October 2019 Ornament Issue Painting World Magazine

Decorative Painting, Mixed Media, Fine Art & More!

October 2019

Painting World

ÂŽ

Issue 23

Cover Artist: Sandy McTier

magazine

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PAINTING WORLD MAGAZINE

Wood Surfaces, Pattern Packets and More...

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OCTOBER 2019 ISSUE

Contents

PAINTING WORLD MAGAZINE

Cover Artist

9

CHRISTMAS MAGIC

By Isabelle Desroches

33

MY SWEET FAWN

By Elisabetta De Maria

A GNOME HOLIDAY

16 By Sandy McTier

COUNTRY CHRISTMAS ORNAMENTS

38 By Nancy Scott

NOEL BELLS

29 By Diane Marie Kellogg

TUXEDO MAN

54 By Rebecca Baer

46 Artist Georganne Aldrich Heller

Transcends Trends Into Fine Art Collage

60 By Sherry C. Nelson

JOYOUS NOEL

50 By Patty Butters

More Great Articles

BROWN BEAR CUB WITH PINE BRANCH

ART DECO DUO

22 By Barbara Bunsey

ADVERTISERS INDEX

2 Smooth Cut Wood

2 JB Wood Products

6 New England Traditions

59 The Making of the Christmas Giving Plate

7 World of Color

67

The Greatest Gift

8 Annette Dozier Book

71

Directory of Artists

27 DecorArt

72

Directory of Suppliers

76

Andy Mast “The Evolution Of An Artistic Miracle”

8 Bear With Us

8 Plain & Simple Magazine 68 Viking Woodcrafts 73 Tracy Moreau

73 Hope Creative Studio 74 Art Printing

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Call For Artists

WE WANT YOU!

Be featured in Painting World Magazine’s printed edition

Also in digital issues, on the website, social media channels & Amazon®

Your work could be seen by thousands of print & digital subscribers & over 15,000 online social media followers!

What We’re Looking For:

Intermediate to Advanced Painting Projects

Oils, Acrylics, Watercolors, Pastels, Gouache, Mixed Media, Classic Tole & More Any Surface, Any Size, Any Subject, Any Style Great Step-by-Step Process Images Easy-to-Understand Instructions Encourage Creativity & Teach New Techniques Editorial Calendar & Full Guidelines can be found at

WWW.PAINTINGWORLDMAG.COM OCTOBER 2019 ISSUE

PAINTING WORLD MAGAZINE

FROM THE Editor

Letter from the Editor

What an exciting time of the year!

With all the holidays to follow, we are sure to discover a lot of new ideas and make memories.

Painting World Magazine will be releasing its new Subscription box soon. This box will contain a surface from “Viking Woodcrafts”, paint pots, a brush and a pattern packet from some of the top designers/ Artists in the industry. These patterns will not be available in the magazine.

What a great gift to share with someone. Promote the art of painting. Inspire someone to get creative!

I love surprises and thats why I love this Subscription box. It will be a surprise every time you open it.

team is absolutely in love with this industry and entirely committed to helping it grow while always feeding the artistic love of our readers!

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

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HAVE QUESTIONS?

PLEASE contact us DIRECTLY! We will always fix any problems with delivery, subscriptions, orders or just answer any questions. We can’t help you if we don’t know! Our email and phone number are just to the right in the gray box --> Phone hours are 9am-1pm CT and you can email us 24 hours a day!

ATTENTION SNOWBIRDS:

Enjoy the beauty of Autumn and the holidays to come!!

Do you travel for the season? Make sure you send us your temporary address before you go! The Postal Service DOES NOT forward our magazines and we don’t want you to miss out.

Who We Are

RENEWAL INFORMATION:

We will also be starting a new series of articles in the coming year that you will not want to miss.

Kole

Painting World Magazine is owned and operated by Loon Publishing, LLC., which is an independent publishing company. We are completely dedicated to the joy of creating delivered to our readers!

We select only the best articles from the top designers in the industry and will be featuring all the hottest new techniques, products and artists.

Together with top designers, photographers, outstanding writers and a passionate readership, our

If you are wondering when your subscription will expire, look at the address card inserted with this magazine. We are now including expirations on the address card just below your address. Those of you who are getting close to needing to renew will get a reminder on there.

All magazines will have the subscription/renewal form on the back of that paper to make it easy for you to send them in or subscribe a friend.

About the Magazine Painting World Magazine publishes six times per year: six issues that arrive at your door every two months!

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ALL RIGHTS RESERVED ON ENTIRE CONTENTS. PAINTING WORLD MAGAZINE (ISSN 2472-694X). August 2019, Volume 01, Issue 22 ©Loon Publishing, LLC. Painting World Magazine is published 6 times per year by Loon Publishing, LLC., 205 South State Street, Waseca, MN, USA. US Subscription price $38.00 per year, shipping included. 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.

Subscription rate $38.00 includes S&H for 6 issues. Distributed in the United States, Canada and worldwide. Printed by Quality Print, Waseca, MN.

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CONVENTIONS , EVENTS &TRADE SHOWS New England Traditions presents

Autumn Leaves & Creativi“Tea” October 6–11, 2020...Our 21st year!

New England’s premiere decorative painting experience...

Great Teachers, Great Classes, Great Shopping, Fall Foliage & more!

Painters: ONLINE CATALOG and online registration make it easy!

Join, Like & Share us on Facebook! Businesses: Advertise with us!

Teachers: Thank you for your creativity and dedication to NET!

NewEnglandTraditions.org All inquiries to robinprout@yahoo.com. See you in October!

Sponsored by the New England Chapters Council, Society of Decorative Painters, at Best Western Royal Plaza, Marlborough, MA NET 2020 artwork by Nancy Scott, CDA ©2019 NECC

Painting Palooza – OKC Painting Convention Midwest City, Oklahoma October 19-26, 2019 Theme – Tea Party Wonderland October 17-24, 2020 Theme – Fabulous 50’s http://okcpaintingpalooza.com/ World of Color Expo 2019 Herndon, Virginia Nov. 4-9, 2019 https://worldofcolorexpo.com/ Art of the Carolinas Art Supply Expo, Workshops and Sale Raleigh, North Carolina Nov. 15-17, 2019 http://www.artofthecarolinas.com/ Creativation Phoenix, Arizona January 16-20, 2020 http://www.afci.global/eweb/ Pin It Canada Pin It Canada – Ontario London, Ontario June 12-13, 2020 Pin It Canada- Quebec http://www.pin-itcanada.com Creative Painting Las Vegas Las Vegas, Nevada Feb. 16-21, 2020 http://vegaspaint.com/

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New Book

Country Pathways Vol. 10

By Annette Dozier 9 Projects in oils and acrylics Order at annettedozier.com annettedozier@att.net 314-808-8290

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PAINTING WORLD MAGAZINE

Christmas

MAGIC!

Christmas is one of my favorite times of the year and these ornaments will be perfect for your holiday decorations. Faux stained glass is a great technique to create shining and light reflecting pieces. Your guests will be amazed!

By Creation Isa – Isabelle Desroches Decorative painting has been my passion since 2003. I opened my studio in 2007 to teach and share my passion for decorative arts to children and adults. In 2008, I had my first project published in the magazine, Coup de Pinceau. Since then, I published over one hundred pattern packets and numerous magazine projects. I also designed a line of ten stencils that I use to create beautiful bookmarks or to embellish some of my projects with textured paste. Everyone knows me for the stylish cats I paint. To bring joy and happiness to people is my motivation.

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Supplies

• Transfer paper

SURFACE: • Christmas wooden ornaments available at my studio

• Sanding paper no. 400

PAINT PALETTE

DecoArt Americana Acrylics • DA 240 Cool White DecoArt Dazzling Metallics Metallic Acrylic Paint • DA 148 Emperor’s Gold Pébéo Vitrail transparent color for glass, metal (solvent based) Glossy • 12 Crimson • 13 Emerald

• 17 Turquoise Blue • 34 Apple Green • 36 Sky Blue

• 37 Cobalt Blue • 47 Pewter

Pébéo Vitrail Opaque Glossy Colour for glass • 49 Super White • Lightening Medium • Glitter Medium

Pébéo Relief Outliner • King Gold BRUSHES • Liner 10/0

• Flat ¼”, ½”

MISCELLANEOUS SUPPLIES • Taltine Demco Artist Series for oil odorless solvent • DS 17 DecoArt Multi-Purpose Sealer • Stylus

• Pencil and eraser • Paper towel

• Palette paper

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• Black Graphite paper • Tacky cloth

• DS 19 Americana Dura Clear Gloss Varnish • Hooks (optional)

Wood Preparation

Sand each wooden ornament using the 400 sanding paper to obtain a very smooth surface.

Use a tacky cloth to clean the surface and get rid of the dust.

Using a ½” flat, apply a thin coat of Multi-Purpose Sealer on the entire surface and let dry.

Smooth the surface again using your no. 400 sandpaper. Clean the surface with your tacky cloth.

Hint: When applying the sealer it is normal that the wood grain lifts up since it is water based.

That is why it is preferable to sand again to get a nice surface to work on. You will get better results.

Basecoat each ornament with Cool White using a ½” flat. Apply two to three coats and let dry between each coat.

Transfer the pattern using black graphite paper and your stylus on each ornament. Don’t press too heavily on the wood to avoid carving it. It would cause leaking when applying the faux stained glass paint.

It is unusual to finish the work before we have done the colors and other techniques, but in this project it will be easier to apply the varnish at the beginning. So make sure your lines are exact and erase all other marks.

Apply two coats of gloss varnish at this point because it is easier to apply on a smooth surface and it will be better than if you apply it after the faux stained glass is done. Use a ½” flat brush and let dry between each coat.

PAINTING WORLD MAGAZINE

BACK OF THE ORNAMENTS FINISHING Using a ¼” flat brush, apply Emperor’s Gold on the thickness of each ornament. Apply two layers.

On the back of the ornaments, apply Emperor’s Gold with a ½” flat. Apply two to three layers for a nice finish.

If you have more time, you could also reproduce the faux stained glass pattern on both sides, taking care to wait until the first side is dry so you would skip that step.

YOU ARE NOW READY TO APPLY THE RELIEF CONTOUR! Take the cap of the tube off and with a needle, pierce a little hole into the metallic membrane to allow the contour to come out. Screw the cap back onto the tube and press lightly to help the contour out. Don’t press too hard because you will end up with a tube that is leaking indefinitely!

Also, don’t cut the tip of the tube if you want fine contours like mine.

Apply relief contour, King Gold, on all the pattern lines. Make sure all the lines join together to prevent the Vitrail paint to leak under the relief contour. When you’re done, clean the tip of the tube with a pipe cleaner and push a needle with a little head inside the tip to prevent the contour from leaking back into the tip. It will save you time and money for the next time you want to use it.

Let dry around fifteen minutes or until the relief contour is completely dry to touch.

Helpful TipBEFORE YOU START APPLYING THE FAUX STAINED GLASS PAINT. Use taltine to clean the paint brushes and use a paper towel to wipe your brushes from the excess paint or medium. When you are finished, I recommend you get rid of the paper towels in a small bag outside the house. Don’t keep the paper towels full of taltine and faux stained glass paint in your garbage’s studio because it is volatile and if the place is not well ventilated, it might be toxic.

Important! You can keep the remaining taltine that you used to clean the paint brush in a small container and let it rest for a few days. You will be able to filter it afterwards and to use it again.

Please don’t throw it in the sink!

Work the paint one section at a time to be able to create different tones before the paint starts drying up. This would create a gummy surface that would not look like real piece of glass anymore and the effect would not be as beautiful. Make sure to apply enough paint to fill in all the sections. The quantity of paint should level with the relief contour to get a nice look once it is dry.

Make sure you clean each brush thoroughly between each color change so that your colors are not mixed with one another.

I suggest you poor a small quantity of paint in a little container (I use plastic dispills) or onto your palette paper. It will be easier to pick up and will avoid the paint in the bottle thickening.

As you apply paint on each section of the design, add some lightening medium to the faux stained glass paint so that it does not appear too dark when you apply it on the ornaments, unless it mentions otherwise.

DECORATIVE BORDER FOR EACH ORNAMENT Using a 10/0 Liner, apply Turquoise Blue on the upper and lower part of the border.

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With the same brush, apply Crimson on each cross section and finish with glitter medium in the middle of the crosses.

UPPER AND LOWER SECTION FOR EACH ORNAMENT Using the 10/0 Liner, apply glitter medium to fill these sections.

ORNAMENT A

Little House Apply Crimson on all the walls for the house using the 10/0 Liner.

Apply Super White onto the roof of the house using the 10/0 Liner.

Fir trees Apply Apple Green on each tree.

Bushes Using a Liner 10/0, apply a mixture of lightening medium and Emerald (2:1) on each bush. You can put a little more Emerald on some bushes to vary.

Poinsettia One petal at a time, apply lightening medium to the whole petal and then add a few drops of Crimson. With the 10/0 Liner, mix the two without trying to obtain a homogeneous color. Then with the same brush, add more Crimson to the base of

Liner. Shade it at the base with more Turquoise Blue.

Snow Apply Super White on each snow-covered section

each petal to shade.

Ribbons Apply lightening medium to the whole surface, then work in some Turquoise Blue using the 10/0

and then with Sky Blue, work the stained glass paint to create the shading on each section below the fir trees, the bushes and the house.

Sky Apply Turquoise Blue, then with Super White, create the shades of light at the horizon.

Then, with Cobalt Blue, create darker shades

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PAINTING WORLD MAGAZINE

in the sky by doing circular motions with the 10/0 Liner brush. Work quickly enough so that stained glass paint does not have time to freeze.

This would cause a gummy effect that is less aesthetic. Refer to the photo as needed.

ORNAMENT B

Church Apply Pewter on the walls of the church using the 10/0 Liner.

Apply Super White on the roof of the three houses using the 10/0 Liner.

Fir trees Apply lightening medium and then work some Apple Green on each tree with the Liner 10/0.

Bushes Using a Liner 10/0, apply a mixture of lightening medium and Emerald (2:1) on each bush. You can put a little more Emerald on some bushes to vary.

Poinsettia One petal at a time, apply lightening medium to the whole petal and then add a few drops of Crimson. With the 10/0 Liner, mix the two without trying to obtain a homogeneous color.

Then with the same brush, add more Crimson to the base of each petal to shade.

Ribbons Apply lightening medium then Turquoise Blue using the 10/0 Liner. Shade it at the base with more Turquoise Blue.

Snow Apply Super White on each snow-covered section and then with Cobalt Blue, work the stained glass paint to create the shading on each section below the fir trees, the bushes and the church.

Sky Apply Turquoise Blue, then, with Super White, create the shades of light at the horizon.

in the sky by doing circular motions with the 10/0 Liner brush. Work quickly enough so that stained glass paint does not have time to freeze.

This would cause a gummy effect that is less aesthetic. Refer to the photo as needed.

ORNAMENT C

Little Houses Apply Crimson on all the walls for each house using the 10/0 Liner.

Apply Super White onto the roof of the three houses using the 10/0 Liner.

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Fir trees Apply Apple Green on each tree using the 10/0 Liner.

Bushes Using a 10/0 Liner, apply a mixture of lightening medium and Emerald (2:1) on each shrub. You can put a little more Emerald on some shrubs to vary.

Poinsettia One petal at a time, apply lightening medium to the whole petal and then add a few drops of Crimson. With the 10/0 Liner, mix the two without trying to obtain a homogeneous color. Then with the same brush, add more Crimson to the base of each petal to shade.

Ribbons Apply lightening medium, then Turquoise Blue using the 10/0 Liner. Shade it at the base with more Turquoise Blue.

Snow Apply Super White on each snow-covered section and then with Cobalt Blue, work the stained glass paint to create the shading on each section below the fir trees, the bushes and the houses.

Sky Apply Turquoise Blue, then, with Super White and a Liner 10/0, create the shades of light at the horizon.

Then, with Cobalt Blue, create darker shades in the sky by doing circular motions with the 10/0 Liner brush. Work quickly enough so that stained glass paint does not have time to freeze.

This would cause a gummy effect that is less aesthetic. Refer to the photo as needed.

ENJOY! Isa CrĂŠation Isa www.creationisa.com ateliercreationisa@yahoo.com facebook page CrĂŠation Isa

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PAINTING WORLD MAGAZINE

Please adjust this size of the line drawing to fit the surface you choose.

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.

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A Gnome Holiday

By Sandy McTier

I loved creating this little “Gnome” Collection – they just make me smile! Learn to create a fun background and layer Fluid Acrylics to paint these whimsical designs.

Sandy’s passion for painting and creating over the last three decades has led her on an incredible artistic journey.

She is a published artist, designer and international travel teacher who enjoys sharing her gifts and talents. Sandy is a Brand Ambassador for DecoArt and ChartPak. She’s also a Brand Specialist for Dynasty Brush. She is a wife of 29 years to a U.S. Air Force Veteran and mom to three amazing young men, ages 25, 24 and 23. Look for Sandy on Facebook at Sandy McTier Designs.

You can also find her on Twitter, Pinterest and Instagram under Sandy McTier.at

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PAINTING WORLD MAGAZINE

SUPPLIES SURFACE: • Large Arched Top Gift Tag – www.

VikingWoodcrafts.com, Item #207-0521 • DecoArt Media Products • DMM18

Gesso – White

• DMM09 Shimmer Mister Turquoise FLUID ACRYLICS: • DMFA39 Titanium White • DMFA18 Pyrrole Red

• DMFA05 Carbon Black

• DMFA32 Quinacridone Gold

Helpful Tip:

I truly love painting with the Media Fluid Acrylics!!

They are transparent and can be layered to achieve beautiful effects. If you aren’t familiar with using them, there are a couple of tips I’d like to share with you.

• Let the layers dry between applications.

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

• Assembly line the background prep! Then you can start on the fun part – painting the two different designs.

• DMFA07 Sap Green

• DMFA14 Green Gold • DMFA37 Raw Umber • DMFA38 Titan Buff

• DMFA20 Paynes Grey

• DMFA12 Dioxazine Purple DECOART PRODUCTS: • DMM26 Soft-Touch Varnish DYNASTY BLACK GOLD BRUSHES: • Dynasty: www.TheBrushGuys.com (use promo code sandymc for an additional discount) • #8 Shader (206S)

BACKGROUND PREPARATION

Load a palette knife with Gesso and, starting at the top of the surface, apply the Gesso to the bottom. Let the Gesso skip and stutter, this will give some great texture in the background. Let dry. Paint a wash of Dioxazine Purple over the background and wipe most of it off with a paper towel. Let dry.

• 1/4” Angle (206A) • #2 Round (206R) • #0 Liner (206L)

• Small Mezzaluna (for drybrushing) MISCELLANEOUS SUPPLIES: • Paper Towels • Water Basin

• Palette Knife

• Ribbon of Choice

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INSTRUCTIONS

We’ll be doing the same background for each ornament. The gnomes are painted exactly the same way, but I switched up their clothing and hat colors.

Load the #8 with Paynes Grey and Sap Green and paint the evergreen trees. Start with the trunk by sliding on the chisel edge of the brush from the tip of the tree down. Reload the brush and lightly tap on the corner of the brush to the left, right and center of the trunk. As you work your way down the tree, come out a bit further. Every now and then, don’t go out as far as the branch above – this will give the tree some fullness.

Slide back and forth on the chisel edge of the brush underneath the trees to ground them and give them a bit of a shadow.

Load the #8 with some Sap Green and Green Gold; mix on palette. Add a touch of Titanium White to the mix and then tap on the left side of the tree branches, as well as some of the branches in the center of the tree.

Load the #8 with Titanium White and tap on the branches.

Paint the tree that the gnome is holding the same way but add a trunk using Raw Umber.

Then, highlight the right side with a touch of Quinacridone Gold and Titanium White.

Paint some distant trees in the back using just Titanium White. If they are too bright, simply paint a wash of Shimmer Mister Turquoise or Dioxazine Purple over them.

Transfer the pattern for the gnomes and the reindeer.

We’ll be working in layers and letting

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the color dry in between each layer.

Using a heat tool or blow dryer will help speed up the process.

GNOME Using the #8, paint the gnome white and let dry. Rinse the brush and load with Paynes Grey; paint the beard.

Rinse the brush and load with Pyrrole Red; paint the hat.

If you’re painting the other gnome, paint his outfit with Pyrrole Red. Rinse the brush and load with Paynes Grey and Titanium White; mix on the palette. Paint the outfit gray and for the other gnome, paint his hat.

Load the #0 Liner with Carbon Black and paint the belts and boots. Rinse the brush and load with Titanium White; paint the snowflakes on the outfits and the zig-zag and dots on the belt. Reload the brush and paint long flowing strokes on his beard.

Rinse the brush and load with Titan Buff; paint the nose.

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Load the toe of the 1/4” Angle with Paynes Grey and shade underneath the hat, under the nose, where the arms meet the body, under the belt, on the left and right of the hats and under the beard.

Rinse the brush and load the toe with Titanium White; float the color on the brim of the hat.

Load the small Mezzaluna with Titanium White and wipe almost all of the paint off on a paper towel. Dry brush the center of the hat and on the nose.

REINDEER Load the #8 with Titan Buff and paint the reindeer. Let dry. Load the brush with Quinacridone Gold and repaint the reindeer; let dry.

Load the #0 Liner with Raw Umber and paint the antlers. Wipe the brush off, load with Quinacridone Gold and a touch of Titanium White and highlight the right side of the antlers. Reload the brush with Titanium White and add some dots of snow on the antlers.

Load the toe of the 1/4” Angle with Raw Umber and shade along the left side of the body, head and top of the ears.

Load the #2 Round with Carbon Black and paint the oval eyes. Rinse the brush and load with Pyrrole Red; paint the oval nose. Let dry.

Load the tip of the brush with Titanium White and dot the eyes and paint a highlight on the nose.

Load the #2 Round with Sap Green and paint the scarf. Let dry. Load the #0 Liner with Green Gold and a touch of Titanium White and paint the lines and dots on the scarf.

Load the toe of the 1/4” Angle with Raw Umber and shade underneath the scarf and nose.

On the gnome and reindeer ornament, add more snow at the base of the reindeer using the #8 and Titanium White.

Let everything dry and varnish with DecoArt Media Soft Touch Varnish.

Add a pretty ribbon and hang on the tree!!

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Please adjust this size of the line drawing to fit the surface you choose.

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.

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NOEL BELLS

By Barbara Bunsey, CDA

Barbara has been painting and teaching for over 30 years and has taught at the SDP National Conference, mini-conventions, and continues to travel teach at painting chapters throughout the US. Her designs have been featured in all the decorative painting magazines.

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

Barbara was honored to have an ornament selected for the official White House Christmas Tree in 2004. In 2005 Barbara painted an ornament to grace the Christmas tree at the Library of Congress. In 2008 Barbara was chosen to paint 1,000+ ornaments which President and Mrs. Bush used as gifts to family, friends, and White House staff. In 2017 Barbara was awarded the distinction of Accredited Decorative Painter (ADP) and in 2018 Barbara was awarded the Certified Decorative Artist (CDA) designation by The Society of Decorative Painters.

Barbara lives in Ohio with her husband and their crazy cat, Cuni. You can reach her at bbunsey@ calicogoose.com, (330)467-7402, www.calicogoose.com OCTOBER 2019 ISSUE

PAINTING WORLD MAGAZINE

When I was in our high school choir, we sang “Carol of the Bells” for our Christmas concerts each year and I just fell in love with the song. These ornaments remind me of those days and Christmases past and present. I hope you enjoy painting these as much as I enjoyed designing them and, every time you see them on your tree, I hope they help you “Loudly proclaim, with one accord, the happy tale, Welcome the Lord”!

SUPPLIES

• DecoArt satin spray varnish DAS12-7

DECOART: • Antique White DAO58-1

• Xacto knife

• Avocado DAO52-1

• Bleached Sand DA257-1

• Bubblegum Pink DA250-1

• Tim Holtz Composer TH92962 • Krylon metal primer • Piece of glass like from a frame • Sanding pad

• Chartreuse Yellow DA330-1

• Ornaments 11-52064 available from: Cupboard Distributing www.cdwood.com

• Cranberry Wine DA112-1

• Music Paper TH92962 available from: www. amazon.com

• Cotton Candy DA347-3 • Dragon Fruit DA300-1

INSTRUCTIONS

• Evergreen DAO82-1

BACKGROUND: Wash tin and dry well. Spray with metal primer.

Base with Antique White. Apply a coat of Decoupage to surface. Apply a portion of the music paper and smooth out as best you can, pressing down especially on the edges. Dry well. Place ornament upside down on glass and cut away excess from edges with Xacto knife. If edges are pulling up, add a bit more Decoupage to seal, both under and over paper. Dry well.

Sand edges to remove any “fuzzies”. Trace on pattern for pine branches only.

• Espresso DA271-1

• Foliage Green DA269-1 • Honey Brown DA163-1 • Light Lime DA348-3 • Margarita DA299-1

• Midnight Green DAO84-1 • Red Violet DA140-1

• Slate Grey DAO68-3 BRUSHES: FM Black Gold: #10 & #16 shader; #0 liner; #8 filbert; #2 round; #4 Dynasty dry brush; M Mezzaluna.

SPECIAL SUPPLIES: • DecoArt Decoupage DS106-46 • DecoArt Dazzling Metallics: Shimmering Silver DAO70-1, Champagne Gold DA202-1, Zinc DA339-1, Rich Espresso DA245-1, Glorious Gold DAO71-1 • Renaissance Brown Metallic Glaze • DecoArt Matte Metallics: Soft Silver ADMMT04-36 , Charcoal ADMMT06-36 , Ivory Pearl ADMMT07-36 ; DecoArt Extreme Sheen: Vintage Brass DPM05-30 , Silver DPM13-30

PINE BRANCHES: Note: I know there are other elements added on top of the branches, but I always pull them on completely as it is easier to do this than try to work around the other areas. After you are finished with the branches, trace on the rest of your pattern. Add a liner of Espresso or Evergreen for branch down the middle of pine bough (this will not really show, but it will give you a starting point for the needles). Begin adding needles with liner and Evergreen, starting at branch and pulling down toward bottom; repeat, adding needles with Avocado. Add more needles with Foliage Green, this time pulling from the outside in toward the branch; repeat, OCTOBER 2019 ISSUE

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adding more needles with Margarita; repeat, adding more needles with Chartreuse Yellow,

FIGURE 1

mostly toward the bottom edges. (Fig. 1) SILVER BELLS: Undercoat Slate Grey. Base with a mix of Shimmery Silver Dazzling Metallics + Zinc (approx. 1:1 ½). This will take several coats.

When hightlighting, brush horizontally to keep the bells round. Pick up Soft Silver Matte Metallics in your dry brush, take out excess on palette and begin scrubbing on highlight areas (this may take several coats); repeat as necessary;

FIGURE 2

pick up Ivory Pearl Matte Metallics on dirty brush and add more highlights. (Fig. 2) Add shading, either dry-brushing or floating, using the OCTOBER 2019 ISSUE

following colors in the order given, using a dirty brush throughout and making your first color the

FIGURE 3

widest and each successive layer a little narrower (you may need to do several coats of each layer to show): Zinc Dazzling Metallics, Charcoal Matte Metallics, Charcoal Matte Metallics + Midnight Green (approx. 1:1). (Fig. 3) Decorative Lines and Clapper on Large Bell: Base with base-mix above.

Add shading and highlighting as above, using dry #2 round for clapper. Add shading as above, on each side of each line, around clapper with first color, only on shadow side with successive colors.

Add very thin lines of Charcoal Matte Metallics

FIGURE 4

+ Midnight Green on either side of each “line”.

Also add lines of this mix to create holly leaves between the lines toward the bottom of the bell.

PAINTING WORLD MAGAZINE

Add a touch of highlighting and shading to these areas as above. (Figs. 4 & 8) Jingle Bell: Add lines and circles for the “holes” in the bell with Midnight

FIGURE 5

Green. Float Slate Grey at lower right of circles, a little in from the edge, and add a hit-and-miss line to one side of each line for highlights. (Fig. 5) BRASS BELLS: Undercoat Honey Brown. Base with Vintage Brass Extreme Sheen. This will take several coats.

When hightlighting, brush horizontally to keep the bells round. Pick up Glorious Gold Dazzling Metallics in your dry brush, take out excess on palette and begin scrubbing on highlight areas (this may take several coats); repeat as necessary; pick up Champagne Gold on dirty brush and add more highlights. (Fig. 2) Add shading, either drybrushing or floating, using the following colors in the order given, using a dirty brush throughout and making your first color the widest and each successive layer a little narrower (you may need to do several coats of each layer to show): Rich Espresso Dazzling Metallics, Renaissance Brown FIGURE 8 Dazzling Metallics, Renaissance Brown + Espresso (approx. 1:1).

(Fig. 3) Decorative Lines and Clapper on Large Bell: Base with base-mix above. Add shading and highlighting as above, using dry #2 round for clapper. Add shading as above, on each side of each line, around clapper with first color, only

on shadow side with successive colors. Add very thin lines of Renaissance Brown + Espresso (approx. 1:1) on either side of each “line”. Also add lines of this mix to create “Joy” between the lines toward the bottom of the bell. Add a touch of highlighting and shading to these areas as above.

(Figs. 4 & 8) Jingle Bell: Add lines and circles for the “holes” in the bell with Midnight Green.

FIGURE 6 Float Slate Grey at lower right of circles, a little in from the edge, and add a hitand-miss line to one side of each line for highlights. (Fig. 5) FIGURE 7

RIBBONS: Undercoat Honey Brown; base Dragon Fruit. Add highlights with Bubblegum Pink, walking color into areas (I dry-brushed this on the center of each loop of the large ribbon); repeat, using Cotton Candy in your dirty brush, not walking as far; repeat, adding more Cotton Candy; repeat, adding Bleached Sand to dirty brush and using this only

FIGURE 9

in the brightest areas. (Figs. 6 & 7) Add shading with Red Violet, walking color into areas; repeat, adding Cranberry Wine; repeat, adding Midnight Green to dirty brush and adding to darkest areas only. (Fig. 9) OCTOBER 2019 ISSUE

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BERRIES: Pink: Base Dragon Fruit. Add highlights with Bubblegum Pink, using dry #2 round and tapping onto highlight area, a little in from edge; repeat, using Cotton Candy in your dirty brush; repeat, adding Bleached Sand to dirty brush and using this only in the brightest areas. (Fig. 11) Add shading with Red Violet, all the way around the berry, making shadow side the widest; repeat, adding Cranberry Wine; repeat, adding Midnight Green to dirty brush and adding to darkest areas only. Lightly float Margarita on a few of the berries on shadow side. (Fig. 12) Green: Base Foliage Green. Add highlights with Light Lime, using dry #2 round and tapping onto highlight area, a little in from edge; repeat, adding Bleached Sand to dirty brush and using this only in the brightest areas. (Fig. 11) Add shading with Avocado, all the way around the berry, making shadow side the widest; repeat, adding Evergreen; repeat, adding Midnight Green to dirty brush and adding to darkest areas only.

Lightly float Margarita on a few of the berries on shadow side. (Fig. 12) ORNAMENT CAPS (AT TOP OF EACH ORNAMENT): Follow directions for bells. I did one in silver and one in brass. The ridges are done with the chisel edge of my brush, using the highlight and shading colors given for the bells. Float shading to separate top from bottom and at side edges.

FIGURE 11

FIGURE 12

FINISHING: Lightly wash over ribbons with Margarita. (Fig. 10) Don’t overdo this! It should just add a bit of a golden glow. Lightly add (either floating or dry-brushing) Evergreen and/or Midnight Green and Red Violet and/or Cranberry Wine to some areas of bells and ribbons. Lightly float Espresso around bottoms of ornaments.

FIGURE 10

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with

DecoArt® Traditions™ & Galaxy Glitter™ Our affordable, artist-quality Traditions™ paint has a bold new look, now in tubes! Our new Galaxy Glitter™ paint is out-of-this-world!

Available at fine retailers and online at DecoArt.com Snowflake Snuggles by Holly Hanley. Visit our website for step-by-step instructions for how this piece was created.

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PAINTING WORLD MAGAZINE

Please adjust this size of the line drawing to fit the surface you choose.

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

OCTOBER 2019 ISSUE

PAINTING WORLD MAGAZINE

Art Deco Duo

Inspired by Art Deco posters from the past, a homage to an era. This set of ornaments uses simple painting and minimal shading and highlighting to create a retro feel that brings the beach to your tree.

By Diane Marie Kellogg

I have been painting since the early 80’s, designing since 2003. I’ve been involved in the creative arts industry for well over 30 years, in one form or another, from working at a 3 story, full line local arts & crafts store to a crafter’s mall, from a professional seamstress to full time designing. I’m fortunate to be able to do what I love.

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SUPPLIES SURFACES: All wood pieces from CDWood.Com. • 2 - Postage Stamp Ornament #31-L355 • 1 - Flamingo Ornament #31-L542

• 1 - Sea Horse Ornament #31-L543 PAINTS:

Decoart Americana • Aqua Sky DA333

• Calypso Blue DA234 • Cocoa DA259 • Coral DA346

• Cotton Candy DA347

• Heritage Brick DA219 • Honey Brown DA163

• Indian Turquoise DA87 • Laguna DA350

• Lamp Black DA67

• Milk Chocolate DA174 • Orange Flame DA315 • Razzle Berry DA276

• Saffron Yellow DA273 • Spice Pink DA30

• Wedgewood Blue DA38 • White Wash DA02 MEDIUMS:

DecoArt • Americana Acrylic Sealer/Finisher DAS13 Matte Spray

• Americana DuraClear Matte Varnish DS60 • Glamour Dust Sprinkle-On Glitter Crystal DAS37

BRUSHES:

Royal & Langnickel • Mini Majestic Angled Shader, Size 0 – 4200A for base coating

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• Mini Majestic Monogram Liner, Size 30/0 – 4200M for lettering

• Zen Angled Shader, Size 1/2”/ 13mm - Z73A for shading and high lighting MISCELLANEOUS SUPPLIES: • 12” Jewelry Chain, Black – 6” for each ornament, matching black jump rings • Blue masking tape • Transfer paper • Stylus • Pliers

• E6000 glue

INSTRUCTIONS BOTH ORNAMENTS. Basecoat the entire front surface of the postage stamp ornaments with White Wash. Transfer the pattern after the white coat dries, using your transfer paper and stylus. ( Do not trace lettering at this point.) The white background keeps the colors brighter as you paint.

FLAMINGO ORNAMENT BASE Base the sun’s center and every other ray with Saffron Yellow. Base the contrasting rays with Coral. Shade mostly just the lower part of the center with Flame Orange. Base the ocean with Calyso Blue, shade the bottom with Wedgewood Blue.

Base the top level of sand with Honey Brown and the bottom layer with Cocoa. Shade between the two and the bottom with Milk Chocolate. Let dry completely. Once dry, mask off black line and white edges, paint with Lamp Black and White Wash.

Trace on lettering using transfer paper and stylus.

The lettering is done with Lamp Black. (Please note that there are alternative sayings included should you want to do these for everyday use.)

SEAHORSE BASE Base the sun’s center and every other ray with Saffron Yellow. Base the contrasting rays with Spice Pink. Shade mostly just the lower part of

PAINTING WORLD MAGAZINE

SEAHORSE Base the seahorse’s body with Calypso Blue.

Transfer design for seahorse. Shade the body with Wedgewood Blue and do the high lights with Indian Turquoise. Using your stylus, the eye is a dot of White Wash, then a smaller dot of Lamp Black. Add a tinier dot of White Wash for the eye highlight. I used the tip of the larger shader brush to add the dots using the Indian Turquoise.

FINISHING – ALL PIECES. Spray all pieces with matte spray. Allow to dry.

Carefully go over white edges with brush on matte varnish. Working quickly, sprinkle with Glamour Dust glitter. Shake off excess. Allow to dry. Glue flamingo to base with E6000 glue. Glue seahorse to base with E6000 glue. Allow to dry completely. Once dried, base back of ornament with your choice of paint. Let dry and seal with matte spray. Use pliers to add chain to tops of ornaments in pre-drilled holes, using jump rings.

Season’s Greetings! Merry Christmas!

F lamingo Road! Seas the Day! the center with Flame Orange. Base the ocean waves with Laguna and Aqua Sky. Put a light wash of Laguna across the bottom of the sun where the ocean top is. Let dry completely. Once dry, mask off black line and white edges, paint with Lamp Black and White Wash. Trace on lettering using transfer paper and stylus. The lettering is done with Lamp Black.

FLAMINGO Base the flamingo’s body with Spice Pink. (There is a hang hole in the flamingo, you can fill it with a wood filler or similar medium or you can fill it with paint, as I did.) Transfer wing and leg lines. Shade the body with Razzle Berry and do the high lights with Cotton Candy. Shade the legs with Heritage Brick and do the high lights with Spice Pink. High light the beak with a touch of White Wash. Using your stylus, the eye is a dot of White Wash, then a smaller dot of Lamp Black. Add a tinier dot of White Wash for the eye high light.

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

OCTOBER 2019 ISSUE Please adjust this size of the line drawing to fit the surface you choose.

PAINTING WORLD MAGAZINE

My Sweet Fawn

By Elisabetta De Maria

Dearest painting friends, I found some beautiful wooden ornaments and thought to paint for you a sweet fawn in Christmas version, with a red hat and sweater.

The color of the sky and the falling snow softens his gaze even more.

I hope you enjoy‌ Happy Painting, my dear friends!

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SUPPLIES SURFACE : Wood Ornaments PROJECT SUPPLIES : • Ball Stylus • Fine Sandpaper • Lint Free Cloth • Paper Towel

BRUSHES : • Old Brush no. 2

• Round Brush Black Gold no. 1

• Liner Brush Black Gold no. 5/0

• Shader Flat 15/0 Micron Dynasty Brush

• Flat Brush Black Gold 4, 6, 10 Dynasty Brush

• Angular Brush for Floating Black Gold 3/8 , ¼ , 1/8 Dynasty Brush • Mop Brush to Blend and Soften Color 3/8 Dynasty Brush 400

• Wet Palette

PAINTING TECHNIQUES

• Tracing Paper

BASECOAT: Opaque application of background color on surface or component.

• Water Containers • Graphite Paper to transfer the design • Paper Palette

• Extreme Sheen Gold DPM04 Paints DecoArt Americana Acrylics • Buttermilk DA03 • Black Plum DA172

• Burnt Umber DA064 • Camel DA191

• Fiery Red DHS4

• Heritage Brick DA219 • Honey Brown DA163 • Lamp Black DA067

• Light Cinnamon DA114 • Milk Chocolate DA174 • Red Alert DA301

• Slate Grey Da068

• Soft Black DA155 • Spa Blue DA277

• Titanium White DA01

• Williamsburg Blue DA040 • Winter Blue DA190 MEDIUMS : • Gesso DecoArt

• Light Satin Varnish DecoArt

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SHADING AND HIGHLIGHTING: Load a small amount of paint in the corner of an angle brush, stroke the brush back and forth on the palette paper until most of the paint is out of the brush. It is important that the color be worked in the brush until it is completely transparent.

Apply as if walking out a float of color. Repeat if necessary and use the mop brush to blend the color.

DRYBRUSH: I use brushes that are dome shaped, rounded and have shorter hairs. Dip the brush into the paint and then wipe the brush on a dry paper towel, rotating the brush until only a residue of paint remains. Move to the surface, use a light pressure and begin “scrubbing” the paint out of the brush, slowly, in a small circular motion. Work the paint outward, allowing it to diminish so that there is a gradation of color.

INSTRUCTIONS

Use the brushes you are most comfortable with, (I used Flat Brush Black Gold no. 10) apply a coat of Gesso DecoArt and let it dry.

Sand with fine sandpaper and dust with a soft cloth.

PAINTING WORLD MAGAZINE

SURFACE Basecoat the surface with Spa Blue in the center and Winter Blue shaded on the edges. (I used Flat Brush Black Gold no. 10).

Place the pattern on the surface and transfer the main lines with graphite paper leaving out details until later.

FAWN

Eyes Paint the eye with Lamp Black and Round Brush Black Gold no. 1.

Outline the eye at the bottom with Liner Brush Black Gold no. 5/0 .

With Angular Brush Black Gold 1/8, highlight the top with Slate Gray.

Make the light spot with a stylus and Titanium White.

Nose Paint the nose with Soft Black + Burnt Umber 1 : 1 with Round Brush Black Gold no. 1.

With a Liner Brush Black Gold 5/0, paint the nostrils with Slate Gray and with a little Burnt Umber.

Highlight the upper part of the nose with Honey Brown and Angular Brush Black Gold 1/8.

Head and Body After preparing the colors I use on the palette, I work with a dry Old Flat Brush n 2 and we mix colors quickly together before they dry out. I clean the brush just on absorbent paper and I wash the brush only when I have to pass abruptly from dark to light. I noticed that with this system I get more natural nuances, but if you have any problems, you can work with the floating technique instead.

Following the picture, paint with the Old Flat Brush no. 2 the light part with Camel and then blend towards the dark parts with Honey Brown.

Always using the Old Flat Brush no. 2, deepen dark areas with Milk Chocolate and further darken with Light Cinnamon and, where necessary, with Burnt Umber.

Always using the Old Flat Brush no. 2, reinforce the highlight in light areas with Buttermilk (above the nose and on the cheeks).

With the Liner Brush Black Gold 5/0, outline the top of the eye first with Camel and then with Burnt Umber.

Now paint some hair with the Liner Brush Black Gold 5/0 and Camel on these outlines.

With the same brush, paint the line of the mouth with Light Cinnamon and the hair on the nose with Milk Chocolate.

In the eyes, make the light spot with a stylus and Titanium White.

Ears Basecoat the ears with Round Brush Black Gold n 1 and with Camel and Milk Chocolate.

With the Angular Brush Black Gold Âź, shade the dark part with Light Cinnamon and then with Burnt Umber.

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Outline with Camel and Liner Brush Black Gold 5/0.

With the Angular Brush Black Gold ¼, shade the light part first with Honey Brown and then with Milk Chocolate.

Williamsburg Blue and highlight with Titanium White.

Now, with Angular Brush Black Gold 3/8, shade the entire fawn painting with Williamsburg Blue.

Create the furry effect with fine strokes in various

Deepen with Burnt Umber.

With the some brush, highlight with Buttermilk on the inside of the right ear and with Camel on the left ear.

Make stains on the back with an Old Flat Brush no. 2 with Titanium White.

directions using the Liner Brush Black Gold 5/0 and Titanium White.

With the Angular Brush Black Gold 3/8, highlight all the tips of the ornaments with Titanium White.

Make the snow with a stylus and Titanium White.

Knit and Hat Basecoat the Knit and the Hat with Heritage Brick and Flat Brush Black Gold n 6 and 4.

Knitted portion of Knit and Hat Using a Shader Flat 15/0 Micron Dynasty Brush and Red Alert to paint small oval shaped strokes in a ‘v’ pattern to create rows.

Repeat the same job with Red Alert lightened with Titanium White.

With Angular Brush Black Gold ¼, shade with Black Plum and highlight with Fiery Red. Knitting and Hat Band and Pom Pom Basecoat the Band and Pom Pom with Flat Brush Black Gold n 4 and Winter Blue.

With the Angular Brush Black Gold ¼, shade with OCTOBER 2019 ISSUE

Finish the outer edges with Extreme Sheen Gold.

FINISHING: Varnish as desired.

I hope you Enjoy Painting this as much as I did!

Happy Painting - Elisabetta

PAINTING WORLD MAGAZINE

Please adjust this size of the line drawing to fit the surface you choose.

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.

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C ountry

CHRISTMAS ORNAMENTS

Christmas ornaments are so much fun to paint! These adorable 2-piece ornaments from Sheila Landry at Tole Painting Designs are unique, well constructed and reasonably priced. They make a great teacher’s or co-worker’s gift.

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PAINTING WORLD MAGAZINE

By Nancy Scott, CDA

I have been painting and teaching decorative painting for more than 20 years.

I earned my CDA in 1994 and have served as secretary, vice-president and president of my local chapter, Capitolers. I have taught at the SDP National Convention, OKC Palooza, World of Color and New England Traditions. I particularly love teaching beginner students and every year teach a “learn to paint in oils” at NET. I enjoy travel teaching and would love to come to yours!

SUPPLIES

• Grey transfer paper

SURFACE: Oval bevel-cut frame ornaments available from Tole Painting Designs. Website: www. tolepaintingdesigns.com.

• Varnish of choice

PALETTE: • DecoArt Americana acrylics • Burnt Sienna DA063

• Burnt Umber DA064

• Ebony (Lamp)Black DA067 • Evergreen DA082

• French Grey Blue DA098 • Grey Sky DA111

• Moon Yellow DA07 • Santa Red DA170

• Soft Black DA155

• Warm White DA233 BRUSHES

Royal & Langnickel Aqualon Series • R2250 Round sizes 5, 2

• Stylus

• All purpose glue (like Elmer’s) • Fine sandpaper

Helpful Hint:

These ornaments are small and so are the details you will be painting. Please do not stress over floating color on the tiny rocks or where the branches are placed on the trees.

Paint the rocks with a liner or a small round and add the details by just dabbing on the values where they belong. They will certainly look like little rocks when you are done! Let the branches of the brown trees become narrower as they grow away from the trunks by staying up on the tip of your liner brush and using very light pressure to paint a fine line.

• RR150 Shader sizes 2, 10

• R2160 Angles sizes 1/8, ¼, 3/8 • R2595 Liner size 0 MISCELLANEOUS SUPPLIES: • Palette paper • Paper towels

PREPARATION

There is no particular preparation necessary for this surface except for maybe a very light sanding. I do not seal the surface before painting.

Trace the pattern.

• Water basin

• Tracing paper

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PAINTING INSTRUCTIONS

Base coat the frame (which is removable) with French Grey Blue. I used the size 5 round brush for this.

The oval, where we will paint the design, is painted Grey Sky to solid coverage. Let dry thoroughly and then transfer the horizon line only using the grey transfer paper.

SKY: Using the 3/8” angle, float French Grey Blue across the top of the sky. Let dry.

With the same brush, float Moon Yellow at the bottom of the sky across the horizon line. Let dry, and then repeat if necessary for deeper value. (Figure 1) Transfer remainder of pattern leaving off the bare branch trees towards the front of the design and any details on the buildings.

SNOW: Begin building up the snow mounds with floats of Warm White using the 3/8” angle brush. At times, switch to a smaller angle to help shape the snow banks around the stream. It will take 2-3 applications of Warm White to make the snow white enough. Keep the Grey Sky background as the shading value of the snow. If necessary, deepen the shading on the snow with a soft float of French Grey Blue particularly towards the back of the scene.

STREAM: Base coat with French Grey Blue. Load the ¼” angle with Grey Sky and chisel this highlight down the

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PAINTING WORLD MAGAZINE

middle of the water. With Warm White on the liner, add a few streaks in the water coming out from the banks. Don’t overdue it and be sure to keep the lines straight. (Figure 2)

ROCKS: Using the #2 round or the #0 liner, paint in the rocks with Grey Sky/Lamp Black 2:1 (really more of just a tch of black). Brush mix in another tch of Lamp Black for a darker value and either line or narrow float a shade at the bottom of each rock where it touches the water. With a liner or a narrow float, add a lighter value to the top of each rock with Grey Sky. Using the liner, dab on a little Warm White snow atop each rock. (Figure 3) These rocks are so small-don’t obsess over painting them. Just do your best to show some different values and add some snow and they will look fine.

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PINE TREES: Using Evergreen on the #2 round, paint in the pine trees. After you have formed their shapes, pick up some Warm White on a dirty brush to make a lighter value green. Stroke this lighter value onto one side of each tree blending it into the darker base coat. You will need to dip back into the Evergreen and add more to the trees as you are blending to help with the transition of the 2 values. Finally tap on some Warm White snow with the liner. (Figure 4) BARN SCENE (AFTER BASE COATING, TRANSFER DETAILS IF NECESSARY): The barn and attached out buildings are painted with Burnt Sienna. The right side of the building to the left is painted Burnt Umber as is the left side of the shorter section on the right. The barn door is painted Burnt Umber. The windows and the smaller door on the far left are painted Soft Black. Add board lines with Burnt Umber using the liner. (Figure 5) The main door of the barn is trimmed with Warm White.

The silo is painted Grey Sky. The cap of the silo is Warm White. Float a soft shade of Grey Sky to the right side of the cap. Float shading under the cap and down the right side of the silo with a mix of Grey Sky/Soft Black (2:1). When dry, add horizontal lines with the same dark grey mix used for the shading.

The roofs are painted Warm White. Float a soft French Grey Blue to shade the angles of the roofs and to push the roof on the left side behind the one on the larger barn.

The wreath is painted using the liner and the same greens as the pine trees. Add a bow using Santa Red.

HOUSES (OTHER ORNAMENT) (TRANSFER DETAILS AFTER BASE COATING, IF NECESSARY): The larger house on the right is painted with Burnt Sienna. Shade under the eave on the right side with a float of Burnt Umber and on the right side of the left wall to separate the two sides. Lighten the Burnt Sienna with a bit of Moon Yellow and float a lighter value on the left side of the front of the house at the corner. (Figure 6) The left house is painted Burnt Umber. The windows are Soft Black. Add chimneys of Burnt Sienna and top them with a line of Warm White snow.

Add a wreath, the same as you did on the barn, from the other ornament.

BARE BRANCH TREES (TRANSFER THE PATTERN AT THIS TIME): Using the liner, paint the trees with Burnt Umber. Add snow to some of the branches with Warm White.

Pull up some grasses with Burnt Umber.

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PAINTING WORLD MAGAZINE

The frame has a decorative border of Warm White dots made with the stylus.

FINISHING

Varnish as desired using your favorite method following all manufacturers’ instructions. You can either attach the frame to the oval with an all purpose glue and varnish when dry or you can varnish the frame and the oval separately and then join them together with an all purpose glue. Either way works.

Add a ribbon of your choice and they are ready for hanging!

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Please adjust this size of the line drawing to fit the surface you choose.

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

OCTOBER 2019 ISSUE

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PAINTING WORLD MAGAZINE

Artist Georganne Aldrich Heller Transcends Trends Into Fine Art Collage

By Nicole Borgenicht An artist who develops art stories that correlate with current modes of thinking, Georganne Aldrich Heller, creates collages that affect our consciousness in different ways. Whether a funny angle of our world in style and humor, or a symbol of strength and gender curiosity, pure sensitivity or travel themes, we are drawn to her symbiotic

Engagement OCTOBER 2019 ISSUE

nature with the world around us.

Ingenuity about fashion and style in these collages is second nature to Heller. While her couturier father’s work had engulfed Heller’s childhood, she then became a well-seasoned fashion woman, artsy with hats and jewelry, accessorizing Georganne Aldrich Heller’s chic wear. Trends are a topic in every aspect of our lives, from fashion style to the psychological aspect of how we envision others and ourselves.

Her art has been considered Dadaist, Pop, and Contemporary.

It is certainly a combination of genres, and quite Trend-Tao: personifying the progression of life.

Furthermore, in the beautiful collage work Heller creates, one gathers a sense of time and relationship through its multifarious objects, and the overall expression or collection context. There is an absurdist theme

involved in most of the pieces something to make you laugh.

Without commercial goals to follow trends, Heller tells her story from within. Georganne Aldrich Heller says, “Because I am constantly collecting items for my art, I tend to rely more on what inspires me - I have a visceral or emotional response to it rather than what is currently trending.”

In her collage Spy, the female subject appears to be a modern super hero made of art. Spy has been exhibited in three shows.

Since the original collage had been sold, Heller says, “The piece was so much in demand, I decided to make some Giclee prints and still have one of them framed and available now.” She insists on only top quality Giclees that look like they are an actual collage.

Giclees are popular, and the price is affordable. Heller explains in her experience the reason to carefully choose a great Giclee printer and why it’s important: “At first I worked with a Giclee printer because I could never bear to say goodbye to a piece that has been sold and wanted a copy as close as possible to the original. Later on, I realized that having a few Giclee prints of something I particularly loved could be good sales, too! Or, if I entered a show where price points were not at a

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very high level.”

The compelling female image of Spy shows uncommon vitality and strength. Heller says, “To me, she symbolizes the hope I had when I created it several years ago, that women would finally empower themselves.

What I call the arrogance of her stance is meant to represent a woman who has no qualms or fear of being in charge and says ‘I can handle this. I can be in charge.’” Says Heller.

Spy is energized with mixed media from end to end; Heller shares how she decides a piece like Spy is complete.

“The hardest thing in creating a collage that has a center like this does, is always realizing when you are done. I often find I put too many pieces together. When I put the piece on the floor, walk away and then come back, I

Spy

can see that the completion happened before some of the things I added, which then have to be eliminated.

It’s kind of like what Coco Chanel said: ‘When you’re getting ready to go out, look in the mirror and take off the last accessory you put on.’”

On how she started the collage Spy, Heller shares, “I started with the interesting red paper that was part of a wrapping used for some China that was sent to my house.

The next thing I laid on was a piece of wrapping paper with mannequin figures. I added clip art and some broken eyeglass frames from my collection and it just came together. I purposely left one eye looking outward while I clouded the other eye to imply the figure was contemplating and thinking of her next move.”

Without a face at all, Heller’s fashion pieces are equally provocative. Suit is a great example of the Dada style with absurdist humor some of Heller’s works are known for.

Suit In this mixed media collage, Heller shares her process. “I had a big page with book listings and started tearing them up in pieces, when it suddenly occurred to me that they would be great on this boy’s suit. Next, I found an Armani tag and a certificate of autenticita from another garment and I felt the humor of adding them. One would know for sure it would not be their simple and elegant style that one associates with Armani. But for me, I just love the contrast. The piece seemed unfinished, so I started looking through my collection of OCTOBER 2019 ISSUE

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‘Yes, this is complete!’”

Coffee Girl baubles, buttons and beads and found three wonderful buttons for the front. I added the white collar and put the piece to one side. I love to insert humor into my work and the piece seemed to lack a little humorist touch as well as something that would say ‘This collage is complete’.

A friend, who liked the collage as it was, gave me a little pair of boy’s shoes and a carpenter friend, who looked at the piece, suggested I put a shelf underneath so I could add the shoes that I thought were just so perfect. He built that little platform for me. When I added the shoes, I was so delighted!

It gave the piece a whole new dimension and made me say: OCTOBER 2019 ISSUE

Coffee Girl is a collage with wonderful poise and characters, and again the humor edge of media as image is interjecting coffee filters as one of the elements. This piece seems to tell a story with a postcard.

Heller tells us about it. “Coffee Girl is called that because in a short class at the Craft Museum here in Los Angeles, the teacher showed us how charming coffee filters are when mixed with other decorative papers or fabrics.

I feel that the postcard is from a secret lover who has left her quite bewildered, as you can see by the expression on her face. I wanted her to be dressed to go out but to look hesitant about whether she would go or not.

I readied her by a lovely lace hat, flower behind her ear and a necklace from my collection of jewels, stones, string, and paper that can end up as a necklace on one of my collage dolls.

Hopefully Coffee Girl is looking tentative about whether to meet with the man on the postcard or

Marriage just dream about him instead.”

One of Georganne Aldrich Heller’s unique series is of dresses representing life and everything between. She explains, “I named my first four dresses as Stepping Out, Engagement, Marriage, Divorce, and imagined what would be the best attire for someone going through any of those stages in their life. I particularly like when the series is shown together to give the full impact. Having been married many times myself; I am more than familiar with all four of these phases.”

Fashion is an ever-present muse for Heller; she highlights her favorite event.

Los Angeles

“The best show I’ve ever attended was the Alexander Mcqueen collection in London, because I pictured every part of one dress for the beginning of an amazing collage. Sometimes his fabric buttons and jewels struck me more as a collage

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London then a beautiful couture outfit to wear.”

In addition to fashion, a stimulating mentor and coexhibitor is the artist, Larisa Pilinsky. Heller says, “I love Larisa Pilinsky’s work, and sharing shows with her has been some of my greatest pleasures. The great joy in my having found Larisa as the most perfect teacher; she is also an inspiration to me at all times!”

A world traveler, Heller says London is like a second home and holds a special place in her heart. Furthermore, Georganne Aldrich Heller is a producer specializing in Irish Theatre worldwide, with a recent awarded show’s actor in London. Heller describes the background and depth of feeling for her collage London.

“London is in its current political war with Brexit, always in the news. I’m thinking of the soldiers as guarding the values we, as Americans, have always had regarding the Brits. Many of my

happiest times were spent in London on holiday and producing theatre at London’s Soho Playhouse.

I don’t want the values to disappear.

Almost all the phone booths we remember are torn down.

I’m afraid the amazing old fashioned, two decker buses that we all recognize will be replaced by ugly modern buses. The phone booths and the buses immediately told someone you’re in London.

The soldiers protect, to this day, Buckingham Palace and, in my collage, are saving the old elegance. The red symbolizes the war that’s lasted forever in Northern Ireland with England and it might never totally resolve.”

On collage objects to collect and keep in the studio: “When I travel, I am always looking to pick up new, fun, silly, or original pieces that I know will one day appear in one of my works.” Yet, when Heller is settled in one location, east or west coast, she has a staple of items. “What is necessary for my studio is that there are always boxes of buttons, broken jewelry, pieces of china, different colors of lace, gold ropes, zippers, interesting magazines from which I can

extract images I am looking for, wrapping paper, gift papers, wallpaper and fabric samples and feathers, just to name a few.”

Artist Tip: “I find a basic glue gun to work the best for me, especially since I am adding buttons, pieces of metal, screening, sometimes earrings or eyeglasses - they will not end up sticking as well without a glue gun. Also, at times, crazy glue is useful.”

In terms of vision for the future, Heller says, “I’m always creating my own trends. My new partner is a sculptor and extremely creative as an artist and many realms. We are thinking of collaborating on a huge wall sized collage combining his drawings and my eclectic contribution.”

Having exhibited nationally and internationally in numerous shows from New York to Los Angeles and Las Vegas, Mexico, Spain and Italy, she has enjoyed many gallery shows and a museum exhibit all that feature collage art as a prominent genre. Heller says, “Hopefully my work is headed toward inclusion in some of the amazing art fairs taking place today in either New York or Los Angeles and will be picked up by a gallery appreciating and specializing in the art of collage.” www. theartofgeorgannealdrichheller. com

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Tuxedo Man

By Patty Butters Spoons can be found at thrift/antique stores.

Stainless steel spoons really don’t bend easily so look for spoons with a lot of silver content. To bend the spoon, I use two needle nose pliers. Place the pliers next to each other where you want the bend to be and bend in opposite directions. I was able to bend a second time and make a support for the spoon. Another option is to cut off the handle to make a hanging ornament. Cut off the excess handle and bend the remaining portion of the handle to make a hanger.

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My interest in Decorative Painting began 35 years ago in Dallas, Texas, by enrolling in a beginning class. My husband’s career in industrial construction transferred us often, which allowed me to take classes from many notable decorative artists across the United States. As we moved to new locations, I was able to start many local chapters and teach classes to new members. I have continued to teach at all levels, from beginning to advanced Decorative Art classes in oils and acrylics for the past 35 years.

I have been a member of the Society of Decorative Painters for 35 years and have served on the National Board of Directors as well as numerous committees. I am an honorary member of The Charleston Chapter of Decorative Painters and the Rocky Top Decorative Artist, both of which I organized.

I have the honor of having Holiday Ornaments, which were sponsored by the SDP, included in the White House and Smithsonian collection. My work has been published in the Decorative Painter as well as numerous local newspapers.

I am most interested in continuing to introduce new students to the enjoyment of painting and to insure that this art form continues.

SUPPLIES:

INSTRUCTIONS:

DECOART AMERICANA ACRYLICS: • Warm White DA239

PREPPING THE PIECE: The painting area on the spoon used is 2 ½” tall x 1 3/8” wide, at the widest part. You may have to clean the silver with silver cleaner first.

Wash metal well to get any old oils off and dry well. Seal with multi-purpose sealer, dry, base coat white, dry, then transfer the design with dark graphite. I waited to transfer the penguin until the background was completed in order to have the sky, clouds, glaciers and water flow better. Once they are painted, transfer the penguin.

• Lamp Black DA067

• Burnt Umber DA221

• Lemon Yellow DA011 • Marigold DA194

• Antique Gold DA09 • Baby Blue DA042

• Blue Violet DA141

• Americana Multi-Purpose Sealer

• DecoArt Traditions Satin Varnish BRUSHES: • Loew Cornell 1/8” Angular • Loew Cornell ¼” Angular

• Loew Cornell Jackie’s Liner #2 • Loew Cornell #10/0

NOTE: Refer to work sheet for placement of shading, tints and highlighting. Side load and float all shading, tints and highlights unless otherwise noted. Use the angular brushes for shading and highlighting, the liner for line work and detailing.

STEP 1

Beach: Using a 1/8” angle brush fully loaded, base with small amount of Burnt Umber + white.

Sky: Using a ¼” angle brush fully loaded, base sky in Baby Blue.

Water: Use a Jackie Liner #2, flattened out between your fingers, place sun reflection with white and Lemon Yellow. Base the remainder of the water with Baby Blue. Leave the water and the sky “splotchy” to show movement.

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Clouds and Glacier: Use the background white.

STEP 2

Sky: Using a ¼” angle, mix Baby Blue with a touch of Blue Violet, side load and float, shading the top of the sky and under clouds. Place “sun glow” with the same brush side loaded in Lemon Yellow.

Water: Use the same brush and same colors, shade against the glaciers. Using the liner brush, place in a few white water ripples. Place a wash of Marigold on the yellow sun reflection.

Glaciers: Using a ¼” angle, mix white with a touch of black (soft grey). Side load float mixture and shade glacier separations and texture.

Clouds: Using the same brush and same color, shade the bottom, top, and separation of clouds. More white on the Jackie Liner #2 can be added to clouds and glaciers to highlight.

STEP 3

Penguin: Transfer penguin design. Use a ¼” angle brush fully loaded, mix black with a touch of white, base in the black areas. Flatten Jackie Liner #2, mix white with a touch of black and base in the white areas. Using #10/0 base in toes with Antique Gold, nails in black.

STEP 4

Beach: Using a 1/8” angle brush, side load float Burnt Umber, shade under penguin, upper corner in front of penguin and add “texture” to the front area.

Penguin: Using a #10/0 load in white and add a highlight to the eye and top of toenails.

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Load the same brush with Burnt Umber and separate the feet and place cross marks. Using Jackie Liner #2, load black with a touch of white to get a dark grey. Add highlight to top of head, back, tail area and top of wing. Using ¼” angle, side load white with a touch of black and shade where the white areas meet the black. Load a #10/0 brush in black with a touch of water and add liner to define bottom of wing and breast area.

Varnish two to three coats of satin varnish to finish.

Embellishments/charms can be found at the local craft store. They often come with a jewelry hoop to be able to attach easily to ornament.

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Side view photo of ornament

Please adjust this size of the line drawing to fit the surface you choose.

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.

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Joyous

Noel

By Rebecca Baer

Watercolors are luminous, lending a sense of ethereal elegance unmatched by other mediums, which is perfect for creating elegant Christmas decor. Typically protected by glass, using watercolors to create ornaments presents a unique challenge. In addition to painting a beautiful ornament you’ll learn the secret to protecting your masterpiece so that it can be enjoyed for years to come.

Rebecca BaerÂŽ | Designer | Author | Licensed Artist With life long passion for all things creative, I have traveled extensively throughout the U.S. and overseas to share my unique artistic style with eager painters. My work is regularly featured in domestic and foreign publications as well as through eCourses that allow you to participate online. In addition to an extensive array of artisan stencils and educational resources, you can find my licensed work on a range of products including home decor, dinnerware, yard art, giftware, paper party goods, fabric & more.

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SUPPLIES

PREPARATION

SURFACE: • Reversible Dimensional Watercolor Ornament JLC-080 Oblong by Rebecca Baer®, Inc.

PATTERN: Prepare and transfer the pattern as follows.

Trace the design onto tracing paper then choose one of the following procedures to transfer.

• Foam Mounting Squares

• Twine in coordinating color of choice Mission Gold Watercolors by Mijello: • Olive Green 533 • Yellow Ochre 561 • Raw Sienna 569

• Perylene Maroon 572 • Opera 551

• Red Violet 552 Americana Acrylic by Deco Art: • Tomato Red DA169 MEDIUMS: • Miskit Liquid Mask by Grumbacher 559

• Dorland’s Wax Medium by Jacquard VDW0001

BRUSHES BY REBECCA BAER®, INC.: • #3 Classique Round 1000 • #7 Classique Round 1000

• 20/0 Classique Liner 1020 • #1 Artiste Stenciler 500

STENCIL BY REBECCA BAER®, INC.: • Palisade Stencil | Small | ST-641 MISCELLANEOUS SUPPLIES: • Viva Paper Towels • Soft (6B) Pencil • Tracing Paper

• Triple Well Brush Washer • Tissues (sans lotion)

OPTION 1: Use a soft (6B) pencil. Trace the design on the reverse side of the pattern, then burnish onto the surface.

OPTION 2: Create a sheet of graphite by coating tracing paper with a soft (6B) pencil. Buff the paper with a tissue to unify and remove excess graphite. Then very lightly transfer with a balltipped stylus to avoid indenting the surface.

LIQUID MASK: When working with masking fluid, it is imperative that you first dress your brush with soap. I use a small segment of bar soap. Wet your brush and stroke it across the soap to create lather.

Do not rinse. Use the soapy brush to apply the liquid mask. Mask the lettering with Liquid Mask on a 20/0 liner. Mask the entire poinsettia including the stems and center. For fine areas such as the stems and points use a 20/0 liner.

Switch to a #3 round to fill in large areas. Allow to dry completely before continuing. Tips for using Liquid Mask: https://www.rebeccabaer. com/2018/03/working-with-masking-fluid.html PREPARING THE PALETTE: Watercolors can be reused indefinitely. Set up a permanent palette-not disposable. To keep the paints dust-free, I recommend one with a lid.

Place the desired tube colors in individual wells.

Allow the paints to dry overnight before closing and sealing the palette.

• Rubber Cement Pick-up

PAINTING INSTRUCTIONS

• Burnishing Tool or Stylus

BACKGROUNDS: Figures 1 & 2: Combine Opera and Raw Sienna to create a coral hue. Separately, combine Red Violet with a touch of Raw Sienna. Dilute so

• Sponge Wedge Applicator

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that each mixture is transparent. Vary between these, as well as the colors used to make them, on a #7 round to fill in the background, under and around the poinsettia, with color. While there are no “rules� for where you apply the colors, you can see that I have used them strategically on the upper and lower extensions to create the suggestion of form.

On a #7 round, use the same hues surrounding the poinsettia to colorize side B being sure to cover the text completely.

I began with a light wash, stenciled, then intensified the wash over the stenciling to unify.

FIGURE 1/2

When stenciling with watercolors, it is okay for the brush to be damp but it must be blotted well. Position the small Palisade Stencil (ST- 641) centered on the ornament. Use the same background colors on a #1 stenciler to swirl gently and deposit contrasting colors, i.e., Coral in Red Violet areas and vice versa. As noted in the previous step, strengthen and unify the background with additional washes.

Wash the detachable scroll varying between Raw Sienna and Yellow Ochre on a #7 round [final image].

puddles on the bracts.

Brush mixing the colors creates interest and variety among the bracts. Combine Yellow Ochre and a touch of Raw Sienna. Pick up the diluted color on a #3 round. Establish the larger bracts using shape-following strokes FIGURE 3/4 consistent with the direction of side veins.

Gaps are fine. This layer is very light and, as a result, may be difficult to see the stroke direction.

Refer to the finished photo, if necessary, where the angle of the strokes is more clearly visible.

There are three small, overlying bracts toward the upper right of the poinsettia. Make these a little warmer by using mostly or all Yellow Ochre.

Likewise, paint the flips or undersides with the same.

BLOSSOMS FIGURE 5: Detail the outer edges of the blossoms with fine lines of thinned Raw Sienna on a 20/0 liner, then fill the interior with a wash of Yellow Ochre.

BRACTS FIGURE 6: Where the bracts curve away from the viewer, for example, the tips and back ends where they meet the stems, are recessed, as they are along the center vein, or shaded by a flip or fold, apply

Figures 3 & 4: Allow to air dry, then use a rubber cement pick-up to remove the masks.

POINSETTIA What are often thought of as petals on poinsettias are actually bracts, i.e., colorful leaves. In the center of the poinsettia are the blossoms.

BRACTS FIGURE 5: The first application of color, used to establish and shape the bracts, is very transparent. Brushmix a tiny touch of paint on your palette, then add copious amounts of water to dilute the mixture.

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FIGURE 5

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diluted Raw Sienna + a touch of Perylene Maroon.

Use a #3 round to place a few strokes of color, again at an angle consistent with side veins. Rinse and blot the brush. Use the damp brush to soften the edges of these strokes and merge into the underlying layer.

BLOSSOMS FIGURE 6:

With Olive Green + a touch of Perylene Maroon on a 20/0 liner, fill in around the central blossoms and create tiny stems and a base FIGURE 6 for a couple of the blooms as seen on the pattern. Carry the green mixture onto the stems of the bracts.

BRACTS FIGURE 7: Continue to shape the bracts by strengthening the values with diluted Red Violet + a touch of Olive Green on a #3 round. This mixture should have just enough green to dull the violet without making brown. To build visual texture this overlaps but should not align with the previous layers. Apply in smaller areas so as not to completely cover the lighter values. Begin in the farthest areas where the bracts curve away from the viewer, are recessed, or shaded by a flip or fold and soften as before.

BRACTS FIGURE 8: Add transparent, colorful accents varying among Yellow Ochre, Olive Green, Red Violet + Raw 1:tch Sienna, and Opera + Raw Sienna FIGURE 7

1:tch. Avoid disturbing the underlying layers by creating a “dry wash”. To do this, dilute your paint with water so that it is transparent. Load a #7 round and blot well. Use the color remaining to wash accents on the bracts. Rinse and blot the brush, then soften the edges of the accents as needed.

Start light, you can always add FIGURE 8 more.

FINISHING

Allow the painting to dry completely. Use a clean, dry Viva Paper Towel to apply Doland’s Finishing Wax to the entire face of the watercolor board as well as the edges. When dry, this may be buffed, if desired.

Use a sponge wedge applicator to paint the back of the watercolor board with an acrylic color of your choice so that the watercolor board brand name will not be visible after the ornament is assembled. I have used Tomato Red. ASSEMBLY: Use adhesive mounting squares to assemble the front and back of the ornament.

Cut two 18” lengths of twine. Fold in half and pass the loop through the hole at the top of the ornament. Secure with a girth hitch as shown.

Tie the ends together in a knot leaving roughly 1-1/2” after the knot.

Untwist the strands to fluff out the twine and create a tassel. Trim the ends.

BACK

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Helpful Tip or Hint:

A picture is worth a thousand words but a video is even better.

Visit https://rebeccabaer-ecourses. teachable.com/p/Joyous-Noel to enroll.

Please adjust this size of the line drawing to fit the surface you choose.

Note to reproduction companies/stores: The bearer of the original color magazine has full rights to have this drawing reproduced and enlarged one time for personal use.

This notice has been printed in red ink for verification of authenticity.

OCTOBER 2019 ISSUE

PAINTING WORLD MAGAZINE

THE MAKING OF THE

Christmas Giving PLATE

By Thelma Hamilton When you conjure up the thought of a plate, what is the first thing that comes to mind?

Perhaps you think of a plain white plate for everyday dinner or maybe your mind goes to more elegant decorated, fine china.

Nevertheless, one thing remains true, plates are the basis upon which sharing begins. Plates not only bring the table setting together, but the loved ones sitting around the table too. Thus, what better way to celebrate a time of love, Christmas time, than to create a Giving Plate of your very own?

To begin incorporating a Giving Plate into your family’s tradition, you must start with the basics.

First, grab a plate or a colorful charger of your liking. Choose a plate that speaks to you and your family’s personality.

The next step is choosing some permanent markers to truly make it your own. Personally, I prefer the gold markers from POSCA, however, there are many varieties of PERMANENT Markers out there to choose from.

You can find various versions of the Giving Plate Poem on the internet, although you can also choose to write your own. Each family has their own memories and traditions. Through this Giving Plate, you will be able to put these heartfelt moments into a visual design perfect for the entire family to share for years to come. I prefer to write my own.

It doesn’t have to rhyme, just be from your heart. A few strokes around the outside rim of the plate, add berries and hearts with colorful permanent markers and you have created your very first giving plate.

Keep in mind that with the right décor on the plate, it can be an all year long giving gift. Gold hearts on a red charger would be wonderful for Valentine’s Day. If you include some stars, you will be ready for the 4th of July picnic.

Have a child or grandchild going back to school in September?

Stars and Hearts would be a great teacher gift for back to school.

Thanksgiving is a time to give thanks and show love, another opportunity to pass the Giving Plate around. Special memories begin with love and sharing, that is what makes the Giving Plate perfect for any important occasion.

Happy Holiday Plate Gifting.

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Brown BEAR CUB

WITH Pine BRANCH

By Sherry C. Nelson, MDA, TDA

My life outside of painting revolves around traveling, as much as possible, to see and photograph the exciting wildlife and flowers to be found not only in the United States, but all over the world. And once I’ve had the good fortune to personally meet amazing creatures that inspire my brush and encourage me to paint them, my thoughts immediately go to how best to share those discoveries with my painting students through their artwork.

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

Important to the finished piece here is that I use very sparse amounts of excellent artist’s oil color to achieve the level of detail required for the fur-like texture and the other elements to turn out as realistically as possible.

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It’s great fun to design for the holidays, and I take pleasure in placing my favorite critters and birds in a setting that can spark holiday cheer. Winter and bears seem like a perfect match… and this little Grizzly cub shown here in a pine branch with an ornament just begs to be painted.

This is one of seventeen designs in my “Wildlife at Christmas Ornament Collection”. I created the cutouts especially for use on large wreaths, for a unique display on door or wall during the holiday season.

When painting animals it’s the artist’s job to create realistic hair-like texture and pattern. Not a simple challenge.

For suggestions, see the sidebar, Painting Animal Hair and Fur that I wrote in the June 2019 issue to give you some encouragement and tips for making it easier.

SUPPLIES

Colors are listed in order of placement on palette. See photo.

WINSOR & NEWTON ARTIST’S OILS: • Ivory Black (B) • Titanium White (W) • Raw Sienna (RS)

• Raw Umber (RU)

• Burnt Sienna (BS) • Sap Green (SG) • Gold (G)

• Renaissance Gold (RG) • Winsor Red (WR)

• MISCELLANEOUS SUPPLIES FOR BACKGROUND PREP:

• Sponge roller, to apply background acrylic color

• #220 wet/dry sandpaper, for sanding between coats of acrylic

• Krylon Matte Finish, #1311 (to spray the prepared background before applying design) • Krylon Spray Varnish, #7002 (for final finish on entire piece) SUPPLIES FOR PAINTING: • Tracing paper

• Artist’s graphite paper, dark, oil soluble • Ball point pen

• Odorless thinner

DELTA CERAMCOAT ACRYLIC FOR BACKGROUND PREP • Eucalyptus

• Cobalt siccative (optional)

BRUSHES - SHERRY C. NELSON SIGNATURE RED SABLES • Red Sable Brights, www.sherrycnelson. com, Series 303, #0, 2, 4, 6, 8

• Paper towels

• Palette pad for oils • Palette knife

• Red Sable Round, www.sherrycnelson.com, Series 312, #0 liner

SURFACE • The original is painted on a hand-cut birch 1/8” ornament. The surface is available for $5.00, plus $1.75 shipping, from The Magic Brush, Inc., PO Box 1123, Lockhart, TX 78644. Email: orders@sherrycnelson.com Phone: 512.398.3277.

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INSTRUCTIONS PALETTE: Winsor & Newton Artist’s Oils: Ivory Black (B), Titanium White (W), Raw Sienna (RS), Raw Umber (RU), Burnt Sienna (BS), Sap Green (SG), Gold (G), Renaissance Gold (RG), and Winsor Red.

TRANSFERRING THE DESIGN: Use the inked design to transfer to the painting surface. Lay dark gray graphite paper over the prepared painting surface. Place inked design on top of graphite. Lay a piece of tracing paper on top of design to protect original during transfer. Tape stack into position. Transfer design completely and carefully with a fine point ballpoint pen. Retain details of hair and eyes, exact shapes of ornament and branches, and transfer all the little hair zig-zags making transfer as accurate as possible. Check during process to make sure design is coming off on surface clearly.

If too faint, change to a newer piece of graphite.

Use artist’s graphite for oils, not the papers created for acrylics that are water soluble.

Brushes: Sherry C. Nelson Signature Red Sable Brights: Series 303, # 0, 2, 4, 6, 8. Series 312, # 0 round.

BACKGROUND PREPARATION: The ornament is cut from a thin birch plywood.

Seal both sides of the ornament prior to painting

using a quick dry wood sealer. Allow to dry and sand smooth. Using a sponge roller, base with Ceramcoat Eucalyptus on front and back of ornament. Let dry. Sand with #220 wet/dry sandpaper. Re-coat. Let dry. Sand again. Spray with Krylon Matte Finish, #1311 to seal before applying design.

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USING A DRIER: Cobalt Siccative, a drying agent, may be added in fractions of a drop, to each patty of oil paint on your palette to speed drying time. I use it EVERY time I paint. If color does not remain workable on palette for at least 8 hours, you are simply using too much. Dip palette knife into drier, bleed off excess against side of bottle, then touch knife tip NEXT to each patty of paint. If too much comes off knife, do not mix entire amount into paint. Mix each tiny ‘freckle’ into paint patty using clean palette knife. Drying time is 6 hours to overnight, depending on particular pigment and relative humidity.

UNDERSTANDING THE PAINTING PROCESS: The painted step-by photos are to be used as a guide along with the written instructions. Read the written instructions carefully, then work in the sequence given, referring to the multiple step sequence shown in the photos to determine actual color placement, amount of blending to be done and so forth. Instructions are written in the sequence in which I painted the piece; work in that order and finish each element before going on to another. The initial step for each element shows how the basecoat areas should appear, while later steps normally indicate the first blends,

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as well as application of additional darks and lights. The final steps usually include the finished painting, as well as steps leading up to it.

BRUSH LOADING AND BLENDING BASICS: Color should be loaded onto the brights from a loading zone, a strip of sparse paint pulled from a patty of paint down on the palette. Mixtures are made by moving from one loading zone to another, working back and forth, to achieve a mix of two or more colors. Wipe brush on a paper towel after applying paint to surface, but before beginning to blend. Blend colors WHERE THEY MEET, using a dry brush and short strokes.

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

BRUSH SIZES: Use the smaller brush sizes, #0, 2 and 4 for most of the elements of the design. But within that range, choose the largest size that is comfortable to achieve the detail necessary. In addition, I always keep my #8 bright handy; while I don’t often paint with that size, I use it dampened with odorless thinner for cleanup, because I find the larger bristle base gives better pressure for removing any messy paint, or graphite lines around the edges of the design. Once a brush is listed in the instructions, stay with the size suggested until instructions indicate changing to a different size.

Base narrow eye line around eyes with RU + just a bit of W using #0 bright. Base around that band with RU using the #2 bright. Nostrils: Base with

B. Base under nostrils and around mouth as shown with B + RU.

Base eyes with B. Highlight each with small dot of W.

Base nosepad and edges of mouth with a medium value grey mix of RU + B + W. Base fur on sides of nose with a bit of scruffy, sparse RU applied with the #4 bright. Base rest of muzzle as shown with sparse RS.

Base dark neck area with B + RU. Base underside of paw with B + RU. Highlight left side of this area with dirty brush + W, in a low value of grey. Base top of paw with RS + RU. Base inside ears with RU. Base outer edges of ears with bits of RS as shown. Base rest of face in dark fur areas with RU and in lighter value fur areas with RS, following growth direction of fur and using the chisel edge to apply the paint. Left of right ear, base an area of RS + BS for a rusty value.

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With RS + W on the #2 or 4 bright, finish filling in between previously based areas, and overlap strokes into surrounding paint with chisel edge of brush. Doing this will begin to build depth in the fur. Concentrate on forehead and ears, as well as sides of face at this point. Base toenails with RS + BS.

Continue blending basecoats with chisel edge of brush, overlaying many many fur stokes with W + RS using smaller brushes, a #2 or #4 bright.

Deepen in left ear and dark fur on left side of face with a bit of BS + RU for additional interest.

Highlight top of paw with RS + W. Soften all fur by blending where values meet, to get a more natural dimension in the animal. Highlight toenails with RS + W. Shade toenails with RU.

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Use #2 or 4 bright to base branches with RS + BS. With #4 bright, base pine needle areas with B + SG. Base dark value of red bands on ornament with RU using a #2. Base rest of red bands with WR. Base dark values on remainder of ornament with RG, using the #2 or 4.. Base remainder of ornament with G, using the #4. Base ring with G using #0 round.

Using same brushes, blend where values meet on ornament. Highlight where shown with W + a bit of G or RS. Shade with a bit of RU where shown and blend where values meet.

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Dip corner of #4 bright into odorless thinner and blot on a paper towel to soak excess thinner from brush. Lift out pine needle lines and shapes with this damp brush. Add a few lighter values of needles in the lifted lines with SG + RS + W. Highlight branches here and there with #2 bright, using RS + W. Final beauty shot! Hope you’ve enjoyed the process.

When finished highlighting branches, extend some areas of needles into and over the base end of several in a few places to give more depth.

Add final light values on ornament with W using #2 bright. Add final needed highlights on fur using RS + W and W.

Merry Christmas!

May you celebrate the season with a bear cub in your tree!

Create a perfect little bow from a length of red cloth ribbon. Glue it on top of upper portion of ring to create effect that it is tied on the ornament. Add a length of gold packaging thread through the hole in the ornament for the ‘real’ hanger.

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Please adjust this size of the line drawing to fit the surface you choose.

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.

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PAINTING WORLD MAGAZINE

The Greatest Gift. .

By Teri Walker

The temperature on my patio in Midland, Texas, reached 115 degrees this week and as I sat under the air-conditioning, my heart yearned for fall. It seems that once Labor Day comes and goes, everything gets cooler and life starts spinning. I call this whirlwind of activity: The Holidays.

In the South, it begins with festivals and fairs, moving on to Halloween, Thanksgiving and eventually Christmas and New Year’s. Families get wrapped up in the hustle bustle of the Holidays and often forget their loved ones in assisted living and long-term care. That’s where Activity Directors come in.

Having been one for ten years, I can tell you that the elderly look forward to the holidays as much as anyone else. Since many of them are not able to be with family, it is up to the Activity Directors to provide holiday cheer. That’s a tall order, but activity directors know that without their intervention, the holidays will become just another lonely day in a facility, so they reach out to the community for help. Ask any activity director and they will tell you that volunteers are worth their weight in gold. Just a small amount of their time can provide

endless happiness to those who are often ignored.

You can make a difference in the lives of many by sharing your artistic talents. Because you are an artist in a world where most people know little to nothing about art, you will find that the elderly are fascinated watching people like Bob Ross, William Alexander and countless others, create beautiful works of art.

Residents of long term care facilities enjoy watching artisans make things while those who still have use of their hands, may even want to help.

I used to paint wooden projects for the holidays, so I would take my projects and supplies to work. The residents loved to watch me paint and would sit for hours, fascinated by every brush stroke. This was my favorite time to spend with them, for not only did I get my projects done, but I got to hear stories about life before I was born. They all had interesting lives and their stories will stick with you forever.

By giving a little of your time, you will make friends with the greatest generation to ever live.

Art and music in elderly care facilities are like gold to people whose only entertainment is television. They love live entertainment. People who

come in and sing (especially children), make art projects, or just sit and talk to them are an extremely valuable resource.

You are their link to the outside world. And you will receive much more than you give, because most residents are very loving people and grateful for your interest. The greatest gift you can give others, is yourself.

Whether they are old, young or somewhere in between, your time can make a huge difference in the lives of others.

If you are unable to go in person, I urge you to consider making small gifts for the elderly. Things like ornaments, lap robes, crochet items, etc. are greatly appreciated.

Please keep safety in mind, and use plastic instead of glass, non-sharp objects, and if you provide something edible, please remember the diabetics and include non-sugar substitutions. There are many inexpensive things that can be purchased from a dollar store or handmade, that nursing home residents love to receive. You can find out what is needed most by contacting your local Activity Director.

Sharing your talent with others is what “Passing the Paintbrush” is all about.

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Viking Woodcrafts is proud to announce that we are going to be unveiling a new website soon. But that is not all… We will not only have updated inventory but we will be rolling out new designs in the year to come.

We have teamed up with some great artists and designers. Painting World Magazine will offer a new painting subscription box that will feature a Viking Woodcraft surface.

Artists contact Viking about your next book!

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Directory of Artists Isabelle Desroches

Diane Marie Kellogg

www.creationisa.com ateliercreationisa@yahoo.com Facebook - Création Isa

Barbara Bunsey, CDA bbunsey@calicogoose.com http://www.calicogoose.com

Patty Butters

http://www.oilcreekoriginals.com ContactUs@OilCreekOriginals.com Diane@OilCreekOriginals.com OilCreekOriginal@aol.com

Elisabetta De Maria elidemaria67@tiscali.it ilpiccolomondodieli.jimdo.com

Nancy Scott, CDA

http://www.nancyscottcda.com/

pbparkay@gmail.com

Sandy McTier

Rebecca Baer

Facebook -Sandy McTier Designs Twitter - Sandy McTier Pinterest - Sandy McTier Instagram - Sandy McTier

Sherry C. Nelson, MDA, TDA

https://www.rebeccabaer.com https://rebeccabaer-ecourses.teachable. com/courses Arts@rebeccabaer.com Pinterest - rebeccabaercom/ Facebook - RebeccaBaerdotcom

www.sherrycnelson.com info@sherrycnelson.com

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Directory of Suppliers Bear With Us®, Inc. www.bearwithusinc.com 407-347-5939

Krylon® www.krylon.com 1-800-457-9566

The Brush Guys 23881 Via Fabricante Suite 515 Mission Viejo, CA 92691 www.TheBrush Guys.com (877) 898-9046

Loew-Cornell® Brushes www.loew-cornell.com 866-227-9206

Cupboard Distributing® www.cdwood.com 937-652-3338

Mission Gold Watercolors by Mijello Martin F. Weber Co. 2727 Southampton Rd. Philadelphia, PA 19154 (215)677-5600

DecoArt® P.O. Box 386 Stanford, KY 40484 http://www.decoart.com 606-365-3193 Derwent® www.pencils.co.uk/en/gb/home Dynasty® Brushes www.dynastybrush.com 718-821-5939 F.M. Brush Co. Inc. 70-02 72nd Place Glendale, NY 11385 (718) 821-5939 FAX (718) 821-2385 Hofcraft 1-800-828-0359 JB Wood® Products www.jbwood.com 508-222-5790 Jo Sonja’s Folk Art® www.josonja.com 888-JO-SONJA Just Fine Designs® www.justfinedesigns.com JstFnDsgn@aol.com

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Michaels® www.michaels.com

Pebeo http://www.pebeo.com/pebeo_en/ Creative-leisure/PAINTING-ONGLASS-VITREA-160-AND-VITRAIL Pine Craft 16085 SE Webster, Milwaukee, OR 97267 503- 653- 8266 Doug Fredrickson pinecraftinc@yahoo.com Plaid Folk Art www.plaidonline.com/brands/folkart ®

Plaid Enterprises Delta Ceramcoat Acrylic 1-800-842-4197 Royal Langnickel® art.royalbrush.com 219-660-4170

Scotch Brand™ www.scotchbrand.com Sherry C. Nelson Signature Red Sables The Magic Brush, Inc. P.O.Box 1123 Lockhart, TX 78644

www.sherrycnelson.com 512/398-3277

Silver® Brush Ltd. www.silverbrush.com 609-443-4900 Smooth Cut Wood® smoothcutwoodproducts.com 888-982-9663 Society of Decorative Painters® www.decorativepainters.org Stabilo® Pastels www.stabilo.com Stencil by Rebecca Baer®, Inc. https://www.rebeccabaer.com/ Suede Board www.debbiecushing.com Viking Woodcrafts® www.vikingwoodcrafts.com 800-328-0116 Winsor & Newton® www.winsornewton.com Xacto™ 4110 Premier Drive High Point, NC 27265 www.xacto.com 1-800-879-4868

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Take Steps to MOVE

Your Business

FORWARD

HOPE CREATIVE STUDIO can help Logos | Branding | Websites | Digital Media visit hopecreativestudio.com to discover more

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Looking for Adventure?

Do you feel an urge to create?

Would you like to share your talent ?

Painting World Magazine Blog is looking for

you!

Hitting the web with 3 issues every month, we can offer you the chance to see your work in “print”!

A great way to share your designs, whether you are new at it or a pro, PWM Blog has a place for everyone.

Our editorial calendar covers all the holidays, no matter which one you like to paint. We also run special issues that, for 2020, include steampunk, day-of-the-dead, home décor and picnics! Add everyday projects and the sky is the limit.

As for medium, we encourage all submissions...acrylics, oils, watercolours...mixed media, colored pencil, charcoal...the list is endless.

We want to look at painting and drawing, stenciling and more.

For those who don’t design, but are looking to learn a bit more about all of the above, you will want to check out the blog’s great projects and informative articles. Each issue we feature an artist with an awesome design, just for you. Articles can range from a short art history lesson to how to size your patterns. Former topics have included the future of painting, conventions and the occasional creative challenge.

Join our blog/newsletter now!

Sign up at paintingworldmag.com

Send submissions and/or questions for the blog to Diane at pwmblogeditor@gmail.com

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As with generations before, the Mast family lived quietly on a small farm in southern Illinois. Andy attended school, graduating at the end of the 8th grade. Like other Amish children, he was then given the choice of working in the family business or learning different skills with a mentor. The decision for Andy was simple. He enjoyed working alongside his father and especially loved tending to the family horses. In those idyllic days, Andy seized every moment he could and devoted it to his passion. Often, he would come in late at night after work and draw by the light of an oil lamp into dawning hours of the next day to come. He undoubtedly knew from a very young age that he would use a pencil in all its simplicity to create art.

“Drawing is among my first memories. According to my mother, I was attracted to pencil and paper when I was still in diapers and would rather draw, than play with toys. I was obsessed with drawing and playing with crayons even before I started school. In the sixth grade, I felt a calling and knew that drawing was what I wanted to do with my life. However, I didn’t know how to pursue it. There were no professional fine artists or art mentors in my community, so I kept all my dreams in my heart and didn’t share it with anyone else. Becoming a fine artist within our community would have seemed impossible to everyone. I did, however, become the poster child for decorating the school for events and programs.”

Andy Mast T he Evolution of an Artistic Miracle

By Teri Walker and Kole Hunt

In

1991, on a small farm in the rural Midwest, a gifted

Andy’s love of horses provided the inspiration for his art. He admired their strength and marveled at their beauty. Working with horses offered an escape from the repetitive routines of daily life. At night, he would retreat to the family’s kitchen table and spend hours drawing equine pictures by lantern light, while the family slept. Andy never expected this peaceful existence to change, but the future had other plans.

Andy awoke on the morning of January 19, 2009, to a gloom that was so dismal, it made morning chores difficult. His father called him to work inside, instead of being out in the frigid weather. Around noon, he asked Andy to move one of the horses to a paddock for exercise, while he ran an errand. The moments that followed are forever shrouded in mystery, for in those few short minutes, Andy’s Mast’s life was changed forever.

artist was born to a family whose devotion to God ran as deep as the roots of the crops they grew. They named him Andy and raised him in a Plain Community where he was taught the Mr. Mast returned to find his 17-year-old son lying unconvalue of hard work, love of family and devotion to God. In scious on the frozen ground with his favorite yearling standing those early days, he had no way of knowing how precious a protectively over him. Andy had suffered a traumatic brain injugift his faith would one day become and how it would allow ry and was in critical condition. His limp and lifeless body was him to fulfill a deep desire to serve others. Through young air-lifted by helicopter to a St. Louis medical facility, where he Andy Mast, the blessings of healing and hope would come to remained unconscious for days. The Mast family gathered in be shared with many throughout the world. Faith would bring the room each day to pray for God to save their beloved son. him through the darkest of days and change his life forever.

Andy’s story is simply amazing.

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The doctors did all they could, but Andy remained in a coma.

While he lingered between life and death, his devoted parents never gave up hope that he would awaken and recover. Knowing the seriousness of his injuries could mean that their son might never be the same if he lived, they prayed without ceasing. Finally, after many hours, Andy opened his eyes. He would later describe the moment as “being filled with an overwhelming sense of love.” The accident will never be explained for he is unable to remember the details of what happened that tragic morning.

of depression. Deciding a new start was needed, Andy went back into the hospital for chelation treatments to regain his strength. While there, he met a man from Westcliffe, Colorado, and was invited to visit.

At this time, Andy was still perfecting his skills and began preparing drawings for his one-man show in Mt. Vernon, Illinois, which was held in January of 2015. In years prior to his one man show as he was able Andy, participated in fine art competitions at Cedarhurst, in Mt Vernon. He received numerous awards a few Honorable Mentions, Awards of Merit, a first place and some much-needed advice and support from a college proRecovering from a significant brain injury is a long process, fessor who was serving as Judge over the contest. The followfilled with few successes and many setbacks. Instead of trying ing March, Andy was invited to compete in the Western Spirit to remember the accident, Andy focused his damaged mind on Art Show in Cheyenne, Wyoming. He traveled alone by Amtrak the process of recovery. He describes the years that followed Train to compete with over 300 artists. Much to his surprise, he as being in a dark place. “I prayed to die,” he explained. “I was was awarded first place in drawing for his artistic workmanship, deprived of maturity of expertise in our culture and for five A Long Day. Later, the demand for his art increased so greatly years, was completely unable to do anything physical. I couldn’t that he was finally able to fulfill his dream of becoming a profesattend church, socials or large events.” Andy was a prisoner in sional artist. One of his paintings, entitled, “Dream Team,” was his own body and endured the humiliation of having to be aspurchased in Ohio at Live Auction for $10,000. Another, “A Long sisted with skills he once took for granted. He grew so weak, Day,”” was sold for $7,500 at his one man show in Mt Vernon, IL that his mother often had to bring meals to the bedside and as- on January 2015. sist him to eat. As the days continued, Andy became overwhelmed with depression and uncertainty about the future. The ultimate frustration came when he lost the ability to draw. What had always come so naturally to this gifted young artist, was taken away by the cruel accident. Andy lost control of his body, but never his faith.

Peace in Solitude

He describes the years after the accident as a journey into the deep abyss of disability. For those five years, Andy found himself in and out of rehabilitation facilities until one day he realized neither the doctors nor himself could provide the help he needed. That amount of healing could only come from the greatest healer of all time. Fortunately, it was someone Andy Mast knew well, and he turned to the faith that had sustained him since childhood. Andy asked God to mend his broken mind and body as only He can.

“This is where the unexplainable came in. It was indescribable,” he explained. “I became fully aware that life is a gift. I began to wonder if I had died, would I have been ready to meet my Maker? I did some tremendous soul searching and came to realize that God was giving me a second chance. Without Him, I am nothing; my actions are all in vain; even my drawing. Only through Him, do I accomplish anything.”

Andy believes that God was showing him how very powerful He is by giving Andy a deeper understanding and empathy for the suffering of others. This realization was life-changing and left him with a deep desire to use the experience to help others.

Through hard work, patience and faith, Andy was slowly given back the ability to draw and art became his mission and his legacy.

In the spring of 2014, Andy fell in love, but the relationship was not to be and he found himself headed back into the dark tunnel

Won the top award of Peoples Choice “1st Place- Best of Show” at the 2019 High Peaks art exhibition at the Sangre de Cristo Art Guilds summer show in Westcliffe, CO.

While in Cheyenne, at the show Andy was given the opportunity to experience ranch life by visiting area ranches. which brought the recovering young artist a lot of healing Andy described the experience as “being in a paradise of wide-open spaces where it was just God and me. I did not know where I would be from one day to the next. I would hitch a ride to the next ranch and ride along sorting or trailing cows. Sleep in their old bunkhouses with a sleeping bag. This was as close as I’ll ever live to a bedroll cowboy.”

As demand for Andy’s art grew, he stayed the summer of 2015 in Westcliffe, CO where he connected with new friends and found the healing he so desperately needed. He now works from his own studio and gallery selling reproductions and original pencil drawings. Andy’s father constructs special frames to showcase his son’s incredible art.

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Andy’s drawings are a testament to his suffering and recovery.

and Peace, I was captivated. I no longer saw the storm for the

From the passion of his pencil to the devotion of a father. healing rays of light profoundly felt like God was in the valley.

Andy’s art is breathtaking right down to the framing.

This young mans family has walked the road of triumph and growth by Andy's side, through the trials and tribulation of good days and long days.

“A Long Day”, was conceived in Andy's darkest time. He connected with the weary cowboy on a deeply emotional level. It’s how I grew up he says. With all our farm work, just because the sun had sunk in the west did not mean we were done for the day. Andy keenly related all the darkness in this scene to that of his personal experience. He expressed his own dim ray of hope in the faint light beam shining down on the cowboy and his horse. Due to his extreme debilitation, this piece was in progress for a year and a half and over 400 hours at the drawing board.

Spirit Of The Valley Later, Andy created a work that expresses the core of friendship titled “Best Friends”.

Best Friends

A Long Day “Spirit of the Valley”, is a work of transition for Andy. It is based on his first visit to Westcliffe. He was just emerging from shadows in his life. As I topped this ridge on my weary climb, I got a glimpse of this beautiful valley. The storm clouds of fear and doubt broke. enabling the sun to cast her refreshing light onto the land bringing from above a glorious message of Hope

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As the end of illness came near with a heartfelt welcome, Andy found his hope renewed. The cold depths of darkness in the clouds are the reflection of the storms that he had endured and walked through by faith. He had just come through the valley of death, weak but undefeated, with the light breaking through the clouds basking him in hope.

The horse and Dog are representative of life on the farm. Each has its place; each has its job and as they all work together, a oneness and bond are forged. “This is what I felt from my caring friends during this time of tribulation in my life. The rocky foreground expresses the rocky trail I had to travel.” Looking to the narrow right you can barely catch a glimpse of the wide-

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open space that spoke to me and encouraged my soul that my future was full of opportunity and was endless. The horse and dog having emerged from the shadows of the barn, quietly awaited the Master, basking in the light of hope and waiting for the future to unfold.

From an innocent young farmhand to professional artist, the story of Andy Mast’s recovery and discovery of a God-given talent, proves that he is more than a suffering hero in a comeback story. His legacy is a testament to the power of love and devotion, strong faith and divine intervention. By sharing his own suffering, Andy offers hope to those still struggling and light to the lost. Andy Mast is truly, the evolution of an artistic miracle.

If you would like to contact Andy or inquire about his art please email or call: Pencil Passions, Andy Mast Fine Art See his own studio gallery in person at 118 Main in Westcliffe, CO 81252 Studio: 719-431-9973 Office: 618-246-2964 Email: andymastart@plainemails.com visit his website: www.andymastfineart.com

Andy Mast has created original works that are collected by art enthusiast and collectors around the world. With original pieces selling for upwards of fifteen thousand dollars and multiple other works that bring admirable prices it can only make one aware of the passion these penciled pieces convey. If you love his art and an original is not something you can purchase, he offers beautiful top-quality prints that will compliment your space.

Faithful Companions

Relationships ‌ Is what this piece is all about.

Another good friend of m ine underneath a lone cottonwood in one of m y favorite spots in the v a l l e y, w i t h F a i t h f u l C o m p a n i o n s b y y o u r s i d e .

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Morning Devotion

Close to my heart; My love and respect for my subject is expressed with 15 hearts hidden in Morning Devotion. In dedication to a dear friend who’s example has greatly impacted my life and inspired me ever since I’ve known him. Who’s love, support and advice has been invaluable in my personal and professional journey.