2019 ISSUE

PAINTING WORLD MAGAZINE

Download all line drawings ready to print here: https://bit.ly/2SZUIUN

PAINTING WORLD MAGAZINE

A Wreath of Love By Lori Puszakowski-Schmidt

Lori PuszakowskiSchmidt loves art. She has been painting and drawing for the last 25 years. She has an Associate of Arts and a Bachelor of Science in business. Lori’s current occupation is cake decorating for Publix which she has been doing since 1999. Lori extends her creativity with freelance art projects throughout her community including hand painted card lines, murals, commercial signs, and commissioned canvas paintings. She has become a National Painting Educator who loves to travel to teach at painting events.

Dewberry’s Art Show Best Sellers Magazine, and in a previous issue of Painting World Magazine. Lori lives in Sarasota, Florida and continues to teach and share her love of art.

Since 2002, Lori has been painting with and assisting Donna Dewberry. Her art show was published and featured on the cover of Donna

Contact information: Email - Secondher@aol.com Facebook page: Lori’s Art

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SUPPLIES:

Wipe the scraper off with a paper towel or a work towel.

Surface:

Load the scraper with Burnt Umber and gently glide the scraper over the prior color. (Basically three areas have Burnt Umber – the left side, the middle, and the right edge.) This painting technique is similar to spreading butter on bread and gives the look of a vintage background or a chipped paint look. Figure 1

• 14 x 18” Canvas

FolkArt Multi Surface Acrylic Paint: • Greenscape 2981

• Burnt Umber 2909 • Thicket 2918 • Licorice 2934 • Coffee Latte 2906

Trace a circle on the canvas approximately four inches from the top of the canvas. This was traced using a 9-inch styrofoam plate. Figure 2

• Titanium White 2938 • Lime Green 2914 • Pueblo 2902E • Citrus Green 2915

Once the circle is traced, load a #12 flat with Thicket. Using the flat of the brush, begin working around the circle with thin curved lines. Repeat this step with the same brush using Licorice, Coffee Latte and Titanium White. Figure 3

• Magenta 2898 • Pink Melon 2897 • Vivid Orange 2904 • Daffodil 2912

FolkArt Home Decor Chalk Paint:

• Adirondack White 34150

Brushes:

• #12 Flat • Script Liner

Miscellaneous:

• Plaid Home Décor Scraper 34913

PAINTING INSTRUCTIONS:

Begin the project by loading a Plaid Home Décor Scraper with Greenscape. Using a small amount on the scraper, approximately 1/4” of paint, scrape the paint in a downward motion using the flat of the scraper on the canvas.

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FIGURE 1

FIGURE 2

Wipe the brush off on a paper towel and load with Licorice. Starting at the top of the canvas, directly in the center of the painting (as if you were painting a door hanger for the wreath), brush downward using a flat stroke towards the wreath. Next, pick up Coffee Latte and brush downward strokes next to the Licorice paint strokes. Lastly, with Lime Green, highlight a hint of color to the door hanger by pushing a quick downward short stroke to finish. Figure 4

FIGURE 3

Wreath Vines:

To complete the vines, load a script liner with Licorice and with the tip of the brush, add thin loosely curved lines all around the wreath.

FIGURE 4

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FIGURE 5

FIGURE 6

FIGURE 7

Repeat this step with the script liner using Coffee Latte, Pueblo and Burnt Umber. Figure 5

to create a contrast that often happens in nature and landscapes. Figures 6 & 7

The next three strokes will be for the front petals using Pink Melon.

Leaves:

Vintage Roses:

The first stroke will be a slightly downward slanted stroke, and starting at the edge of the first back N stroke.

Load the #12 flat with Thicket and begin to press your brush flat towards the 1 o’clock position. Release pressure to achieve an abstract point at the end of the leaf. This can be done quickly and randomly to be used as a filler and a hint of greenery. Repeat this step with Citrus Green and a small mixture of white to create a softer green, pushing directly on top and around the leaves created with Thicket. Don’t forget to leave some darker leaves showing underneath

FIGURE 8

Rinse the #12 flat and double load Magenta and Titanium White to begin the vintage roses. Using the flat of the #12 brush, make two flat strokes similar to the letter N.

The second stroke will be directly in front of the back strokes.

FIGURE 9

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FIGURE 10

FIGURE 11

FIGURE 12

FIGURE 13

FIGURE 14

FIGURE 15

FIGURE 16

FIGURE 17

FIGURE 18

FIGURE 19

FIGURE 20

FIGURE 21

FIGURE 22

FIGURE 23

FIGURE 24

FIGURE 25

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The third stroke will be at an angle, still using the flat of the brush, pushing upwards to the 2 oâ&#x20AC;&#x2122;clock position. Finish the vintage rose with crescent strokes around your front and back rose strokes, creating several rows of petals. Remember, each rose is different in size and shade of colors, creating an impressionist vintage floral design. Figures 8 through 14

Hydrangeas:

Place Burnt Umber on a #10 flat and make a small circle of color. Next, wipe and dry the brush and use white to place small, daisy-like strokes pushing downward with the chisel edge of the brush and lifting up to create a small tip at the end of the stroke, pushing the petal strokes to the left, right, and several strokes in the center. Add Coffee Latte petals in front of the first two rows of petals, staying within the circle

FIGURE 26

of the abstract hydrangeas. Figures 15 through 19 Load a #12 flat with Vivid Orange and a hint of Daffodil and create a small circle. Next pick up a hint of Daffodil and create three small abstract daisy strokes at the top of the small circle, pushing downwards toward the center of the circle. Figures 20 and 21 Wipe and dry the brush on the towel. Load the #12 flat with Pueblo and stroke four abstract daisy strokes in front of the Daffodil petals; the first three strokes in front, and the fourth slanted to the far left of the flower (almost a comma stroke -press and release with the chisel edge of the brush as it moves in a letter-C motion). Figure 22

Fun Flower:

Load a #12 flat with Vivid Orange and paint a small circle. Next, wipe and dry the flat and pick up Titanium White and paint several comma strokes at the top of the circle. The

motion of the brush emulates painting the letter C to the right and a reverse C to the left. Figures 23 and 24 Next, the row of petals uses the same strokes only larger, and instead of three petals, there are five in the second row. The last row of petals can be done with two slanted petals to the left and right, and one short slanted petal in the middle to complete the fun flower. Figure 25

Finishing Touches:

For added dimension, using a script liner and Burnt Umber, add more vines. Berries can be added by using the handle of a brush that has a flat end. Dab the brush handle directly into Magenta and place small berries along the vines of the wreath. Figures 26 and 27 For added fillers, load the #12 flat with Daffodil mixed with a hint of Vivid Orange and dab small clusters of color to

FIGURE 27

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FIGURE 28

simulate a small bud or new growth. This can be created by using the corner of the brush and pressing slightly with a quick flip-flop stroke. Figures 28 through 30

Lori PuszakowskiSchmidt FIGURE 29

FIGURE 30

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Helpful hint

FIGURE 31

SPLIT IMAGE This is a fun way to view the project. It also helps to see how an artist may work in sections while painting, or flip the canvas to paint the top and then the bottom. Figures 31 and 32

FIGURE 32

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A Cool Refreshing Dip A summer day, fragrant blooms stretching and yawning in the warmthâ&#x20AC;Ś and the passersby stay and visit awhile.

By Susan V. Cochrane

I first picked up a paint brush in 1984 and the interest continued with the self publishing of two books and hundreds of patterns, many appearing in The Decorative Painter, Quick and Easy Painting, Paintworks Magazine and more recently in The Pixelated Palette and Painting Ezine. APRIL 2019 ISSUE

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SUPPLIES:

Surface: • 8 x 10 Primed Canvas, www.michaels.com DecoArt Americana Acrylics: • Banana Cream DA309 • Black Green DA157 • Bluegrass Green DA047 • Burnt Sienna DA063 • Cool White DA240 • Driftwood DA171 • Hauser Light Green DA131 • Neutral Grey DA095 • Warm White DA239 • Yellow Mix: Banana Cream + Cool White 3:2 Mediums:

• DecoArt Americana • Sealer/Finisher (Matte) DAS13-1C

Royal & Langnickel, Majestic Brushes: • 1/2”, 3/4” Angular Shaders (Series R4160) • 2,4, 8 Filberts (Series R4170) • 2,4,6,8,10 Shaders (Series R4150) • 5/0, 0 Liners (Series R4595)

Royal & Langnickel Brushes: • 1/4”, 3/8” Deerfoot Stipplers, (Series R660) • 3/4” Comb, (Series RG730)

Miscellaneous Supplies: • Eraser, palette paper (waxed), paper towels or tissue, stylus, tracing paper, water container, white and gray graphite paper, The Color Wheel Company, Miracle Compressed Sponges, 1 or 2 cut to 1” x 1” approx., www.amazon.com

• Scotch Brand Removable Tape by 3M

GENERAL INSTRUCTIONS:

All basecoats are solid. Erase transfer lines as you go. Use the tape for straighter edges, if desired but seal the edges very, very well as the canvas surface will allow some leakage. Wet the sponge in clean water, squeeze out all the water and dab onto a tissue. Dab the sponge into the desired color and dab it onto the palette 2 or 3 times to remove most, but not all of the paint. Dab onto the surface varying the direction and pressure applied. Clean the sponge between color changes or use a fresh sponge.

PAINTING:

Transfer the window glass (no grids) and the window trim. Base coat the wall with Driftwood and the window glass with the Yellow Mix. The window trim and grids will be painted later.

Wall: Apply a light overall sponging of Warm White onto the entire wall. Float Black Green on the wall next to the window trim.

3-4 hits of Bluegrass Green anywhere you want. Outline all leaves and stems with Lamp Black. Faintly float Black Green next to some center veins and at the base of the leaves. Partially dry brush, using a liner, a highlight of Warm White on the thicker parts of the stems.

Roses: Apply a light stipple of Warm White within the outline. For some, but not all roses, stipple an even smaller area (more or less near the center) with the Yellow Mix. Transfer the petal edges. Shade the inner petal areas and the centers with a float of Neutral Grey. Float the petal edges with Warm White but vary the intensity of the float. Some points or curves will be heavier than others. Deepen the center and one or two inner petal areas close to the center with a very light float of Black Green. Window Glass: Sponge Burnt Sienna onto the left hand side and partial top edges feathering the sponging out into the remaining area. Float Burnt Sienna along those same edges using the 3/4” Angular Shader. Float Black Green more or less into

Leaves: Transfer outlines for all leaves and roses for placement. Lightly sponge Black Green on all leaves. The sponging will extend beyond the edges of the leaves, but that is desirable. You should still be able to see the transferred outline of the leaves. Sponge a touch of Hauser Light Green over some but not all of the previous sponging as you prefer. Sponge

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the top left hand corner. You can float it down a bit onto the left hand side edge.

Curtains:

Float vertical lines (some wider than others, some sharper than others) with Black Green going about 3/4â&#x20AC;? of the way across the glass. Transfer the window grids and paint them and the window trim with Neutral Grey. Lightly comb the trim (not the grids) with Black Green. Comb the bottom board horizontally and the right hand side board vertically. Use some of these lines to create cracks and knots by painting over them using the liners and Black Green. Apply Yellow Mix lines for the reflection. Float Warm White diagonally on some of the panes for the glare. On the other side of this float, apply a light float of Black Green. Freehand or transfer the crack and paint with Black Green.

Grids: Outline with Black Green. Float Black Green on the vertical grids next to where they meet the horizontal grids and the trim. Dry brush Yellow Mix

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in the center middle areas away from any shading.

Bird Bath: Transfer and paint with one coat of Neutral Grey. Dry brush all over with Burnt Sienna using the #8 Filbert. Paint a horizontal line using Black Green to separate the bowl from the pedestal. Float a horizontal line to create a lip for the bowl and on the pedestal just below the horizontal line previously painted. Dry brush horizontal highlights on the brim and on the top of the pedestal. There is a vertical highlight on the lower part of the pedestal and striped highlights on the bowl. Outline with Black Green. Float Black Green on the background next to the bath. Birds: Transfer and paint with one coat of Warm White. Float Yellow Mix on the chests. Float Neutral Grey on the bodies next to the wings. Float Burnt Sienna on the top of the heads and along the backs. Paint the eyes and beaks with Black Green. Highlight the beaks with a tiny line of Warm White. Paint the water drops with Warm White.

Butterflies:

Transfer. Float Bluegrass Green on the wings next to the bodies. Outline with Lamp Black and paint the bodies and antennae. Paint thin lines of Lamp Black extending out from the bodies into the wings. Dry brush a partial highlight on the black outline as well as the bodies using Warm White.

Finishing Touches:

Apply random very light sponging in some open areas on the wall using Hauser Light Green. Sponge Burnt Sienna on the lower right corner and beside the base of the bird bath, some on the upper right hand side and in some open areas on the wall, if you wish. Float Black Green down the left hand side edge and on both the upper right and lower left corners.

Finishing:

Spray 2-3 times with the Sealer/Finisher.

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Download all line drawings ready to print here: https://bit.ly/2SZUIUN

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Where do Artists get their Inspiration?

By Thelma L Hamilton

Today, there are plenty of regional conventions plus the National Society convention to attend where you can get motivated. You can take inspiring classes or just shop the trade floors. Perhaps you want to travel to: • Las Vegas in the Wintertime to escape the snow and cold • Visit the Heartland of the US in Wichita, KS for the National Convention • Go to Columbus, Ohio in 2019 for the last year of the HOOT Convention • Travel to New England Traditions just outside Boston • Take a trip over the border to London Ontario, Canada for Pin It Canada • Gather up your friends for a trip to Seattle, WA for the Northwest Decorative Artists’ Regional Conference & Expo • Or go down south to OKC Painting Palooza in Oklahoma APRIL 2019 ISSUE

There are a ton of opportunities at any of these venues to stick your brush in the water and paint with an accomplished artist. Perhaps you are the accomplished artist just looking for new ideas to inspire your next project. You may be asking yourself at this point, where does the accomplished artist or designer go to get their inspiration? If you want to be a designer, you will need to keep yourself motivated. Nothing inspires and motivates an artist more than being around other artists that walks the walk. An artist has to keep their well full of inspiration and ideas for the next project. Well, do I have information to share with you today! Put on your dancing shoes and pull up your artist pants, this is going to be a journey you will not forget right away. Grab your journal or notebook and a pen; you may want to make notes along the way. Your journey doesn’t have to be the same as mine. We all have to start somewhere, one step in any direction. You get to choose the direction.

My first experience on my creative inspirational journey was Paris, France. I will agree with you, this was a huge first step. I almost didn’t stay on the plane, but that is another story. Yes, the City of Lights was on my bucket list for years. My granddaughter was turning 16, so I took the leap of faith and brought her with me. It was an amazing 14 days of art inspiration. The first 7 days of the art trip was organized by Jeanne Oliver, of JeanneOliver.com, who believes you should make the whole world your art studio. The last 7 days we freely explored modern Paris and the surrounding cities. On the first day, we landed in Paris and were taken to what would be our home for the next 7 days aboard an Ama Waterways ship. During the next week we toured a different art venue each day, traveling at night up and down the Seine River. We were led in our artist retreat from the shores of Normandy to Monet’s Gardens onward to Van Gogh’s residence during his last 70

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painting, which was also the last 70 days of his life. We toured museums and sidewalk cafés. We experienced stepping back in time touring Rouen, where Joan of Arc was martyred and the sea side harbor, Honfleur. I could finish sharing this experience now and I believe you would be inspired to possibly try an art trip such as this. However, I must tell you what it was like to sit on a bench in Monet’s yard, having just toured his home, art studio and gardens; take out my journal and watercolor. It was overwhelming and brought me to tears, knowing that I was painting where the great painter Monet had planned, planted, and painted. Who am I to be able to travel this route? I am an adventurer

for an inspirational cause. My artist life was changing to be the creator of the art. Every day and night of this inspiring adventure was over the top with history of art, the opportunity to sit down, take out your pencil and draw or paint in your journal. This was a very small portion of this great adventure my granddaughter, Sydney and I had in France, which is with me every day for the rest of my life. JeanneOliver.com opened my mind and heart to be able to connect to art within. What could possibly compare to a lifetime trip abroad? Let me tell you. My next adventure was with Lori Siebert’s HeARTful Escapes. I ventured to a bed and breakfast in Milton, Kentucky; Richwood on the River, to meet up with a group of artists that were just like me. They were also looking for inspiration and artistic comradery. I don’t know if it was the venue, the

This is the hotel lobby where we stayed in Paris. This was not an art center, unbelievable right?

My granddaughter, Sydney Havens and myself in Monet’s Gardens in Giverny, France.

other artists, Lori’s teaching methods or all of the above but this place was magical. We each had our own cabin or room, which was sprinkled daily with surprises, artistic, of course. Breakfast, lunch and dinners were prepared for us daily. The dining deserved a 5 stars rating. The intriguing placement of table napkins, china dishware, on beautiful table cloths with inspirational cards at each place setting was a site to behold at each meal. I made it a point, at each meal, to sit at a different table, seated in a variety of chairs to be sure to take in all of the décor. The vignettes were perfectly placed to set off the centennial furnishings. The décor continued outside thru the many windows allowing you to visualize the garden statues, birds nesting and flowering trees. You were probably taught like I was, as a child not to color outside the lines. By the second day of creating, I felt freer in my art than I ever felt before. We listened to music and we played among the art supplies with a child like nature to our heART’s content. We danced, we sang and we created art from our heart. In just 4 days I had opened the flood gates to my creative juices.

A color wheel display of shoes in a store on ChampsElysees, the famous shopping avenue in Paris.

Was the art I made at this retreat the kind of art that I produce on a day to day basis? No, but it opened up APRIL 2019 ISSUE

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my mind to look at my art in a whole new light. I discovered what spoke to me for colors, themes and future endeavors. My mind was racing so fast when I left HeARTful Escapes that it took weeks to reign in all the inspiration I found there. I can hardly wait for May to arrive when I will return to HeARTful Escapes this year. What happens when you leave a venue such as one of these? It cannot simply be business as usual-- No, you are never the same. You will find that your heart and mind have been touched by other artists. Whether living or dead, the artist touches you and something inside pours out. I remain friends with the people I have “arted” with at every opportunity I have participated in. Most of the group art events have a page on facebook where you can continue to interact with the participants afterward. Some even offer classes online. The possibilities to connect with other artists are endless with the internet.

The art travel experiences I have enjoyed and shared with you here are not the only ways to get inspired. There are other opportunities to find inspiration, some as close as your own back yard. Place a chair in your driveway and watch a bird build a nest, while you build one in your journal. I carry a journal and a drawing pencil with me, made from watercolor paper. It is handy to be able to pull it out when thoughts come rushing in to mind and make a quick sketch. Set yourself up to live with inspiration within the walls of your own home. Choose one day a week to dress your table with crystal and china. You will see how inspiring beautiful things can make you feel. Do you always sit at the same place at the table? Take today to change up where you seat yourself for one of your meal times. Outside of your home go window shopping for inspiration. Window displays are one of my favorite things in whatever city I am in. I take dozens of pics

to revisit once I return home. They always seem to bring me back to that moment in time. Whatever your budget may be, $4000 to $0; there is a source of inspiration to energize your creative muse. If you can, get out and about. Lean into the world around you for inspiration. Look for it on the internet, in magazines (such as Painting World) or home type magazines or catalogs. Travel to another area of your town, the country or the world. Remember, you don’t have to go it alone, there are many teachers out there just waiting to teach you how to get inspired! I hope I have inspired you to look at the world in a new way. Inspiration is waiting for you around every corner.

Thelma L Hamilton Thelmahamilton@yahoo.com www.thelmalhamilton.com phone #315-583-5000 20974 Cagwin Road Watertown, NY 13601

From Lori Siebert’s HeARTful Escapes - the group of painters getting loose with their work (hands) and paper flowers we made (every petal is painted and then cut out and assembled).

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LILAC ORCHIDS

By Mabel Blanco

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

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SUPPLIES Surface:

• Canvas of 30x50 cm

DecoArt Traditions Paints:

• DAT35 Titanium White (TW) • DAT14 Hansa Yellow (HY) • DAT33 Quinacridone Violet (QV) • DAT42 Carbon Black (CB)

FIGURE 1

• DAT19 Pine Green (PG) • DAT26 Ultramarine Blue (UB) • DAT12 Yellow Oxide (YO) • DAT44 Burnt Sienna (BS) • DAT46 Burnt Umber (BU)

Brushes:

• Shader #6 and #12 • Round #3

Other materials:

• Sandpaper #400

PAINTING INSTRUCTIONS

FIGURE 2

Surface preparation:

With a sandpaper, sand the frame and then remove the dust with a cotton cloth.

Background:

With the brush #12 and the mixture of Titanium White with Ultramarine Blue and a touch of Carbon Black, paint the background (4: 2: touch). With the paint still wet, add a little touch of Yellow Oxide on the right side of the frame and blend with the same brush. Let dry and transfer the design.

Flowers:

Prepare the following mixtures: Highlights: Titanium White, Titanium White, touch of Quinacridon Violet (2: 2: touch) Medium Tones: Titanium White, Quinacridon Violet (2: touch) (base color) Shadows: base color, Quinacridon Violet (2: 1) APRIL 2019 ISSUE

FIGURE 3

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For darker areas, add a touch of Carbon Black to the dark mixture. When we paint flowers, all brush strokes are directed towards the center of the flower. It is convenient to mark that center with a point because this way we avoid getting confused. This also helps us with the direction and shape of the flower. You should paint petal by petal, because it works wet on wet, observing the photograph and the col-or map. Work with small brushstrokes in cross and then fade well with the same clean brush. It is also important that the pressure of the hand on the brush is smooth. FIGURE 4

With the flat brush #6 and the base mix, paint the petal; with the still wet surface, paint the shadows with the dark mixture and then paint the lights with the clear mixture. With the same brush and Ti-tanium White, paint the intense lights. Blend with each color tone pass. To paint the darker areas, first paint the entire orchid and then observe the intensity of the color to be used. Work slowly to see if there is a lack of light or shade in some area and add it. When we finish painting an orchid, with the light color and the round brush, paint the outline of each petal with broken and uneven lines. Flush gently towards the center.

FIGURE 5

Note that the contour must not be painted on all the petals. To paint the folds, remember that the upper area is clear and, on both sides, dark. With this we achieve the volume and the ripple in the petal; we use the round brush and prepared mixtures, to vanish towards the center. Let dry. To paint the center of the flower, we do it with the round brush and the dark mixture. Go painting the center and then rinse towards the end, this shows us the depth, always with little paint and gently integrating the values; painting the edge of this center with Hansa Yellow and vanish.

FIGURE 6

Then with the clear mixture, paint the rest; the folds, paint them as explained above.

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With the round brush and the clear mixture, delineate the edge of the center and vanish. We can darken the deeper areas with Burnt Sienna. Let dry

Stem:

With the round brush #3 and Pine Green paint a full, then with the wet paint add

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light with Hansa Yellow in some areas and shadows paint with Burnt Umber and let dry. I hope you enjoy painting these flowers!

Mabel Blanco

mabelblanco25@gmail.com

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

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Butterfly Colors

By Marlene Fudge

Marlene lives in the scenic Lehigh Valley, Pennsylvania with her husband of 33 years. She has two beautiful daughters who are out in the world doing amazing things. Marlene is a self-taught artist and has been decorative painting for over 24 years. She is a member of the Society of Decorative Painters and is currently Chairman of the SDP Education Committee. She belongs to two local chapters, the Lehigh Valley Decorative Painters and the Pocono Painters and enjoys teaching at both. Marlene is also proud to be a DecoArt Helping Artist and a Dynasty Designer. To see her latest work, you can find her on Facebook and Instagram @paintingmarlene. APRIL 2019 ISSUE

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• #4 Round- 206R SUPPLIES There are • #6 Shader-206R Surface: so many • #10 Shader- 206S • Richeson Wooden Palette, 12 x 16 different • #1 Script Liner- 206SL Oval- Dick Blick (03070-1040) types of • 3/4 Mop- 400 DecoArt Americana Acrylics: butterflies • Mezzaluna- Medium (for drybrushing) • Blue Violet: DA141 (discontinued in the world - can be substituted with a mix PREPARATION: of Ultramarine Blue: DA225 + and the Brilliant Purple: DA353+ Midnite Lightly sand the palette. Wipe of excess spectrum of Blue: DAO85 - a mix of (3:1:1) dust. Seal with Multi-Purpose Sealer. colors they Let dry completely. Lightly sand off any • Brilliant Purple: DA353 raised fibers. Wipe off dust. Transfer cover are • Burnt Umber: DAO64 pattern leaving off the details for now. • Eggshell: DA153 (Eggshell endless. I discontinued – can be substituted PAINTING thought a with a mix of Jade Green: DAO57 and INSTRUCTIONS: perfect way Snow White: DAO1 – a mix of (1:2) Branch: to showcase • Green Tea: DA282 (Green Tea discontinued - can be substituted Base coat the branch with 2 coats of some of with a mix of equal parts Jade Green: Burnt Umber using the #4 Round. Using those colors DAO57 and Snow White: DAO1) the round brush, lightly dry brush • Lamp Black: DAO67 Eggshell onto the stems. Mix together would be a small amount of Burnt Umber and on a palette • Light Avocado: DA106 Black (1:1). Shade the branch using • Midnite Blue: DAO35 that is the #6 Shader where it goes under • Mistletoe: DAO53 painted • Moon Yellow: DAO7 with a • Ocean Blue: DA270 color wheel • Plantation Pine: DA113 of bright, • Snow White: DAO1 beautiful • Spiced Pumpkin: DA310 butterflies. • Tomato Red: DA169 I hope • Wasabi Green: DA296 (Wasabi Green was discontinued – can be you enjoy substituted with Jade Green: DAO57) painting Mediums: this design • DecoArt Multi-Purpose Sealer for yourself • Minwax Polycrylic Protective Finish- Clear Satin or for a Brushes: special • Dynasty Black Gold artist in • #1 Round- 206R your life. © 2019 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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the petals and the butterflies and also along the ends of the branch. The ends are Eggshell with a swirl of Burnt Umber in the middle.

Leaves:

Base coat the leaves with 2 coats of Light Avocado using the #10 Shader. With the #10 Shader, highlight the outer edges of the leaves using Wasabi Green. Mop to soften as needed. Using the Mezzaluna brush, dry brush Wasabi Green above and below where the vein line will be. Using the dirty brush, dry brush Green Tea over this section on a smaller area for an extra highlight. Add a back to back float of Plantation Pine where the vein line will be using the #10 Shader. Don’t bring this float all the way out to the end of the leaf. Mop to soften as needed. When dry, shade under the butterflies and where one leaf goes under

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another. Thin Wasabi Green with a touch of water to make an inky consistency and using the script liner, add the stem of the leaf and continue it up into the leaf for the vein line. Add the little veins that come out from the center vein. Using the #10 Shader, reinforce the shading with Plantation Pine along one side of the center vein. With thinned Plantation Pine add a small line along the stems to make them stand out more on the background. Add a thin highlight onto the center of the vein with thinned Moon Yellow. We will add some tints of color when we add each butterfly.

Butterflies:

Paint all of the butterflies with one coat of Snow White using the #10 Shader. This will make the background colors pop. Using the #10 Shader, base coat the butterflies as follows: • Red Butterfly- Tomato Red • Orange ButterflySpiced Pumpkin • Yellow Butterfly-Moon Yellow (including the body) • Green Butterfly-Mistletoe • Blue Butterfly-Ocean Blue

• Indigo Butterfly-Blue Violet • Violet ButterflyBrilliant Purple When dry, transfer the details.

Red Butterfly:

Using the #1 Round brush, base the body with Midnite Blue. Brush mix a touch of white with Midnite Blue and add a highlight to the center of the body and along the bottom of the head. Use the #4 Round and paint the outer edges of the wings with Lamp Black. Shade the wings where they meet the body with Lamp Black. Add a touch of water to the Black and using the script liner, add the veins in the wings, the antennae and the little legs. Mix together White and Black to make a nice gray and float this color along the outer edges of the wings with the #6 Shader. Add a light wash here and there of Tomato Red to the nearby leaves.

Orange Butterfly:

Highlight the lower wings with Moon Yellow. Base coat the body and the outer wings with Black. Thin Black with a touch of water and add the vein lines in the wing and the antennae with the script liner. Add the dots on the wings with Orange, Moon Yellow and White. The eyes are tiny dots of White and add very thin lines on the

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bottom of the head and on the body. Shade the wings where they meet the body with a light wash of Black. Add a light wash here and there of Spiced Pumpkin to the nearby leaves.

Yellow Butterfly:

Using the #1 Round brush and Black, add the back wing and the outer edges of the front wing. Thin Black with a touch of water and using the script liner, add the vein lines in the wings, the antennae, the feet and the tiny lines in the body. The eye is a dot of Black. With the #1 Round and Moon Yellow, add the dots and yellow sections of the wings. Use the #6 Shader to add tiny semi-circle floats of Ocean Blue and Spiced Pumpkin on the lower wing. Shade the wing where it meets the body and along the lower body with a light wash of Black. Add a light wash here and there of Moon Yellow to the nearby leaves.

Green Butterfly:

Add the Black areas of the wings and the body with Lamp Black using the #1 Round brush. Line the veins in the wings and the antennae with thinned Black. Add a white dot to each of the lower wings. Brush mix Black and White and use this gray to add the lines in the body and a float along the bottom of the head. Add

a light wash here and there of Mistletoe to the nearby leaves.

Blue Butterfly:

Using the #10 Shader, float Midnite Blue on the outer edge of all the wings. Mop to soften the float as needed. Thin Midnite Blue with a touch of water and using the script liner, add some lines coming out from the body on all the wings. Add a few more lines with thinned Black. The outer edges of the wings and the body are Black. Add some tiny dots of white to the upper and lower corners of each wing. The antennae are thinned Black and the body sections are thinned White, both using the script liner. Add a light wash here and there of Ocean Blue to the nearby leaves.

Indigo Butterfly:

Using the #10 Shader, shade the top of the wings and down along each side of the body with Midnite Blue. Mop to soften as needed. Thin Midnite Blue with a touch of water and add the vein lines on the wings using the script liner. Outline the wings with thinned Black. Using the #6 Shader, add floats of Ocean Blue to the sections of the wings. Use the script liner to add the White lines to the outer edges of the wings and the two small dots at the top of each wing. Float White on the

body and bottom of the head. The antennae are Black. Add a light wash here and there of Blue Violet to the nearby leaves.

Violet Butterfly:

Use the #10 Shader and add a float of Blue Violet to the top of the wings. Mop as needed to soften. The outer edges of each wing and the body are Black. Use the #1 Round to add Brilliant Purple and White dots to the wings. The vein lines, spots on the lower wing and antennae are thinned Black. Add a highlight of white to the left side of the body and on the bottom of the head. Add a light wash of Brilliant Purple to the nearby leaves.

Finishing:

Paint the outer edges of the palette with Black or desired color. Remove any remaining graphite lines. Varnish with at least 2 coats of Polycrylic.

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Due to the large size of this painting, the drawing has been reduced by 75% Enlarge 150% for full size painting.

APRIL 2019 ISSUE

Download all line drawings ready to print here: https://bit.ly/2SZUIUN

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Download all line drawings ready to print here: https://bit.ly/2SZUIUN

APRIL 2019 ISSUE

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The Seaside

By Chris Jeanguenat

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

This little seaside painting, featuring a little girl in her pink beach outfit, is right in the middle of her own story. Perhaps it’s her birthday and the balloon is from her party, or she was given it at the boardwalk. She’s spotted something interesting at the water’s edge and bends down to have a closer look, but she is still holding on to her balloon!

SUPPLIES: Surface:

• 12” x 14” stretched canvas • Rust-Oleum Serenity Blue

Annie Sloan Chalk Paint: • Old White

• Emperor’s Silk • Antoinette

Substitutes:

• Folk Art Conch Shell (pink) 6447 • Vintage White K515 • Americana Scarlet DA345

Plaid FolkArt Paint:

• School Bus Yellow K736

DecoArt Americana: • Sea Glass DA 297 • Adrift 6460 • Teal Mint DA 332 • Soft Jade DA 545 • Burnt Sienna DCA 11 • Black DCA 47-9 • True Blue DA 528-9 • Blue Harbor DA 283

FolkArt:

• Minted Aqua 4621 • Adrift 6460

PREPARATION:

Background Canvas Prep: Simply paint your entire canvas in an even coat of a soft blue using a chalk paint brush or a 1”-2” flat brush. I used Serenity Blue by RustOleum Chalked, however any acrylic or chalk paint works perfectly. A good alternative is Minted Aqua. A cheat for anyone who doesn’t have a large brush handy can apply the paint with folded paper towels. Simply fold three or four paper towels. Pour a generous (but not too generous) amount of paint directly on to the canvas. Use your folded paper towels as your “brush”. This also works well for the edges of the canvas. Let completely dry. If there are any areas that need touching up, go ahead and spot fix those and let the canvas completely dry.

Sketching:

I use compressed graphite for sketching on canvas because it’s so forgiving. It wipes back off easily with a damp paper towel, should you need to make corrections to your sketch. 1. Start sketching the girl’s hair and profile. You can also change

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her hair length or style to individualize your painting. 2. Next sketch her shirt and shorts, then her right arm and leg. 3. Attach her balloon. 4. Make any adjustments to your sketch so far. Her head should line up with her leg in a straight line. 5. To sketch the land, notice there is a line of water between the land she is on and the land behind her. Sketch out the three lines of land (one she is on, and two lines where there will be houses). 6. Here comes the fun part! Have fun sketching in your curling waves! Start from the right bottom corner, draw in one row at a time. The top three rows come to points rather than curves. 7. Lastly, sketch in your houses. They can vary in shape and size.

PAINTING:

1. Using a soft pink and a small/med brush, paint the girl’s pink beach outfit. I used Annie Sloan Chalk Paint “Antoinette” and “Old White” for this, however any acrylic or chalk paint in soft pink and white will work just as well. Paint her dress pink, dabbing in white for highlights and texture. Paint the collar of her dress, using white (or green for an alternative). Paint her neck, leg and arm, using APRIL 2019 ISSUE

the same pink mixed with a dab of white to soften her skin tone. Paint any houses you wish to be pink. 2. Next is the land. I used citrus green and white with a small/medium brush, but you could paint an all white beach if you prefer. 3. The land behind her is a mixture of Folk Art’s “Adrift” but any soft turquoise blue will work. Paint the land, using a small/medium brush, adding dabs of white for highlights. A little of the citrus green can also be dabbed in for contrast. 4. Using your yellow and white, paint the girl’s hair (also adding white for highlights). Paint the yellow houses with a small brush. 5. For the sky, I used Americana “Sea Glass” and white. With a small flat brush, in sweeping motions, alternate your brush between the white and Sea Glass. Paint in an upwards motion to hint at wind and clouds. 6. For the balloon and red houses, I used Annie Sloan Chalk Paint color “Emperor’s Silk”. You can also use any bright red such as Americana “Scarlet”. Paint these in with a small/medium brush. 7. To paint the waves, use a small/medium brush. Alternate each wave using the different blues and white paint, adding a little white towards the middle of each wave. Blend with your paint

brush so the center is lighter than the edges. You can also use citrus green in the waves as an added color choice. My waves were painted in Americana “Teal Mint”, Americana “Blue Harbor”, Sea Glass and white. 8. Paint the remaining houses using a small brush. You can also paint them using your choice of colors to individualize your painting.

Outlining:

For this next part, you’ll need a clean, medium fine brush and water. Trace all the graphite lines with a wet brush (but not dripping wet). It’s important to trace all these lines with water for the next step. Once the traced lines have dried, it’s time to trace them with an artist’s marker. You can use any artist’s marker, including a Sharpie or a fine tipped Crayola marker. Be sure to use a light hand so the lines are even and not too thick.

Shadowing and Antiquing:

For a more antiqued look, water down a small batch of brown paint, and a small batch of black paint. Using a paper towel, wipe down your painting using these two colors over the entire painting. Working quickly, use a damp paper towel to wipe back off any excess and lighten up the painting, leaving just a hint of color behind. This will allow your painting to show through, but leave a thin layer of wash, aging your painting.

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Download all line drawings ready to print here: https://bit.ly/2SZUIUN

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Giving thought to a spring design, my eyes went immediately to this heart shaped plaque lying on my paint table. A spring bouquet, tied together with a fuchsia bow, covered in polka dots, came immediately to mind. Not forgetting the need to add little birdies with a nest full of eggs. After playing around with the lay out, I decided that a welcoming message was needed and the design practically ‘drew itself’…well, not really! I helped a lot, with a lot of erasing, as always! APRIL 2019 ISSUE

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Enter With a Happy Heart e u q a l P e m o c l e W

I’ve been painting for almost forty years! The years have flown by. How many of us have made that statement almost daily, regarding the ages of our children, or grandchildren, and for some, our great-grandchildren? And, therefore, the reality of our own lifetime comes clearly into focus. Technically, if I would choose to narrow down my artistic beginnings more closely, I could say that I’ve been dabbling with art for over sixty years. Incredible! There’s no doubt, that through the years, I’ve been blessed to have a few mountain top moments. Even though I haven’t achieved all the dreams I held as a young girl, I can say that I’ve realized a few of my goals. I’ve been fortunate to design projects for publications, such as instructional books, magazine articles, and creating my own pattern publications. I also was chosen to create home décor and even had the opportunity to design a fabric line. I’ve decided to console myself at never acquiring the status of prima ballerina that I wanted so badly at age three and keep on painting!

By Cindy Mann Vitale

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SUPPLIES:

• Oyster Beige: DA313 • Burnt Umber: DA064

Surface:

• Primitive Heart Plaque, 14” x 8 3/4”, Item No. 31-L264 • Rusty Wire 22 gauge, Item No. 11-53513 www.cdwood.com

Paints by DecoArt® Americana®:

Mediums/ Other Products: • DecoArt® Americana® Dura Clear Ultra Matte™ Brush-on Varnish: DS-60

• DecoArt Multi-Purpose™ Sealer: DS-17 ®

• DecoArt® Americana® Matte Spray Sealer/Finish: DAS-13

• Grey Sky: DA111

• Lamp Ebony Black: DA067 • Snow Titanium White: DA01 • Warm White: DA239 • Avocado: DA052

• DecoArt® Deco Magic Brush Cleaner: DS-3

Royal® and Langnickel ™ Brushes

away dust. Seal and/or base coat. Always be sure to allow each application to completely dry before moving to the next step. 2. Transfer the design. 3. Or if you so choose, base coat the entire surface, then transfer the design. 4. Base coat in the design elements. 5. Begin initial shading process. 6. Transfer, or freehand, interior details, or additional design elements. 7. Base coat transferred details and shade.

• Avocado Dip: DA254

• Rounds: 2250 Series: No. 1, 3, 5,8

• Hauser Dark Green: DA133

• Liners: Series 2595: No.1

8. Allow all painting to dry and apply varnish.

• Leaf Green: DA051

• Glaze/ Wash: 2700 Series: 1 inch

9. Allow varnish to dry and apply antiquing.

• Lemonade: DA252

Miscellaneous Supplies:

• Blue Haven: DA318

• Pencil, eraser, ruler

• Navy Blue: DA035

• Tracing paper

• Teal Green: DA107

• Transfer paper, grey

• Whispering Turquoise: DA305

• Wet palette, or plain white coated paper plates

• Alizarin Crimson: DA179

• Water bin

• Baby Pink: DA031 • Boysenberry Pink: DA029 • Cranberry Wine: DA112 • Pink Chiffon: DA192 • Razzle Berry: DA276 • Red Violet: DA140 • Grape Juice: DA236 • Lilac: DA032 • Orchid: DA033 • Pansy Lavender: DA154 • Banana Cream: DA309 • Honey Brown: DA163 • Mink Tan: DA092 APRIL 2019 ISSUE

• Paper towels • Very fine grit emery cloth, or piece of brown paper bag • Zig® Millennium pen, black ink, .005 • Spatter tool or old toothbrush • Heart-Shaped surface • Rusty wire, 22 gauge

ORDER OF STEPS: 1. Prepare the surface, if needed. Sand and clean

10. Allow antiquing to dry and draw on inking details. 11. Spatter. 12. Spray final finish if desired.

Preparation:

Base coat the surface with Warm White. Allow to dry.

Instructions:

Rather than paint the entire background color(s) on the surface, then transfer the design, I prefer to transfer the larger designs onto the surface and then paint the background in, and around, the design. After the background base coating and shading applications are dry, I transfer (or freehand) the smaller designs elements and this does sometimes require some underpainting with white.

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My reasoning for this approach is that I feel base coating over a white, or very light color, produces a better result; giving the final basecoat a lighter and brighter effect. I prefer to avoid underpainting the entire design before applying the base coat colors. Itâ&#x20AC;&#x2122;s merely a personal preference, so work with the system that feels more comfortable for you.

Transferring:

For this design, I transferred all of the posies, all of the larger leaves (leaving the smaller leaves to be transferred later) the branches that the birdies are sitting on, the nest and eggs, and the bow. Do not transfer any of the interior details, such as the purple posy spiral detail in the center, the dots on the petals, the center details on the rose and rose buds, dots around the daisy center, or line detailing on the daisy petals, twig details on the nest and wood grain details on the branches, veining on the leaves, polka dots and line details on the bow, the posy stems, the end tips of the branches, facial details on the blue birdies, or the lettering. Some of these details will be transferred later or drawn on with the pen after the antiquing step has been completed.

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PAINTING THE DESIGN:

Shade the petal area with diluted Pansy Lavender. Shade again with diluted Grape Juice to add more contrast.

THE BACKGROUND: Mix Whispering Turquoise and Warm White in a 5050 ratio. Base coat the entire background area. Shade with diluted Teal Green mixed with Whispering Turquoise in a 50-50 ratio. Adjust the ratio if desired by increasing the amount of Teal Green for a deeper color. Focus the shading in the center of the design, and lighter at the edges.

Using the end of a liner brush, add Warm White dots from the posy center to the edges of the petals. Decrease in size toward the petal edges.

The Daisies:

Base coat the petals with Warm White.

The Rose and Rose Buds:

Base coat with Pink Chiffon. Begin the initial shading process with diluted Boysenberry Pink. Deepen the shaded areas with Boysenberry Pink mixed in a 5050 ration with Cranberry Wine. Be sure to keep the edges very light to maintain the contrast. Transfer, or freehand, the stamen in the center of the open rose.

Shade with diluted Sapphire Blue. Base coat the daisy center with Banana Cream. Shade with diluted Honey Brown. Using the end of a liner brush, add dots around the daisy center in varying sizes, with Burnt Umber and Honey Brown.

The Leaves and Stems:

Base coat with Lemonade.

Paint on with Banana Cream. Shade on one side with diluted Honey Brown.

The Purple Posies:

Base coat with a 50-50 mixture of Warm White and Lilac. When dry, transfer or freehand the posy center. Under paint the posy center with Titanium White. When dry, base coat with a 50-50 mixture of Warm White and Avocado Dip. Shade with Avocado. APRIL 2019 ISSUE

Transfer, or freehand, the black dots around the outside of the posy center. Using the tip of liner brush paint on with Grey Sky. When dry, add diluted Lamp Black to deepen.

Shade with either, Leaf Green, Hauser Dark Green and Avocado, or combinations of these colors. With some leaves, I began with Leaf Green, allowed to dry then added a final shading application of diluted Hauser Dark Green. For other leaves, I began with diluted Avocado and added a final shading of diluted Leaf Green. Experiment with combinations that are pleasing to you. Shade different areas of the leaves to give variety.

The veining will be added later on with the pen.

The Blue Birdies:

Base coat the white areas, which are the face and chest, with Warm White. Base coat the blue areas around the head, and wings and tail, with Blue Haven. Pull out tufts of feathers on top of the birdiesâ&#x20AC;&#x2122; heads, along the sides and tips of their wings, and their tail feathers. Begin shading the area around the face, under the chin area, around the head, at the base of the wings and tail feathers, and the body, with diluted Sapphire Blue. Deepen the shading in some areas with diluted Navy Blue, such as at the base of the tail feathers, the wings and along the bodies. Use sparingly to maintain the contrast with the lighter areas of the head, wing and tail. Use diluted Warm White to add highlight to the tops of the heads, the wings and the tips of the tail feathers. Transfer, or freehand, the eyes and beaks. Paint on the eyes with Lamp Black. Eyebrows will be added later with the pen. Paint on the beaks with Banana Cream. Shade with diluted Honey Brown for contrast.

The Nest and Branches:

Begin by base coating the nest and branches with Oyster Beige. Shade with diluted Honey Brown along one side of the branches, and around the inside area of

PAINTING WORLD MAGAZINE

the nest by the eggs. Deepen the shading beside the eggs with diluted Burnt Umber.

Shade over some of the polka dots with the Cranberry Wine and Red Violet mixture to soften.

For the nest, begin creating the appearance of twigs, painting on short strokes with a liner brush. For the most part, follow the curve of the nest. But for variation, pull a few twigs across the nest in different directions. Work a few twigs outside of the nest shape to give a more open effect. Each twig should vary in thickness and length.

The Lettering:

Begin with diluted Honey Brown, following with diluted Burnt Umber, and finish by adding a few twigs with diluted Grey Sky. Follow a similar pattern for the branches by painting on a few thin lines of diluted Honey Brown to create the effect of wood graining. Add a few more thin lines of Burnt Umber. Pull the ends of the branches out to create a curled appearance. The final effects will be created when the inking is applied.

The Eggs:

Base coat with Warm White. Shade with Whispering Turquoise. Deepen the contrast with diluted Teal Green.

The Bow:

Base coat the bow with a 50-50 mixture of Warm White and Orchid. Shade with diluted Red Violet. Intensify the contrast by shading with Red Violet and Cranberry Wine mixed in a 50-50 ratio. Transfer, or freehand, the polka dots. Paint on with Warm White.

When the background base coat is dry and the shading is complete, transfer the lettering. Base coat with a 50-50 mixture of Warm White and Baby Pink. I was not satisfied with the initial base coat results, so I applied Warm White underpainting. Shade with diluted Razzle Berry. Deepen in some areas with a 50-50 mixture of Razzle Berry and Cranberry Wine.

mixture. Begin at the corner of the surface, working down along the edges of the surface, then feathering in toward the center to empty the brush. I prefer to keep the center of the design lighter. If there is too much antiquing mixture in the brush for the surface area, wipe the brush on a paper towel, and work to move the antiquing mixture over the surface to disperse evenly.

Varnishing:

Dilute the varnish approximately 50-50 with water. Brush mixture evenly over the surface when all the painting applications are dry. Allow first application to dry and apply a second coat, working in a different direction to ensure adequate coverage.

Antiquing:

Antiquing is optional, but I find that the antiquing application gives a nice ‘aged’ patina to the surface and is the perfect prep for inking. The varnish must be perfectly dry before applying the antiquing mixture. My preference for an antiquing mixture is Deco Art® Americana® Burnt Umber mixed with water. The ratio I use is approximately 5% paint to 95% water. Fill only the very tips of the brush with the antiquing

Be sure to check the sides of the surface, often for drips and/or runs.

Inking:

Inking is an optional step, but I love the results, so almost never skip this step. My preference is a pen with black ink and a .005 point.

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PAINTING WORLD MAGAZINE

Inking details are added after the varnish and antiquing have been applied. Always ensure that the surface is completely dry before beginning the inking step. All design elements were outlined for this project, as well as adding small line detailing. Examples are the veining on the leaves, the curly tips of the branches, the eye brows on the birdies, the folds in the bow, the swirls and spirals in the rose buds and purple posies, and the detailing on the daisy petals.

Spattering:

Since I don’t mind getting paint on my hands, I use a toothbrush. Lamp Black was used for this design. If the paint seems too thick, dilute very slightly, and then test spatter pattern before spattering surface. Spatter lightly and focus the spattering around the outside edges of the plaque.

Final Finishing: Optional

For a final protective finish, use Americana Spray Sealer/Finisher. I prefer the matte finish. One or two light applications will give a good result. Follow the manufacturer’s instructions on the can.

Assembly:

Cut three 18-inch lengths of the rusty wire and secure in the center by wrapping one piece of the wire around the other two pieces of wire twice. Wrap the end of one of the pieces of wire around the other two pieces of wire at the center to secure in place. Run all three pieces of wire from the back of the plaque through the holes to the front. Use one end of wire to wrap around all three pieces of wire by the edge of the plaque. Tuck the end of the piece of wire behind the plaque and bend downward.This will leave two pieces of wire at the front of the plaque. APRIL 2019 ISSUE

Coil the ends of these two pieces of wire into spiral shapes. Refer to the photo as a reference if needed.

Cindy Mann Vitale cindymannvitale@gmail.com

This design can be hand painted for personal use, as a gift, for sale in shops, and at craft shows. Contact me for more information regarding copyright guidelines, and/or teaching inquiries.

PAINTING WORLD MAGAZINE

Helpful Tips

Now that I am older, with my aging eyes, and often shaky hands, I make a lot of mistakes; miss things. As the years pass, I find there are times that I am spending just as much time fixing mistakes, as I do painting and inking. The secret is to not look too closely at my work! I had to give myself permission to not be perfect, because being perfect is not possible. And I don’t want to quit creating, and painting, not yet. Therefore, I am encouraging you to do the same. I tell myself, good is good enough. Enjoy the journey of turning a blank surface into something that may not be perfect, but is ‘Oh, so beautiful!’ In that spirit, here are a few tips…

Shading Tips:

Inking Tips:

I use a round brush to apply the shading mixture, using a very small amount of the shading mixture only on the very tip of the brush. For smaller areas, I use a liner brush to shade.

With a little creativity, inking can be a simple way to hide small mistakes. A little doodle, here or there, can make all the difference! You’ll catch on to these tricks with time and practice.

Suggested ratios of paint to water to create the shading mixture would begin at 95% water to 5% paint. Adjust accordingly, to suit your personal preference for contrast and intensity.

Inking is an easy way to add ‘pop’ and details that would be more difficult (and impossible for me!) with paint and brush.

For my shading process, I dilute darker shades, either straight from the bottle, or a mixture of two or more colors with water.

Fill only the tip of the brush with very little of the shading mixture to maintain control and avoid bleed out. You can always add more after the initial application has dried.

Don’t try to draw a straight line, unless you can! Make shorter, broken lines. It’s much easier and mistakes are not as apparent.

There’s no need to always ink the entire design. It’s possible to pick, and choose, only the elements of the design that you want to emphasize. But you may find that you like the end result so well, you’ll end up inking more than you originally intended.

Keep the edges soft at all times during the shading process. If needed, rinse out the brush and add a little clear water to the edges, remembering to work quickly before the application dries. In most instances, I find it necessary to apply the shading mixture at least two or more times to achieve the contrast needed. In some cases, I have applied the shading mixture up to 5 times for the correct intensity. © 2019 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.

APRIL 2019 ISSUE

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APRIL 2019 ISSUE

Download all line drawings ready to print here: https://bit.ly/2SZUIUN

PAINTING WORLD MAGAZINE

Download all line drawings ready to print here: https://bit.ly/2SZUIUN

APRIL 2019 ISSUE

PAINTING WORLD MAGAZINE

SpringVISITOR

APRIL 2019 ISSUE

PAINTING WORLD MAGAZINE

By Ursula Wollenberg

Helpful hint

Use light washes along the way. You can always add more paint as you develop the painting. Because of this, we will move back and forth throughout the painting.

In this mixed media project, we will explore collage, texture and mark making. Fluid acrylics will be used to layer color and create interest. Using fluid acrylic paints as wa-tercolors can achieve a beautiful soft, fluid effect on a textured background. Creating and learning brings me joy and fulfillment. I enjoy spending time in my studio, exploring new ideas and techniques, and sharing what I have learned. I have taught sev-eral classes online and in a local art studio and have had work published along the way. Through my 30 some years of painting, I have met so many lovely artists and friends.

SUPPLIES: Surface:

• 8 x 10” Canson Plein Air Watercolor Art Board, available through Amazon.com

DecoArt Media Fluid Acrylics: • Raw Sienna: DMFA36

• Dark Grey Value 3: DMFA22 • Titanium White: DMFA39 • Sap Green: DMFA07 • Green Gold: DMFA14 • Primary Magenta: DMFA29 • Payne’s Grey: DMFA20 • Burnt Sienna: DMFA02 • Quinacridone Violet: DMFA34 • Burnt Umber: DMFA03

DecoArt Dazzling Metallics: • Copper: DA205-3

DecoArt Americana Premium: • White Gesso: DTAM07

Royal & Langnickle Zen Brushes: • #4 Bright Z43B

• 1/2” Oval Wash Z73WO • #8 Filbert Z73T

Miscellaneous Supplies: • Paper Towels

• Royal Graphite Pencil #2B • Water Bin • Old Book Pages • Grey Graphite Paper • Palette Knife • Tracing Paper • Americana Matte Spray Sealer DAS13

PREPARATION:

Add the pattern to the surface of the watercolor canvas. Tear and cut your old book pages. Set aside. Using a palette knife and Gesso, apply areas of Gesso to the back-ground and where you will be adhering the torn pages. I like to go

APRIL 2019 ISSUE

PAINTING WORLD MAGAZINE

heavy underneath and around the water can with a slip slap motion. While the Gesso is wet, begin to apply torn pages to the water can and background. Secure the paper with a flat object to avoid bubbles. Allow this all to dry. Figure 1

PAINTING INSTRUCTIONS: Wash a thin uneven layer of Raw Sienna in and around the design and onto the background. Wash a thin layer of Dark Grey Value 3 to and around the water can. Follow with a wash of Burnt Sienna to the water can and to the bird’s tummy as well. Figure 2

FIGURE 1

FIGURE 2

APRIL 2019 ISSUE

Strengthen darker areas of the water can and the body of the bird and head with a wash of Payne’s Grey. Add washes of Primary Magenta to areas of the water can, handle, bird tummy, and flowers. Add drips of the same beginning at the top of the canvas to drip down into the background and add washes of same to the edges of the canvas. The tex-ture created early on will grab some of the paint into the crevices, creating depth and interest. Figure 3

FIGURE 3 © 2019 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 4

FIGURE 5

Flowers and green areas:

Water can:

Define flowers with more loose pencil marks. Brush mix Primary Magenta and Titanium White and apply to the flower petals.

Flowers:

Apply Raw Sienna in the middle of each flower. Add Washes of Green Gold inside of the water can, on the foreground and around the flowers. Wash a small amount of Green Gold into the background. Figure 4

Strengthen dark areas of the water can with Burnt Umber, followed by Payne’s Grey. Loosely add Burnt Umber branches inside the opening of the water can. Follow with Green Gold leaves. Add pencil marks where needed to strengthen both branches and the water can. Begin to add Titanium highlights to the water can. Figure 5

Bird:

Add Titanium White to highlight areas. Strengthen with Payne’s Grey shading on the body, head and tail. Apply a tiny Titanium White dot for the eye. Add a tint of Raw Sienna to the beak and body.

Brush mix Burnt Umber and Burnt Sienna to the darkest areas. Follow with Payne’s Grey to strengthen. Apply Titanium White highlights once again. Remember, we are layering our colors as we go. Shade around the flower centers with Quinacridone Violet. Add washes of the same around the flowers. Add dark and light Quinacridone Violet to berries, stems, in-side the can, and around the flowers. Continue to strengthen and highlight where need-ed. Work until you’re satisfied with the contrast between highlight and shading. Figure 6

FINISHING TOUCHES:

Add a Raw Sienna crown to your little visitor (bird). At this stage, I like to add a few more washes of color to my background (colors left on my palette) to tie my painting together. Be careful not to get it too dark. Transparent washes work best.

APRIL 2019 ISSUE

PAINTING WORLD MAGAZINE

FIGURE 6

Add Copper paint (here and there) to the water can and crown. We are creating an aged patina appearance to the can. Splatter in and around the background with Green Gold and Primary Magenta. Finish with American Matte Spray Sealer. Thank you,

Ursula Wollenberg

APRIL 2019 ISSUE

PAINTING WORLD MAGAZINE

Download all line drawings ready to print here: https://bit.ly/2SZUIUN

APRIL 2019 ISSUE

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Directory of Artists Thelma L Hamilton

Marlene Fudge

Thelmahamilton@yahoo.com www.thelmaLhamilton.com

Ursula Wollenberg uswoll@gmail.com www.artbyursula.net www.uwoll.blogspot.com

Mabel Blanco (Daca) mabelblanco25@gmail.com www.mabelblanco.com

Susan V. Cochrane

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

Lonna Lamb lonnalamb.com lonnasartdesign@gmail.com

Lori Puszakowski-Schmidt

suecochrane@sympatico.ca

Cindy Mann Vitale

secondher@aol.com facebook.com/LoriPuszakowski-SchmidtsArt-1408966809366500/

Leslie Smith

cindymannvitale@gmail.com

APRIL 2019 ISSUE

Paintingmarlene@gmail.com

LASPAINTS2@gmail.com

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Directory of Advertisers & Suppliers Bear With Us®, Inc. www.bearwithusinc.com 407-347-5939 C-Thru Rulers www.westcottbrand.com ®

Clairfontaine® Paper www.clairefontaine.com Creative PaintingTM Las Vegas www.vegaspaint.com 702-221-8234 Cupboard Distributing® www.cdwood.com 937-652-3338 Daler-Rowney® www.daler-rowney.com 800-824-9430 Debbie Cole Designs® www.debbiecole.com DecoArt® www.decoart.com 606-365-3193 Derwent® www.pencils.co.uk/en/gb/home Dynasty® Brushes www.dynastybrush.com 718-821-5939

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Pin-It Canada!® www.pin-itcanada.com 519-232-9047 Royal Langnickel® art.royalbrush.com 219-660-4170 Sandy McTier Designs® www.sandymctierdesigns.com

Jo Sonja’s Folk Art® www.josonja.com 888-JO-SONJA

Scharff® Brushes www.artbrush.com 770-461-2200

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Sharpie® Markers www.sharpie.com 800-346-3278

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Smooth Cut Wood® smoothcutwoodproducts.com 888-982-9663 Society of Decorative Painters® www.decorativepainters.org Stabilo® Pastels www.stabilo.com Viking Woodcrafts® www.vikingwoodcrafts.com 800-328-0116

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