August 2020 Issue Painting World Magazine

August 2020

Decorative Painting, Mixed Media, Fine Art & More!

Painting World

Issue 28

ÂŽ

magazine

$9.00 USA $11.50 Canada

Cover Artist: Marika Moretti

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PAINTING WORLD MAGAZINE

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

Contents TIME TO HIBERNATE

6 Cindy Makowski

WINIFRED AND BRAM

13 Diane Kellogg

WISCONSIN ROUND

18 BARN Diane Trierweiller

24 Linda Hollander

MR ROOSTER

53 Susan Cochrane

OWL PULL TOY

Cover Artist

ROBIN ON A DRY LEAF

31 Mabel Blanco

36 Marika Moretti

PUMPKINS AND MORE

46 Marlene Fudge

HALLOWEE’N MANIA

MORE GREAT ARTICLES 58

MIXED UP SPELLS

64 Deb Antonik

76 77 78

ADVERTISERS INDEX

A Look into the Historical Florals of Decorative Painting Part 3 Passing the Paintbrush Directory of Artists

Directory of Suppliers

2 Bear with Us

45 Tracy Moreau

79 Viking Woodcrafts

2 Country Pathways

71 DecoArt

80 Dixie Belle Paints

2 Smooth Cut Wood

45 Pinecraft

79 Plain & Simple Magazine

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FROM THE Editor Letter from the Editor

We were off to a wonderful year.

Winter was behind us and spring had sprung, and we were all looking forward to planting and watching our beautiful flowers and gardens grow.

Then, with the outbreak of Covid-19 we lost a whole season. Spring passed us by as we were shut in our homes and things around us closed down. Now as things slowly start to open back up, we enter into summer!

We need to go forward as we settle into the “new normal”. We have bigger and brighter things in store for you this year and we cannot wait to share them with you!

Kole

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

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ALL RIGHTS RESERVED ON ENTIRE CONTENTS. PAINTING WORLD MAGAZINE (ISSN 2472-694X). February 2020, Volume 01, Issue 25 ©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.

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CALLING ALL ARTISTS WE WANT YOU!

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TIME TO HIBERNATE

By Cindy Makowski

Cindy discovered painting in the late 90’s and continues to learn every day. She was finally able to take early retirement in 2017 to commit her full time to painting and teaching. Since then with the help of her husband of 40+ years, her mom Eleanor, and her side kick Diane she has traveled to multiple art conventions, workshops, and seminars around the states. In 2019 she was able to travel to Australia and New Zealand to teach at workshops there and looks forward to returning.

Cindy lives in Florida with her husband and dog Chico and now has her mom living with her full time. www.Cindysbrushstrokes.com AUGUST 2020 ISSUE

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SUPPLIES: SURFACE: • Wood Leaf, source Viking Woodcrafts - about 9 inches - 20-11578 OTHER SUPPLIES: • White transfer paper

• Large headed stylus

BRUSHES: • Scharff 1/4” Angle brush • Small round detail #1 • Script Liner

• 3/4 or 1” Flat PAINTS: • Golden Straw DA168 • Burnt Umber DA223 • Toffee DA059

• Burnt Sienna DA063 • Evergreen DA082 • White DAW01

• Sunny Day DA325 • Black DAW67

• Georgia Clay DA017

• Spiced Pumpkin DA310 • Tuscan Red DA265

• Heritage Brick DA219 • Marigold DA194

• Prussian Blue DA138 (Feel free to substitute any fall colors of choice) SPECIALTY PRODUCTS: • DecoArt® Acrylic Spray • Cindy’s Bear Stamp • Ink pad (optional)

PREPARATION: WOOD LEAF PREPARATION: Base coat the leaf 2 good coats of Golden Straw using your 3/4’ or 1” flat, don’t forget to do the

edges. Allow to dry then stamp or trace the bear pattern about 2 inches up from the bottom.

(Image 1).

PAINTING INSTRUCTIONS: BASE IN TREES: Use your 1/4” Angle brush to base in where you want to place your trees. I recommend 3 trees.

Depending on where you place your bear, you can have one in back, two in front or vice versa.

Three in front, NOT three in back though, that would look awkward. Be sure they are different sizes and end them at the bottom at different depths. Colors can be any of your brown mix as this is just a base coat. I used Burnt Umber and a touch of Toffee. Clean your brush right on your leaf, by scrubbing in with a dry brush fashion the far away trees. (Pick up a little more color well worked into the brush if you need more). These do not even need to have complete trunks so don’t worry if they are skipping in spots. Refer to image 2. After you finish cleaning your brush, your tree base coat should be dry so go ahead and add the second layer of definition. (Image 2) SECOND LAYER ON TREES: Brush mix and vary what you pick up, Burnt Umber, Burnt Sienna, a touch of Toffee. (Add Black for a darker brown) With the flat of the brush held flat against the wood (not on the chisel) slide and lift, slide and lift to put in the bark. (Image 3) Pick up a touch of black, work it into the bristles just a bit. Then, add for a shadow, especially at the base of the tree in front of the bear. Refer to photo 6. Notice how it looks like there are many roots starting to come out of the bottom of the tree. Bring the darkness up slightly into the bark.

Where there are two trees on the left, be sure to use some Burnt Umber and black right along the edge. Where the two trees overlap as a shadow, push one tree behind the other. Use more Toffee and Sienna on the light side of the tree, this will round your tree and begin the highlight. Do not add anything more to the scuffed in shadowy trees in the background. Give this a moment to dry then make a dirty yellow mix with Sunny AUGUST 2020 ISSUE

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Day and Burnt Sienna. (Image 4) Add this as a highlight on the light side of each tree. Keep in mind the sun is in the middle and shining out.

So left trees highlight right side and right tree highlight the left side. Gradually add layers, going with brighter yellow and a touch of white. Each layer of brighter highlight will get smaller and smaller in size.

BACKGROUND: With a touch of Sunny Day added to the White on the 1/4” angle, lightly scrub in what will be the sunshine through the trees. I place this randomly in front of the bear and between the two sets of trees. An irregular shaped scrub. (Image 5) With the 1/4” angle brush, begin adding in your fall leaf colors. There is no specific pattern or shape.

Alternate your colors and shades and fill in the area for a dense woodsy look. (Refer to images 6 -9.) I started with my brighter and deeper colors, such as the Tuscan Red and Spiced Pumpkin. You do not have to add one color all at one time but alternate for a more layered look. While it looks like tree shapes, all I did was lay the brush to the side and rub in paint in the general direction that branches would be growing. Remember to add some greens, and green blues, as not all trees would change color at the same time. I also added Burnt Sienna to some of the colors to tone them down a bit and add variations to the colors for that automatic shading look. Do not forget, (like I do), to do the two little triangles of forest that shows under his belly between his legs. Before adding the highlights, reinforce the sunshine with additional Sunny Day and White with a whiter spot towards any opening you have.

BACKGROUND DEFINITION: Repeat the process for the background this time use a few lighter colors on the “tips” of branches where the sunlight would be lighting them up.

If you need to add more darkness, or to fill in gaps, especially along the tree trunks, add a wash of blue/green. Do not attempt to really define bushes in the background, keep it a jumble with nothing specific. Only keep in mind, the direction you scrub your brush, in the general direction you would expect to find a branch growing. Closer to the front, you can add more definition near the AUGUST 2020 ISSUE

trees. See the difference between image 9 and the finished picture where I added the wash.

BEAR: Working with a basically dark animal, I do two things. I make sure I know where my darkest areas are, such as the belly, and the “away” legs, and the backside of the “forward” legs that are not having the sun hit them. I also make sure I know where my highlights are for shape. I base these in with a dark or light version of my final color just so I do not lose them. (Images 10 and 11) Let’s start. Caution! Make sure you see his tiny nub of a tail and don’t lose it. Use strokes that would generally go in the direction of the fur, but with the width of the brush, not attempting individual hair strokes. Use a dark brown mix of Burnt Umber and Black to base in the left rear leg (the away leg) and the belly area near the rear legs. With this same mix, base in the backside of the front left leg and the entire front right leg.

The same mix indicates the inside of both ears, the eyes and the nose. ( Image 12) Rinse your brush and mix a lighter shade of Burnt Umber, Burnt Sienna, and Toffee. Then, lightly indicate where the highlight will be along the top of both ears, the hunch of the back, and right shoulder coming down the front of the left front leg. I have a pattern line for the front of the right rear leg, curve of the hip which is also highlighted. You can use this same mix if you want to put in the nose, muzzle, and smile so as not to lose it. Again, color is not specific as it will get covered over, this is just for placement. Refer to image 12.

Rinse your brush and now we will build our bear! There is no right or wrong mix as long as you are dark, and you can see shade variation.

Some bears are browner, some more black, and some more red. For the mid tone, mix a browner version of the Burnt Umber and Black. Fill in any area not covered with the highlights and dark shadow. Pick up the same combination and add Burnt Sienna. Now, on the chisel edge stroke in the fur. I will sometimes do a daisy type stroke, and others, I will pull short long strokes along the flat of the chisel. Vary your strokes and they can

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overlap, just do not have x’s for fur! For variation in the dark areas, add some Prussian Blue to the Black, and Burnt Umber and stroke in. Again, in the direction of the fur. Hint: Along the outside edges of the legs, leave it jagged, do not make it smooth let it be fuzzy like fur would be. (Image 13) For the ears, use a small round detail brush. Add a second layer of Black and Burnt Umber. And even straight black in spots, stroke this in with short choppy strokes, do not make it smooth.

Rinse or wipe your brush and add Burnt Sienna and Oyster Beige and short strokes again, not a smooth line. Add in the highlights on both ears and on top of the head.

For some reason I always leave the face and neck for last. So, let’s finish the body. Highlight the top of the back, on down to the top of his nubby little tail. Be sure the bottom of the tail is darker and juts out from that hind leg just a tiny bit. If you need to reshape, bring your color of the forest in to reshape that area.

Drop down under the tail and highlight going down the back of the right rear leg. Reinforce the highlight on the front of the right rear leg, just ever so slightly, it is not standout bright, just enough for definition. Reinforce the highlight, from hump of the shoulder top on down to the halfway point on the rear of the front right leg.

If your bear body is looking flat and not furry, darken the highlight color, but keep it lighter than the bear and add additional fur indications in the body area. (image14) FACE AND NECK: For best reference use the photo for your guide.

Use your detail round brush and darken the eyes and the nose with black. Add Burnt Umber using a backwards comma stroke, bring in the dark fur along the front side of his face and under his mouth (the chin). Come out slightly from his right eye and darken in front of and above. As you need to, pick up paint, add Burnt Sienna to the mix and no black. Add very short streaks along the side of his face and just a few fading away along the chin. Wipe your brush, do not clean it. Pick up more Burnt Sienna, and a touch

of the Burnt Umber, add to the top of his head closest to you and bring this down between the eyes towards the snout. You may need to add a little Burnt Umber and smoothly stroke this towards the center of the forehead. Add a touch of Toffee, and White to the mix. Careful, this is strong, and fill in the snout. (Image 15) Basically, work these colors back and forth so you have the look of texture, shades, and highlights. Refer to the photo. You don’t have to match exactly just the same general appearance. With the lighter color, lay in the reverse smile of the upper lip, and lighten ever so slightly to catch the very edge of the lip. Do not add any more paint to your brush, flatten the round brush out and gently touch around the outside of the bear’s right eye. A little on the top, and a little on the bottom, touching in the back but open in the front. Just enough to stand out. With your detail liner, underline the upper lip with a black or dark brown/black mix to put in the “smile”. You can also touch just a tiny amount twice at the bottom of the nose for nostrils. If the neck needs more highlights, use mostly Burnt Sienna, a touch of Burnt Umber and a touch of Toffee. Lightly in the reverse comma direction add highlights in a dry brush pattern.

(Image 16) Check your bear. Does the fur look blended and the colors flow from one shade to the next? If so, you are good. If it looks blocky, you may need to add more of your base color or shadow colors to break up the blocks of colors. It is ok to putts with the fur, add a stroke here or there just to break it up or make it stand out more. (Image 17) OLD DEAD LOG: Use any mix of dirty colors for your old dead log.

Keep it similar to your trees or slightly greyer.

Brush the color on using left to right strokes with the 1/4” angle. The very end or ends of the log should be mostly black as they are in dark shadow. With a lighter version of your tree, run a broken edge along the front side making it jagged. Blend the color back into the trunk.

Notice when I did the bear pattern, only his left front foot is stepping up onto the log. All other feet are hidden. (Image 18) When the log is dry, add some sunlight highlights with Sunny Day, with a touch of Burnt Sienna. With your detail AUGUST 2020 ISSUE

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round, dap in irregular shapes that will look like fallen leaves. Use any of the colors from the background. Refer to image 21.

PATH: With your 1/4” angle brush, make a marbled brush mix of a light dirty brown color using Burnt Sienna, Burnt Umber, and Oyster Beige. Streak it left to right using the flat of your brush and just let the color come off as it will. Add shadow indications by adding a little blue to the mix.

Scrub in a greyer look to the path that would be the shadow of the bear. (Image 19) Use a mix of dried grass colors, add clumps of grasses in front of the tree, against the log, and on the front side of the path. Use your darker mixes first, and then tap over with lighter yellow brown mix for highlights. I just brush mix the colors as I go so that the colors constantly vary. I used Burnt Sienna, Burnt Umber, Marigold, White, Green, and Blue. Even a touch of Black now and then. All on a dirty brush, I just kept mixing. (Image 20) If you start getting too grey, go ahead and rinse your brush and start again. Your goal is dead dried grass like you see in the fall. Use a variety of motions to do this. Tap some in with the chisel of your brush. Lay the brush sideways and tap in short grass. Use the script liner with inky thin paint to pull up long tendrils of weeds with the same colors. (Image 21) Have fun with the grounds. Another option is to use the splatter effect with a toothbrush or a fan brush, using your various shades of browns and black and add pebbles to the path. Create your own. (Finished image 22) When your piece is dry, spray 2-3 light coats of Acrylic Spray to seal and bring out the extra luster.

I like to use Gloss, but the choice is yours. Hint: When dry, flip your leaf over and paint the other side using “Hal’s Bear” spring color pattern or create your own winter scene. Be adventurous.

(Image 23) I hope you enjoyed Time to Hibernate. Do not forget to sign your piece and show your family and friends!

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Enlarge or reduce the size to the surface of your choice.

LINE DRAWING HERE

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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WINIFRED AND BRAM

By Diane M. Kellogg, Oil Creek Originals This fun and easy gourd design has a Steam punk feel. Winifred is the pumpkin witch with a twist, while her buddy, Bram even gives Igor a run for his money. Paint them and add embellishments for more of a Steam punk look or leave as is. While these two are painted on Chinese bottle gourds, they can be adapted to most gourd shapes. They can also be adapted to wooden pieces assembled from various parts.

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SUPPLIES

BRUSHES: Royal & Langnickel®

SURFACE • Winifred - 8” Chinese Bottle Gourd (Check online — Etsy® search gourds...etc.)

• Majestic Series 4250 -6,12,14 Round (For base coating)

MISCELLANEOUS EMBELLISHMENTS & SUPPLIES: • Darice® Small Paper Mache Witch - 7 X 6 Inches Item 3102-675

• Zen 1/2” Angular Shader Z73A (For shading)

• Bram - 6 1/2” Chinese Bottle Gourd

• Darice® Black Felt Top Hat - 3.125 X 3 X 1.625 Inches Item # 12761 • Castings for decoupage and scrapbooking.

(Larger gears, lock, etc.) Mitform.Com • Tim Holtz Idea-ology: Key Adornments # TH93321 • Jump Rings #TH92726 TimHoltz.Com

• Bead Landing ® - Gears #181451, Keys #213187 Michaels.Com

• Spare Parts - Watches #922096 HobbyLobbv.

Com • Proflora® Moss Collection -Spanish Moss #Natural HB4 Walmart.Com

• Floral Garden Reindeer Moss #14246-1909 Dollar Tree Stores

• Mini Majestic Series 4200 -Monogram 30/0, Spotter 20/0, Angular Shader 4 (For line work and shading) PAINTS: DecoArt® Americana® Acrylics • Burnt Orange DA016 • Burnt Umber DA064 • Georgia ClayDA017 • Graphite DA161

• Heritage Brick DA129

• Jack O’ Lantern Orange DA229 • Lamp Black DA067 • Marigold DA194

• Milk Chocolate DA174 • Mustard Seed DA264 • Neutral Grey DA95 • Raw UmberDA130

• Sable Brown DA061

• Twigs for arms, approximate size 6” and 8”

• Soft Black DA155

• Drill bits (to drill holes for twig arms)

• Yellow Ochre DA008

• Craft Sponge

• DecoArt® Matte Spray

• Drill

• Warm White DA239

• E6000® Industrial Strength Adhesive

• Dazzling Metallics Rich Expresso DA245

• DecoArt® Andy Skinner Mixed Media ‘Incognito’ Gears Stencil #ANDY03 • Transfer Paper • Stylus

Artist’s Tip -

For a fun Halloween, place these fun characters on either side of a 'candy cauldron’!

PREPARATION

Clean the gourds. (There are tutorials online, just search cleaning gourds for painting.) You may drill holes for arms before painting. I drilled after, to ensure placement was correct.

Base the larger gourd with Burnt Orange. The shading is Heritage Brick.

Base the smaller gourd with Georgia Clay. The shading is Heritage Brick.

Adjust the pattern to fit your gourd, extend lines and enlarge or reduce to fit your gourd, as needed.

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Graphite is then sponged on to give a leather-like appearance.

Transfer the pattern with the transfer paper and stylus.

DIRECTIONS FOR BOTH: Their eyes are based with Warm White, Milk Chocolate and Lamp Black. Shade the brown section with Raw Umber. The eyelashes are Lamp Black. The round left eye on the assistant is done with Burnt Umber. Paint a gear around it with Rich Espresso Metallic. The dots in the eyes are Warm White. Their noses and mouths are based with Mustard Seed, shaded with Jack O’ Lantern Orange and the highlight is Yellow Ochre.

WINIFRED THE WITCH: Her scarf is based, alternating with Marigold and Georgia Clay. The fringe on the scarf is Marigold.

Her hat and apron are based with) Soft Black.

They are shaded with Lamp Black. The buttons on the pocket are Slate Grey with Lamp Black dots.

Stitch lines are done in Lamp Black.

The gears are stenciled with Rich Espresso Metallic. Spray with matte spray.

Glue Spanish moss between the hat and head for hair. Add reindeer moss to front brim of hat. Place gears and the castings on top of the moss, glue down. Glue gears in assorted sizes over top of the area where you have painted the gears. Insert the wood twigs into the drilled armholes.

BRAM THE ASSISTANT: His pants are done in alternating stripes of Soft Black and Neutral Grey. The shading under the vest is Soft Black. His vest is based with Milk Chocolate, sponged with Soft Black for a leatherlook Then, it is shaded with Soft Black. The line work and stitches are Lamp Black. The pocket tops are Soft Black, shaded with Lamp Black and the highlight is Sable Brown. His belt is based with Burnt Umber, it is shaded with Soft Black. The

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buckle is Rich Espresso Metallic. The buttons on the pocket are Slate Grey with Lamp Black dots.

His hat is based with Burnt Umber, it is shaded with Soft Black. Stitch lines are Lamp Black. Spray with matte spray.

Embellishments, if desired, Glue small gear over his left eye. Take the felt hat and scrunch it up in your hands to give it a worn look. Glue gears and the casting onto the front brim. Glue the hat to the head. Glue Watch to the pocket top. Insert the wood twigs into the drilled armholes. Loop heart locket on the left ‘twig’ hand. String a batch of the keys onto a large jump ring, drape over other ‘twig’ hand.

Be sure to check out www.oilcreekoriginals.com where you can find more of Diane’s delightful steam punk designs including the steam punk snowmen, Jules & Verne!

Smiles! Have fun painting!

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Enlarge or reduce the size to the surface of your choice.

Line drawing????

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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WISCONSIN

ROUND BARN

By Diane Trierweiler

I have lived in California a good part of my life, but I was born in Racine, Wisconsin. This is where I first saw the round barns. How fascinating that someone came up with the idea of not having support beams in the middle of a barn. You can look up more information on this design on Google. I have been painting for about 45 years and have loved every minute of it. I have a shop in Norco, California, that has been open for 35 years. I have my own line of brushes and have published)15 books, hundreds of packets, and several videos. With the encouragement of my husband and son, I have used my love of art to help support the family. I also travel teach to chapters and conventions.

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SUPPLIES

I usually paint on canvas. I like all kinds of canvases such as convexo, tack on back, or two-inch-thick gallery canvases. They can be purchased at Hobby Lobby. The canvas I used for this project is a 16x20 regular canvas. If you are not going to frame it, you can use a tack on the side canvas.

PAINTS: DecoArt® Americana® paints • Burnt Sienna DA063 • Olive DA056

• Lamp Black DA067

• Country Blue DA041 • Black Green DA151 • Slate Grey DA068

• Burnt Umber DA064 • Graphite DA161

• Soft Black DA155

• Uniform Blue DA086

• Antique Maroon DA160 • Avocado DA052

• Evergreen DA082 • Sea Aqua DA046

DecoArt® Traditions™

• Hansa Yellow DAT52

• Opaque White DAT58 • Cerulean Blue DAT28 • Vermillion DAT09

• Yellow Deep DAT10

• Indian Yellow DAT11

• Yellow Green Light DAT21 • Naphthol Red DAT02 • Pine Green DAT19

MISCELLANEOUS SUPPLIES: • DecoArt® Media™ White DMM21

• DecoArt® Duraclear Gloss Varnish™ DS19-3 • Table easel

• Wide palette knife • Graphite

• Paper towels • Water bin

• Wet palette (optional but wonderful to have) BRUSHES: • #12 Flat • #4 Flat

• 5/8” Angle shader • ½” Angle Shader • ½” Rake • ¾” Flat

Diane Trierweiler’s Signature Brushes • #8 Long handle tongue (hog bristle)

• 3/8” Long handle Landscape (hog bristle foliage) • ¾” Long handle Landscape (hog bristle foliage)

• ½” Tongue (red sable short handle tongue) • 10/0 Striper (liner)

PREPARATION

I love textural backgrounds. Using them gives your paintings more interest. You will see how it makes acrylic paintings look more like oils because you can see brush strokes under the paints. Use your large palette knife to spread the modeling paste over the entire canvas. Go back and forth with your palette knife like you were frosting a cake. If you want more texture, you can use your hog bristle brush to “swish” through the wet paste. Let dry and place your basic pattern on. There is no need to put the bushes, trees, small detail or clouds on at this time.

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PAINTING INSTRUCTIONS

Please use a table easel to paint this design. The upright position and the long-handled brushes will give you a softer, more impressionistic, look.

You may lay the canvas down when you are painting the details. You can see by the close-up photos that I have provided that I do not use a ruler to make straight lines or worry about going back to correct shapes to make them perfect. This is more of an impressionistic painting and you need to be loose in your painting.

SKY: Use your long tongue to scumble (slip slap) Cerulean Blue and White, in a wet on wet method.

Work on a smaller area at a time so that the paint remains wet, so that you can blend the colors together. You want to see both colors and a mix of both of them. All skies are deeper in value at the top and lighter value at the horizon blend a little Uniform Blue into the top of the sky. You can place the cloud in while the sky is still wet. Use the same dirty brush to paint in the clouds. Add White to the brush and blend it out on the palette.

Use the flat edge of the brush with a light touch and swirl the color on where you want a cloud.

Make sure that they are all different in size and location. Add White to the brush and highlight the tops of the clouds. Let the clouds dry a little and add a little Country Blue at the bottom of each cloud. Let dry. Tint (watered down color 80% water to 20% paint) here and there, using a little Indian Yellow and Naphthol Red.

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BACKGROUND TREES: Use your 1/2 tongue brush to wash a little Sea Aqua behind where the trees will be. The green bushes on the horizon are stippled on with Pine Green, Yellow Green Light and highlighted with Olive. This is done with your landscape brush.

Shade over the bushes using Evergreen along the horizon line. Dabble in some Country Blue into the shadows. The green tree: Use Evergreen, Avocado and Olive to stipple on the leaves.

Stipple a little Hansa Yellow and a little White here, and there, to highlight. Tint these trees with Vermillion. Add Country Blue into the shadows.

The orange tree: Use your small flat brush to paint in the trunks using Burnt Umber. The branches are painted in using your liner brush and Burnt Umber. Highlight loosely on the right sides with Indian Yellow. The foliage on the orange tree is stippled in using Yellow Deep and Vermillion.

Stipple again with a brush mix of Hansa Yellow and Vermillion plus a little White.

Let dry and shade the left sides of the leaf clusters with Vermillion. Tint with Naphthol Red. Let dry, and dry brush a little Country Blue e into the shadows. The yellow tree: The branches are painted with Burnt Umber. Use your landscape brush to stipple the leaves in with Yellow Deep and Indian Yellow. Highlight with Hansa Yellow and Hansa Yellow plus White. Tint a few of the leaves with Naphthol Red. The light orange tree: This tree is painted the same way as the other yellow tree, and it is tinted with a little Vermillion.

The trees on the right side of the painting are painted with the same colors as the ones on the

PAINTING WORLD MAGAZINE

left side. Place the pattern on for the barn, silo, and the path.

BARN: Use your #12 flat to base in the walls of the barn with a brush mix of Hansa Yellow and Vermillion.

Use your 1/2 tongue to wash Naphthol Red over this color. The center area should remain lighter in tone. You can use more than one layer of color to build up the shadows. If you need to, you can add more Hansa Yellow through the center.

Let dry and use your rake brush to place in the small board lines on this area. This is done with a brush mix of Burnt Umber and Antique Maroon.

Use your 5/8 angle brush to shade this area with Antique Maroon. Second, shade with Burnt Umber. Use Cerulean Blue to wash inside of the windows.

and second shade with Soft Black. Highlight horizontally with Slate Grey. Add a little White to the grey to second highlight here and there.

Tint the roof with Naphthol Red. Use your liner brush to place in a White line at the bottom of the roof line. Also add a Soft Black line underneath the roof. The same colors are painted on the roofs of the outbuildings and the cupola. Dry brush Country Blue here, and there, in the dark areas. This creates a back light.

Silo: Base in the silo with Slate Grey. The door opening is based in with Soft Black. Dry brush Country Blue to create shadows. Add all of the shadows in using Graphite. Second shade with Black. Use your rake brush with Burnt Umber to place in the upright lines. Highlight with White.

Add Country Blue back lights into the shadows.

Tint on the left side with Vermillion.

Outline the windows with White and add the cross panes with White. Let dry and shade inside of the windows with Burnt Umber. Outline the windows with Soft Black.

Brick area:

Base in the brick area using a brush mix of Yellow Deep plus White. Let dry and use Burnt Umber to line in the grout lines. Shade here and there with Burnt Umber, second shade with a little Burnt Sienna.

Barn door:

Base in the open area with Soft Black. Dry brush Country Blue into the shadows. The red area is painted in the same way as for the walls. The top frame of the door is Burnt Umber, shaded with Soft Black and highlighted with Indian Yellow.

Roof: Scumble the roof with Burnt Umber and White, using your #12 flat.

Shade the roof with Burnt Umber

PATHWAY: Use your large flat brush to paint in the pathway with Burnt Umber and White, wet on wet.

Highlight through the center area with Slate plus a little White. Tint here, and there, using Naphthol Red. Add shadows along the sides of the pathway with Burnt Umber. Second shade with Soft Black.

Ground area:

Use your #8 long tongue, loosely place the grasses on using Yellow Deep, Hansa Yellow and Indian Yellow. Let dry and add some shadows with Burnt Sienna. The darker shadow areas are shaded with Burnt Umber.

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a little White. Use your landscape brush to stipple in the bushes in front of the barn, along the pathway and patch of flowers on the bottom left.

This is done with Avocado, Evergreen and Olive.

Use various bright yellows to stipple in the flowers on the bushes. I also used some Uniform Blue and White for other flowers. This will tie the sky colors to the bottom of the painting. The red flowers at the bottom of the painting are stippled in with Vermillion and Naphthol Red. Use your liner brush with Evergreen to place in long grasses under trees etc. Dry brush some Country Blue here, and there, throughout the bushes to add back lights and additional color.

Birch trees:

Use your small flat brush to base in the trees with Slate Grey. Add shadows on the left sides with Burnt Umber. Highlight the right sides with White.

DIY brush a little Country Blue here and there on the dark sides of the trees. Add water to Burnt Umber and wash in the shadows on the ground that the trees create. Fence: Use your small flat brush to base in the fence with Slate Grey. Add shadows with Graphite and highlights with White.

Let dry and dry brush Country Blue into the shadows. Tint with a little Yellow Deep.

FINISHING:

Take another look at the painting and make sure that you have carried the palette colors throughout the painting. This can be done by adding tints of various colors on the ground and building. Example: tint with Naphthol Red on AUGUST 2020 ISSUE

the yellow grass. You may need to deepen the shadows on the trees. This can be done with Burnt Sienna. Make sure to brighten all of the highlights because, as you know, when colors dry, they darken. Use your large, flat brush to place one coat of Duraclear Gloss Varnish™ over the canvas.

This will not make it too shiny and will seal your canvas to keep it clean and to bring out the colors.

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Enlarge or reduce the size to the surface of your choice.

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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NIGHT OWL Pull Toy

By Linda Hollander

Combining clay and paint is one of my favorite things to do!

Painting on vintage items has always been my passion so turning an old Buster Brown baby shoe into a pull toy was totally in my wheelhouse!

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SUPPLIES SURFACE: • Vintage high-top leather baby shoe

• Sculpey ® Polyform Model Air (air dry modeling clay)

• Sculpey® Polyform 11 pc. Essential Tool Kit or substitutions for clay roller, needle tool, rubber tip shaper, and super slicer blade

• DecoArt® Americana® DuraClear Soft Touch Varnish DS123 BRUSHES: Royal Aqualon

• Round Series 2250 #2, 10/0

• Shader Series R2150 #4, 8, 12

• Angular Series R2160 3/8”, ½” • Glaze/Wash Series R2700 ¾”

• Craft foam shapes: ball 2”; cone approximately 3” tall

Royal Mop

• 1 1/2” wide wired ribbon or fabric (collar)

MISCELLANEOUS SUPPLIES: • Graphite paper

• String or cord (natural color or off white)

• Wood dowels (4) 1/8” x 4” or wooden BBQ skewers • Wooden wheels (4) 1 ½” PAINTS: DecoArt® Americana®

• Bleached Sand DA257 • Golden StrawDA168 • Grape Juice236 • Grey SkyDA111

• Lamp Black067

• Persimmon DA293 • Slate GreyDA068 • Zinc DA304

Mediums:

• DecoArt® Multi-Purpose Sealer DS17 • DecoArt® Chalky Gesso CG01

• Series 4999 #4

• Stylus

• Sanding sponges fine and medium grit • Paint cubby

• Flat smooth work surface such as a craft mat or smooth ceramic tile • Craft knife

• Serrated kitchen knife • Toothpick

• White glue

• E6000® or similar strong glue • Ruler • Drill

• Fabric stiffener or starch

• Needle and thread color, coordinated with your collar material • Cellophane tape

I have been painting, drawing, and crafting since a child but my art supplies had been collecting some dust while I was busy raising my 3 active boys. It was not until 1999 that I discovered the world of decorative painting while flipping through some magazines on the newsstand. Back then. We had so many publications to choose from. I bought them all and poured over them daily with renewed excitement! I used the instructions to teach myself most of the techniques until I could get to seminars and conventions. I chose vintage furniture as my substrate...go big or go home is my mantra! Collecting vintage pieces, such as silver-plated tea sets and wooden bowls, is half the fun of painting. Garage sales and flea markets are hard to pass, as my 3 boys will attest to. I heard many groans from the back seat as I pulled over to take a quick look at another sale. I am not above picking up curbside treasures on trash day. The things people throw away simply amazes me! Painters are fortunate to have all the wonderful new mediums and paint formulas that we have today. There is virtually nothing that cannot be painted...as long as it doesn’t move too fast!

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CLAY NOTES: Cover unused clay tightly with plastic wrap. It is a good idea to keep a wet, shop towel handy to keep hands, tools, and work surfaces clean as you work.

or utility knife can be used to cut the axles down if needed. Use gesso to prime the shoe.

The clay will begin to dry out if you overwork it or expose it to air for too long. If that happens, knead a few drops of water into it.

Check the foam cone for fit by inserting into the shoe. Keep in mind that the body should fit snugly once covered with clay. It should also extend above the top of the shoe by approximately ½” once covered with clay. Use the serrated knife to trim the shape if needed for a good fit. Cut a 1” slab of clay then roll out into a sheet of clay approximately 1/8” thick. Use Super Slicer to lift clay sheet. Cover the sides and top of the foam cone. Let dry. Sand as needed.

Use water on fingers or a paint brush to smooth clay as needed. If too much water is used, the clay will become mushy and stick to your hands and tools. Set it aside for a few minutes or knead it until it comes back to a good working consistency.

Wet clay parts will adhere well to one another. If the clay has begun to set up, add water to both parts and apply light pressure before attaching them.

CLAY PARTS: Body:

Additional layers of clay can be added to dried clay. Dried clay can be sanded lightly to smooth and trimmed with a craft knife as needed.

You may need to adjust the size of the clay shapes in the directions if your shoe is smaller or larger than the shoe used here.

Considerable drying time is needed to complete this project. In cold or damp climates, drying time may take longer than usual. If the clay is cold to the touch, it is not completely dry. You can speed drying time by using a hair dryer or placing next to a he t vent or near a warm oven.

PREPARATION: Remove shoelace.

Drill holes in the shoe to accommodate the pull cord and axles. Choose a drill bit slightly bigger than the width of your axles. The axle holes need to be slightly higher than the inner sole of the shoe so the axle rests on the sole or just slightly above it. Check the axles for fit. They should fit snugly in the holes. Place wheels onto axles for fit. Adjust the wheels so they are straight. The axles need to extend 1/4” beyond the wheel to accommodate the hub caps. There should be a little “wiggle room” as well so the wheels can turn freely once the toy is assembled. A small hacksaw AUGUST 2020 ISSUE

Head:

Roll a sheet of clay to cover the foam ball.

Systematically press clay and cover the entire ball pushing out air pockets as you work. Pleat and remove excess clay with craft knife. Smooth clay by gently rolling in palms or on your work surface.

Use the needle tool to pierce any air pockets that may have formed. Apply white glue to one end of a toothpick and insert it 1/3 into the ball. Let dry.

Sand to smooth as needed.

Forehead and ears: Roll a 1” ball of clay into a 2” log. Place the log on top of the head (opposite toothpick). Use finger pressure to adhere the log and form the ears at either end of the log.

Press some of the clay from the center of the log downward to form the forehead (triangular area above the beak). Flatten the top center area between the ears. Press some of the wet clay over

PAINTING WORLD MAGAZINE

the back of the head as well. Use the rubber tool to indent the inside of the ears and to define the edges of the forehead. Use the side of the needle tool to create feathery texture. Let dry, then sand as needed.

Beak:

Roll a 1/4” ball of clay, then form a football shape.

Press onto face between eyes. Use the rubber tool to smooth edges. Use the needle tool to indent nostrils. Let dry.

top to accommodate the head. When dry, loosen the lace and gently pull the body out of the shoe.

The clay will give just a little, but too much torque will cause the wings to crack. Small cracks can be mended with a little white glue and pressure.

Sand, as needed, to smooth top area of body. Use the needle tool to make a hole in the top of the body to accommodate the toothpick in the owls’ head. Remove any clay residue from the shoe.

Eyes:

Roll a ½” ball of clay, then cut in half. Press onto the face, then bevel the edges with the rubber tool. Smooth with a wet shader. Let dry. Sand as needed.

Wings:

Place body inside shoe. Tighten the shoelace and tie in a bow to secure the body in place. Roll a 1 ½” ball into a 5” log then flatten into a 1” wide sheet. Cut out the wing pattern (or use as a guide) to cut the wing section. Center the wing over the top of the body then use finger pressure to taper edges over the cone. Pinch the ends of the wings and curve them forward slightly. The wings should not press against the sides of the shoe.

Leave a small gap between the shoe and wings.

The top of the wings will touch the top edge of the shoe. Use the needle tool to carefully texture the wings and to make a hole in the center of the

Hub caps:

Roll two ½” balls of clay. Use the slicer to cut them in half. Press onto the end of an axle, then carefully remove, and set aside to dry.

Candy corn bead:

Roll a ½” ball of clay into a cone shape. Flatten the cone slightly. Use the needle tool to ream a hole directly down the center of the bead. Repeat with a toothpick to enlarge the hole. Let dry.

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PAINTING NOTES:

Use appropriately sized brushes unless otherwise noted.

Use the mop brush to soften floats as needed.

Use water to thin paint as needed for line work and sheer floats.

Seal dried clay with Multi-Purpose Sealer.

PAINTING INSTRUCTIONS:

Note: Use a thin coat of Multi-Purpose Sealer to protect painted areas as you work. Mistakes are easily removed with a damp brush.

OWL: Use Golden Straw plus touch of Bleached Sand to base the eyes and beak. Don’t stress over getting paint on the adjacent areas as you will be covering any stray paint with the next step. Use Persimmon to float shading on the outer edges. Transfer eye detail or use pattern as a guide. Base the Iris with Persimmon. Use Lamp Black to base pupil and add line work. Use Bleached Sand to float a highlight on the left side of the pupil and to add a dot of reflected light in the center.

Base the head and body with Slate Grey.

Use Lamp Black to float shading inside the ears.

Antiquing the feathers: Thin Lamp Black slightly with water and apply over wing texture. Be sure to work the paint into the nooks and crannies. Use a damp shop towel to remove paint from the high areas while the paint is still wet. Repeat with the textured areas on the head. When dry, dry brush Grey Sky to highlight the raised areas.

Use the shaders and Lamp Black to dry brush the body and the smooth areas of the head. Use a light touch and a slip slap or cross hatching motion. Repeat with Grey Sky to highlight over top.

SHOE: Note: All shoes are not constructed the same as the one used here. You may have to improvise to get the designs to work for your project. Don’t forget to seal painted areas to protect them!

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Sky:

Mix Grape Juice + touch of Slate Grey and store in a paint cubby. Use this mix to base coat the largest section of the shoe. Use Lamp Black to float shading around all edges of the sky. Transfer the moon pattern on each side of the shoe, taking care not to place them under the wing areas. Use Golden Straw plus a touch of Bleached Sand to base the moons. Use Persimmon to float shading and Bleached Sand to float highlights. Use the stylus and Golden Straw, dip dot the stars, one at a time. Use the liner to pull 5 arms out from the center of the dip dot.

Toe box:

Use Golden Straw plus a touch of Bleached Sand to basecoat the upper half of the tongue and the toe box. Use Persimmon to float shading along the bottom of the toe box.

Use Persimmon plus a touch of Golden Straw to base the vamp. Use Heritage Brick to float shading. Transfer the number pattern or use a guide to freehand them. Use Lamp Black to basecoat. Let dry, then add highlights with Bleached Sand.

Graphic areas:

Use Bleached Sand to basecoat. Use the #4 shader and Lamp Black to paint stripes.

Sole:

Use Lamp Black to base the sole (bottom of shoe and edges).

Misc. parts:

Use Golden Straw to base the front axle and the purple mix to base the rear axle.

Use Bleached Sand to base the wheels. Use the #4 shader and Lamp Black to paint stripes. Use the round brush and Bleached Sand to dry brush the center of the stripes.

Use Persimmon plus a touch of Golden Straw to base the hub caps. Use the stylus and Lamp Back to add dip dots.

Use Bleached Sand to base the candy corn bead.

Use Golden Straw to base the center section and Persimmon to base the bottom third. Use the liner and thinned Lamp Black to paint a fine broken line to define the sections.

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Shoelace and pull string: cut two lengths of cord to desired lengths, plus a few additional inches for good measure. Use water to thin a large puddle of Persimmon. Drag the cord through the paint puddle. Use a brush to help cover well. Set aside to dry.

Collar:

Cut a 14” length of ribbon or cut a strip of fabric 1” x 14” long. Apply fabric stiffener or starch according to the manufacturer’s instructions.

This allows you to get sharp pleats and prevents the material from fraying. Let dry. If using wired ribbon, trim one edge off the entire length which will become the top of the collar. Make accordion folds along the ribbon or fabric strip. Open the collar and form a circle of your desired size. Trim off excess but leave two flaps at either end so you can connect them. Hand sew a basting stitch along the top edge of the collar. Be sure to run the needle through each” peak” of the accordion pleats. Pull the thread taut and tie off to secure.

Run a bead of white glue on the end tabs and secure with a small binder clip or paper clip. Let dry, then remove the clip.

FINISHING:

Apply Soft Touch Varnish to all painted areas to seal wood parts and clay figure.

CORDS: Wrap a small piece of cellophane tape tightly around the ends of the cords. Cut the tip off, at an angle, to make threading the cord through the holes easier.

PULL CORD: Push the pull cord through the hole in the toe box, then grab it from inside the shoe and pull out several inches. Form a large knot to keep the cord secure in the shoe. Thread the other end through the large end of the candy corn bead and make a knot. Trim off excess.

Loosely lace the shoe with the other cord.

OWL ASSEMBLY: Carefully insert owl body in shoe. Pull the shoestrings taut and check for fit.

If the body wobbles you can glue it in place or stuff packing peanuts or cotton in the cavity to make it more secure.

Tie off shoelace and fray the end of the cord. Trim as desired.

Center the collar over top of body.

Apply white glue to the exposed end of the toothpick and insert into hole. Let dry.

Insert axles into shoe.

Slide wheels onto axles.

Apply a small amount of strong glue to the ends of the axles, one at a time.

Press hubcaps onto axles.

Let dry.

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Enlarge or reduce the size to the surface of your choice.

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

AUGUST 2020 ISSUE

PAINTING WORLD MAGAZINE

Robin On The Dry Leaf

By Mabel Blanco

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SUPPLIES MATERIALS: • Paper canvas PAINTS: Acrylics DecoArt® Americana® Traditions • Titanium White DAT35

• Perinone Orange DAT08 • Burnt Sienna DAT44 • Raw Sienna DAT43

• Yellow Oxide DAT12

• Carbon Black DAT42 • Burnt Umber DAT46 • Raw Umber DAT45

• Indian Yellow DAT11 SYNTHETIC BRUSHES: • Round #3 • Liner #1

SURFACE PREPARATION:

On unpainted canvas paper transfer the design.

ROBIN: Before painting the plumage, the photography should be observed carefully, and the direction shown in the pattern respected. With the #6 brush and acrylic Perinone Orange, paint the chest, the forehead, above the eye and below it.

Paint with the singing of the brush. Brush strokes have to show the irregular edge of the plumage.

With the liner brush and acrylic Indian Yellow, I paint lights on the left side and all around the eye.

Paint some feathers in the middle of the chest, mixing with orange feathers. The feathers are very short and should be painted from top to bottom.

Mix the acrylic with a little part of turpentine to facilitate the work.

Painted with the same brush, brush feathers with acrylic Burnt Sienna on the right side below the peak, in the contour right of the eye and reinforce the shade below the peak.

With #6 brush and acrylic Titanium White mix with AUGUST 2020 ISSUE

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acrylic Raw Umber oil (4: 1). Paint the left and right lower chest area; then with the liner brush and acrylic Titanium White, paint feathers and intensify in the central area.

Always with the liner brush and acrylic Raw Umber paint feathers in the left and right areas that form the wing. After, with the #1 round brush and acrylic Raw Umber, paint the tail.

Always observe the picture.

With the round brush #1 and acrylic Raw Umber mixed with acrylic Carbon Black (3:1), paint the bottom of the peak. Add acrylic Titanium White to this mixture and paint the upper side and make a division thereof.

With the round brush #3 and acrylic Carbon Black paint the full eye; with the liner and acrylic Titanium White, paint a small point of light in the lop left of it to illuminate.

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Finally, with the round brush #3 and acrylic Lamp Black paint the legs. Then, with the same brush and acrylic Titanium White, paint the light on the left side of them.

SHEET It works wet on wet, with brush strokes in cross, small, if we want a soft leaf, we vanish.

It is important to observe the photograph to paint the shadows, especially the one that separates the two sheets.

With the #4 brush and Yellow Oxide acrylic paint the entire surface of the two sheets.

Then add acrylic Burnt Sienna, Raw Sienna and for light the Yellow Oxide.

Finally add Burnt Umber for the shadows.

It is important to work with small brush strokes, that makes the colors look and the sheet has different shades.

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Enlarge or reduce to fit your surface.

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

Pumpkins and More

By Marika Moretti

My name is Marika, I am 36 years old and I live in Bologna, Italy. My adventure with painting began more than 10 years ago… I had never taken a brush in my hands at that time, but when I started, it was love at first sight and I never stopped since then!

During the years, I also had the chance to take many classes with American artists, amazing and talented teachers who helped me improving my painting skills and developing my own style and, in the end… becoming myself a designer! I started creating my own designs about three years ago and I really love it! I also have been teaching during the years, even if I continue to consider myself as a student, because you never stop learning, from others, but especially from yourself, from your mistakes… or better from your creative attempts!

Dear Painting World Magazine’s readers, thank you for painting this design with me! This is a Fall design with warm and vibrant colors. There are floats for shading and highlighting and also some dry brush. You will need to use the crackle medium and there is also a nice and quick decoration for the frame of the design to create the wooden effect. Have fun!

SUPPLIES

• Country Red DA018

SURFACE: • This is a surface that I personally designed. It is made of 2 different boards: one is a larger board that has the shape of a frame and the other is just a regular rectangular surface. This design can be easily adapted to many surfaces because it is basically made of a main panel (approx. 12.5”x9”) and a frame that can match the dimension.

• Hauser Light Green DA 131

PAINTS: DecoArt® Americana® paints • Antique White DA058 • Asphaltum DA180 • Avocado DA052

• Avocado Dip DA254 (or Olive Green DA56) • Black Plum DA172 • Burlap DA319

• Burnt Orange DA016 • Burnt Sienna DA063

• Deep Midnight Blue DA166 • Heritage Brick DA219 • Honey Brown DA 163 • Lamp Black DA067

• Light Buttermilk DA 164 • Marigold DAI 94

• Mississippi Mud DA094

Neons:

• Fiery Red DHS4

• Primary Yellow DA201 • Sea Glass DA297

• Spiced Pumpkin DA310 • Soft Black DA155 • Thicket DA357

• True Ochre DA143 • Zinc DA304

• Burnt Umber DA064

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MEDIUMS/OTHER PRODUCTS: • DecoArt® Americana® Weathered Wood Crackle DAS8

• DecoArt® Americana® Multi-Purpose Sealer DS17

• Windsor & Newton® Oil paint - Burnt Umber • Linseed oil

BRUSHES BY COMPANY NAME: • Dynasty® - Black Gold 206 FW Shader: 3/4”, 1/2”, 1/4” • Dynasty® - Black Gold Round 206L: #1, #2 • Dynasty® - Black< Gold Filbert 206FIL (for base coating): #4, #6, #8

• Dynasty® - Black< Gold Liner 10/0 and Mini Liner 20/0 • Dynasty® - Mezzaluna: Extra Large, Large, Medium

• Loew Cornell™ - Maxine Mop: 3/4” 1/2” 1/4” • Flat 1” (any brand)

• An old flat brush (for crackle) MISCELLANEOUS SUPPLIES: • Paper towels • Paper palette

• Transfer paper

• Graphite paper (black and white) • Brush cleaning basin • Stylus

• Sanding pad (medium and fine) • Super film

• Wood grainer • Hot glue gun

• A couple of old fabric pieces (I cut an old t-shirt and it works great!)

HELPFUL TIP OR HINT: This design might seem difficult to do, but it is actually not. Maybe it will not be super quick to paint because we have many elements, but there are many of the basic techniques of Decorative Painting. So, do not stress too much and just enjoy the journey!

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USE OF THE WEATHERED WOOD CRACKLE: When applying the crackle, use an old flat brush that needs to be moist (not wet!), so dry it out quite well on the paper towel. Remember that the crackle application needs to be quick, you don’t have to think about it too much, just apply it with short and quick strokes. You don’t have to work it out too much or over stroke it, otherwise you won’t get any crackle. You can let it dry naturally or if you are impatient (like me), you can also use a blow drier, just be careful not to dry it too much... it must be sticky, then you can apply the second color, always with quick strokes.

PREPARATION:

Sand the entire surface and clean with a tack cloth. Seal the surface with DecoArt Multi Purpose Sealer (optional) and let dry. Sand again and wipe away any remaining dust. After base coating, I suggest you lightly sand the surface with Super film or an extremely fine sanding pad before shading/highlighting.

PAINTING INSTRUCTIONS: BACKGROUND: Basecoat with Midnight Blue Transfer the main line drawings.

FENCE: Undercoat first with Lamp Black. When dry, lay down the crackle medium. Let dry (not completely... it must be sticky) and lay down one coat of Burlap and let dry again. If it didn’t crack, please... no panic... no stress!!! You can always line the cracks with your liner brush and Lamp Black.

Let dry completely before floating colors (crackle takes a little more time). Shade with Mississippi Mud, then deepen with Soft Black: behind corn, pumpkins, lantern, and mushrooms. Shade also between fence boards and on each board to create thickness. Highlight the top a little with Burlap and Light Buttermilk. If necessary, line some cracks with Lamp Black using the liner brush.

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CANDLE: Basecoat with Antique White. Dry brush the center with Light Buttermilk. Shade with Burnt Umber, then Soft Black:

Lightly on the sides and to separate the wax drop (only Burnt Umber here), on indent and at the bottom. Add wick with Lamp Black. Dry brush some Marigold to create the halo, then use the same color to make the flame. Shade the flame at the bottom with Burnt Sienna and highlight the top with Primary Yellow.

LANTERN: Basecoat the lantern with Sea Glass. Dry brush, with Light Buttermilk, the center of each section: horizontal, vertical and more or less at 2 o’ clock on the “roof” (sorry... not sure if it’s the right word).

Shade with Thicket: to separate sections, on sides of “roof”, at the bottom and behind pumpkins (wider here). Thicket is a cold color and I wanted to have a vintage look, so I decided to warm up

all previous floats with Asphaltum (just once is enough). Deepen with Soft Black: bottom of lantern, behind pumpkins and bottom of “roof”.

GLASS (MAKE SURE YOU HAVE COMPLETED THE CANDLE): Add a wash with Light Buttermilk on the entire glass area, making sure not to go on the lantern sides. Repeat if necessary. Shade all sides with Asphaltum to add an extra vintage 1001<. Add some highlight dashes with Light Buttermilk (top left and bottom right). Paint the handle with Zinc, shade bottom with Soft Black and highlight top with Light Buttermilk.

POLE AND “PUMPKINS & MORE” SIGN Basecoat the pole with Zinc. Shade with Soft Black under sign, at the bottom and behind fence. Lightly highlight the center with Light Buttermilk. Add wood grains with Lamp Black, using your liner brush.

Basecoat the sign with Antique White. Dry brush

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the center with Light Buttermilk. Shade all around with Burnt Umber. Add lettering and nail with Lamp Black (highlight dash on nail with Light Buttermilk).

SCARECROW: Basecoat face and collar with Antique White. Dry brush center of face and tip of collar with Light Buttermilk. Shade with Burnt Umber, then Soft Black: under hat and to separate face and collar.

Hat:

Basecoat with Hauser Light Green. Highlight on top of hat and center of brim with Avocado Dip. Shade with Avocado: sides of brim, between hat and brim and between the two tips on the top.

Straw hair:

Add hairs with thin lines of Burnt Sienna, then Marigold and then Primary Yellow. Lightly shade on hair (under hat) with Burnt Sienna.

Details:

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Eyes - Lamp Black (highlight dot Light Buttermilk), stitches on hat - Country Red, dry brush cheeks with Country Red plus Light Buttermilk, nose Burnt Orange with highlight line Spiced Pumpkin, mouth line - Soft Black, bow - Country Red with Neons Fiery Red highlight.

Add string with Zinc. Shade bottom with Soft Black and highlight with Light Buttermilk.

CORN Add corn dots first, with Honey Brown. Highlight some of them, especially in the center and on the tip, by adding other smaller dots with Marigold.

When dry, shade on the inner corner with Burnt Sienna. Basecoat the leaves with Hauser Light Green. Shade the leaves at the bottom and to separate them with Avocado. Highlight with lines of Avocado Dip. PINECONES The pinecones are done with small dashes of color, one next to the other. Use a small brush

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to do them (a #1 round or the tip of a liner works fine). The color doesnâ&#x20AC;&#x2122;t have to be completely dry before you add the next one. Follow this order: Burnt Umber, Burnt Umber plus Honey Brown and then only Honey Brown. Add the tip with Burnt Umber and highlight it with a line of Honey Brown.

brush with Marigold, then with Primary Yellow: the center of the middle section and on sides of the external ones.

PUMPKINS Left pumpkin:

Basecoat with Burnt Umber. Shade the bottom with Soft Black. Highlight line with Honey Brown.

Basecoat with Burnt Orange. Shade with Heritage Brick: at the bottom, to separate sections and on top of each section. Dry brush with Spiced Pumpkin, then with Marigold: the center of the middle section and on sides of the external ones.

Right pumpkin:

Undercoat first with Antique White, then basecoat with Spiced Pumpkin (undercoating with Antique White makes it just easier, because Spiced Pumpkin is a transparent color and it doesnâ&#x20AC;&#x2122;t cover that much when you use it for base coating).

Shade with Burnt Orange: at the bottom, to separate sections and on top of each section. Dry

Shade on small pumpkin to better separate it from the big one with Heritage Brick.

Stem (both pumpkins):

MUSHROOMS Red sections: basecoat with a mix of Heritage Brick plus Country Red. Dry brush the center with Neons Fiery Red. Lightly shade on the sides with Black Plum.

Stalk and dots:

Basecoat with Antique White. Dry brush center of stalk and top of dots with Light Buttermilk.

Shade all around stalk and bottom of dots with Burnt Umber. Deepen the shading (under red part and at the bottom of stalk) with Soft Black.

Add wavy line with Light Buttermilk.

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LITTLE SNAILS Body:

Antique White; head and antennae: Lamp Black with Light Buttermilk highlight dot Shell:

True Ochre with Honey Brown curvy line (snail on mushroom) and Sea Glass with Thicket line (snail on the ground).

Shade both at the bottom with Asphaltum or Burnt Umber, it doesn’t matter.

POMEGRANATES Basecoat with True Ochre. When dry, add some dark touches by dry brushing with Burnt Umber.

Add a wash of the entire area with Country Red. When dry, shade with Country Red, then deepen with Black Plum: pomegranate on the left - circular float (from 5 o’ clock to 10 o’ clock); pomegranate on the right - on left side and bottom. Dry brush on top right of each fruit with Marigold, then add highlight with Light Buttermilk. Transfer the “tips” with Country Red. Shade them with Black Plum and highlight with Neons Fiery Red lines.

YELLOW SQUASH Basecoat with Marigold. When dry, add zig zag lines with Avocado. Shade all around and wider on left side with Burnt Sienna; dry brush in the center with Marigold. Add highlight line with Light Buttermilk. Stem is Burnt Umber, highlight line with Honey Brown.

CHESTNUTS Dark area:

Basecoat with Burnt Umber. Shade the bottom with Soft Black; highlight the top with Honey Brown.

White area:

Basecoat with Antique White. Shade the bottom with Burnt Umber; highlight the top with Light Buttermilk.

BERRIES AND BRANCHES: Add thin branches with Burnt Umber using the liner brush. Highlight them with a thin line of AUGUST 2020 ISSUE

Honey Brown.

Add the berries with the colors you have your palette. You can also change them and make your own color combination! Otherwise, if you want them to look like mine, you need to use Avocado Dip and Primary Yellow (for the green ones); Burnt Orange and Spiced Pumpkin (for the orange ones).

MOON AND GROUND Basecoat the moon first with Antique White, then with Marigold. Shade bottom (from 5 0’clock to 10 0’clock) with Burnt Sienna. Dry brush, then float highlights on the opposite side with Primary Yellow.

Dry brush the foggy area with Burnt Sienna and Marigold.

Dry brush, or float on the ground area, to make the main design set on the ground with Burnt Sienna or Honey Brown (either would work).

FRAME Basecoat the frame with a mix of Antique White and Light Buttermilk. When it’s all dry, use the woodgrain to create the wood effect. You can actually use the colors that you want, I decided to use Burnt Umber because I wanted to keep a natural effect. Shade between the boards with Asphaltum. Glue the painted surface on the frame and shade around the painted surface with Traditional Burnt Umber + Soft Black, then only Soft Black.

FINISHING

I love antiquing my pieces!!! You don’t have to if you don’t like it, but I think antiquing gives a warmer touch to the whole project and makes it more uniform. I take a piece of old fabric (a piece of an old T-Shirt is perfect), take some linseed oil and touch it in some Burnt Umber oil paint. Then I start rubbing on the surface until I get the effect that I like.

I hope you enjoyed painting this design with me!

Have a wonderful Fall!

Marika

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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.

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Mr Rooster

By Marlene Fudge CDA AUGUST 2020 ISSUE

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It is so hard to believe that I have been decorative painting for over 25 years! I have had the pleasure of having my designs published in numerous magazines and e-zines. I am very proud to be a DecoArt® Helping Artist as well as a Dynasty Designer. I teach at my local chapters and have taught at the New England Traditions convention in Massachusetts. One of my greatest achievements was earning my CDA in 2019 from the Society of Decorative Painters. My painting has given me so many wonderful opportunities and I have met the greatest friends along the way.

SUPPLIES:

• 16” x 20” Chicken Wire

SURFACE: • Rooster 14 h” x 12 3/4” Item #31-L672 Cupboard Distributing (cdwood.com)

• Wire Cutters

PAINTS: DecoArt ® Americana® Acrylics • Antique Gold DA09 • Black green DA157

• Raffia

• Protective gloves

• E600 Glue or hot glue and glue gun

PREPARATION:

Transfer the pattern for the tail, neck, wattle and beak and feet. Leave off the details for now.

• Burnt Umber DA064

PAINTING INSTRUCTIONS:

• Light Mocha DA241

BASECOATS: Use the #18 shader for all basecoats.

• Heritage Brick DA219 • Mermaid Tail DA373 • Sable Brown DA051 • Teal Green DA107

• Terra Cotta DA062 BRUSHES: Dynasty® Black Gold

• #8,18 Shader- 206S • #4 Round- 206R

• #10 Wave Filbert- 206WVFIL • #5/0, 0 Liner- 206L

Dynasty® Mezzaluna- Medium • ½” Mop- Series 400

MEDIUMS: • Minwax® Polycrylic Protective Finish- Clear Satin FRAMING SUPPLIES (OPTIONAL): • 16” x 20” Black Frame • 16” x 20” Burlap Fabric

• Tail and Body: Mix Mermaid Tail Plus Black Green (2: l) • Beak and Feet: Antique Gold

• Wattle, Comb and Face: Heritage Brick • Neck and Head: Sable Brown When dry, transfer the details., TAIL: Highlight along the tops of the tail feathers with a float of Teal Green, using the #8 shader. Mop as needed to soften the float. When dry, repeat this step to reinforce the highlight. Let dry. Highlight the bottom of the feathers in AUGUST 2020 ISSUE

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the same way, except the feathers that go under another. Add a touch of water to Teal Green and using the #5/0 liner brush, pull some thin lines out from the tips of the feathers to add an extra highlight. (Image 2)

BODY: Mix together equal parts of the body background color plus Teal Green. Load the #10 Wave Filbert Image 3

Image 2

Image 4

WING: Using the #8 shader and Teal Green, float along the bottom of each wing feather. Start on the left and float the color out to a point on the tip of the wing. Mop to soften the float. Let dry and repeat to strengthen the highlight. (Image 3) Use the #8 shader to basecoat the top of the wing with Heritage Brick. With the same brush, float the scallops on the top of the wing with Terra Cotta. Add a touch of water to Terra Cotta and use the liner to pull some very thin strokes on the scallops. (Image 4)

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and starting at the feet, pull the strokes upward following the direction on the line drawing. I find it easier to turn the rooster surface upside down and pull the strokes towards me. (Image 5) Using the #18 shader, shade under the neck, wing, and

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Image 5

legs with Black Green. (Image 6) Add a touch of water to Light Mocha and using the #0 liner, add the light feathers next to the top of the tail. (Image 7) Add a touch of water to Terra Cotta and using the same brush, add the feathers on the back.

(Image 8) Pull these over the wing and bottom of the tail. Mix together equal parts of Light Mocha and Terra Cotta and add some strokes over this to highlight with the #0 Liner. (Image 9) When dry, use the #18 shader to shade the wing and back where it goes under the neck feathers.

Image 6

Image 7

BEAK AND FEET: Use the Shader brush to basecoat the beak and feet with 2 coats of Antique Gold. Let dry. Using the same brush and Burnt Umber, shade the left side and along the bottom of the feet and also the beak next to his face and along the bottom.

Add a touch of water to Burnt Umber and using the 5/0 liner brush pull little lines in the legs and feet. Also add the mouth line on the beak and the little nose hole the on the top of beak. Highlight the top of the beak and the right side and top of AUGUST 2020 ISSUE

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Image 8

Image 10

Image 11

Image 9

Image 12

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the feet with the #8 Shader with Light Mocha. Add some tiny Black Green feathers where the legs meet the feet. (Image 10) COMB, WATTLE AND FACE: Base coat the comb, wattle and face areas with Heritage Brick using the #8 shader. This will need 2 coats. Let dry. Using Black Green and the #8 shader, shade the comb against the head and the right side of the top points, the face, and the wattle. When dry, transfer pattern for the eye.

Use the 5/0 liner brush to add the eye with Black Green. When dry, add a fine line of Sable Brown around the eye. Add a Light Mocha triangle and two tiny dots for the highlight. Use the #8 shader to shade around the eye with Black Green. To highlight these areas, mix together equal parts of Heritage Brick plus Light Mocha. Use the dry Mezzaluna brush and this mixture to dry brush on the left sides of the points on the comb, the center of the comb, the center of the face and the wattle. (Note: to dry-brush, dip the dry brush in the paint, wipe off most of the paint onto a paper towel. With the remaining paint, scrub onto the surface to leave a soft highlight). Dip the brush into the paint again and wipe ff some of the paint onto a paper towel.

Image 13 Hold the brush vertically and tap the brush onto these areas to give it some “texture”.

(Image 11)

touch of water to Light Mocha and use the #0 liner to add some smaller feathers over the top. Leave the background show through. (Image 13)

FINISHING:

Remove any remaining transfer lines. Varnish with 3 coats of Polycrylic. Let dry.

OPTIONAL FRAMING:

Carefully remove the back panel and glass from the 16” x 20” frame. Cut the burlap to fit the back panel of the frame. Use either hot glue or E600 to glue the burlap onto the panel. Carefully cut the chicken wire, with the wire cutters, to fit the panel.

(Use protective gloves to prevent any cuts from the sharp edges). Lay the chicken wire over the burlap and lay something heavy over the wire to hold it down. (Heavy books work well.) Glue the edges of the wire onto the burlap. Let dry. Insert into the frame and attach with the fasteners that came with the frame. (If needed, small nails can be used to hold in place.) (Image 14) Glue the rooster onto the center of the wire and let dry well. Cut little pieces of raffia and glue under his feet to look like straw.

Image 14

HEAD AND NECK: Mix together equal parts of Light Mocha plus Sable Brown. Add a touch of water to this mixture and using the #4 round brush, stroke in the head and neck feathers. (Image 12) Leave a little of the background show through. Add a

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Enlarge to the size to the surface of your choice.

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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HALLOWE’EN MANIA

It is a wild night and there’s a whole lot of eyes out there...beware!! This pattern will ‘spook’ you into practicing mostly what you already know. There are washes, sponging, floated color as well as the usual base coating and line work. Hang where you will definitely want the most impact!! BOO!!

By Susan V. Cochrane I have been drawing all of my life and am self-taught. I first picked up a paint brush in 1984 and the interest continued with the self-publishing of two books and hundreds of patterns, many appearing in magazines and internet ezines.

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SUPPLIES: STANDARD ACRYLIC PAINTING TOOLS SURFACE: • Arched Plaque, Item No. 31-L305, www.cdwood.com PAINTS: DecoArt® Americana® Acrylics: • Banana Cream DA309 • Burnt Sienna DA063 • Lamp Black DA067 • Persimmon DA293

• Warm White DA239 MEDIUMS: • DecoArt® Americana® Duraclear Varnish™ (Matte) DS21 BRUSHES BY ROYAL & LANGNICKEL™ MAJESTIC • 1/2”, 5/8” Angular Shaders (Series R4160) • #2,4,6,8 Filberts (Series R4175) • 5/0, o Liners (Series R4595)

• 2, 4, 6, 8, 10, 12 Shaders (Series R4150) MISCELLANEOUS SUPPLIES: • Eraser

• Miracle Compressed Sponges (1 or 2 cut to 1” x 1”), www.amazon.com • Palette Paper (Waxed)

• Paper Towels or Tissue • Sandpaper (#400 grit) • Tracing Paper

• Water Container

• White and Gray Graphite Paper

GENERAL INSTRUCTIONS:

The first coat of paint is your sealer. Erase transfer lines as you go. All base coats are solid. Wet the sponge in clean water, squeeze out all the water onto a paper towel. Dab the sponge into the desired color and dab it onto the palette 2-3, times, to remove most, but not all of the paint.

Dab onto the surface varying the direction and pressure applied. Clean the sponge between color changes or use a fresh sponge.

PAINTING:

Transfer an outline for the moon. Base coat it with Banana Cream. Float Burnt Sienna around the outside edges, concentrating the float mainly at both sides. With Lamp Black, paint the background and the land. With the 5/8” Angular Shader or brush of choice, streaky float horizontally on the moon to create wispy shadows with Lamp Black. Streaky float Warm White horizontally on the sky next to the land. Some of the floats will continue across into the moon.

Transfer the house shape, windows, and door.

The windows and the door are already the base coat color. If they are not, paint them with Banana Cream. Float Burnt Sienna across the top, bottom or left-hand side of the various windows and the door. Sponge over this float faintly with Burnt Sienna, just enough to break up the float and add a little texture.

HOUSE: Base coat the house walls, chimney, and the roof with Lamp Black. Transfer the window pumpkins, the cat, the skeleton, webs, and window grids and paint them with Lamp Black. Transfer or freehand the pumpkin and cat eyes with Banana Cream.

Dry brush the skeleton bones, the cat body and head and the window grids with Warm White.

Float a touch of Lamp Black along the lower bottom edge in the top left window. Transfer and paint the ghost with Warm White and dot the eyes with Lamp Black. Dot the ornaments above the ghost with Banana Cream.

Transfer the letters BOO and the cobwebs holding the letters. Paint the letters with Lamp Black and partially outline them with Warm White.

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Dry brush Warm White on the letters away from the edges. Paint the open spaces in the letters with Banana Cream. Transfer and paint the ghosts inside the open spaces using Warm White. Dot the eyes with Lamp Black. Float Banana Cream plus a touch of Lamp Black to shade the empty spaces around the edges of the letters and the ghosts. Paint the cobwebs with lines of Warm White.

WALLS, ROOF AND CHIMNEY: Dry brush away from the edges using Warm White.

STEPS: Float Warm White along the top edge of the first step at the base of the house walls. Paint a faint line of Warm White for the next step down. Dry brush some horizontal lines for the remaining steps.

GHOSTS: Transfer and paint with one coat of Banana Cream and then paint with one coat of Warm White. Paint the eyes/ mouths with Lamp Black. Float Lamp Black on the background next to the ghost bodies on the moon and, when dry, on the ghost bodies 2,3,4 that are next to a wall or roof. Outline the window frame behind ghost 4 with Lamp Black.

Float Burnt Sienna on the ghost bodies either on the left- or right-hand side. Paint the cobweb on Ghost 1 with Lamp Black.

Transfer the craggy tree, the fence, the pumpkin witch, all eyes in the sky and all remaining pumpkins.

TREE: Paint the tree with Lamp Black. Outline the trunk and branches randomly with thin lines of Warm White. Dry brush the trunk and some branches with Warm White.

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FENCE: Paint the fence with Lamp Black and add partial lines of Warm White.

PUMPKIN WITCH: Paint the head with Persimmon and the eyes and mouth with Banana Cream.

Paint the hat and ‘gown’ with Lamp Black if not already painted. Outline the brim of the hat and paint the tie with broken lines of Warm White.

Dry brush the folds of the ‘gown’ and the brim of the hat with Persimmon.

EYES IN THE SKY: Paint the eyes and mouth with Banana Cream. Paint the irises and line the teeth with Lamp Black. Line/dot the pupils with Warm White.

REMAINING PUMPKINS: Paint with one coat of Persimmon, and the stems are Lamp Black with some outlined partially with Warm White. Paint the eyes and mouths with Banana Cream.

Float a touch of Lamp Black on the top next to the stems and along the bottom edges.

STORK, NEST, WITCH AND BATS: Transfer and paint with Lamp Black. Dry brush the body of the stork with Warm White.

FINISHING:

Apply 2-3 coats of varnish.

Hang and spook the neighborhood!

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Enlarge to the size to the surface of your choice.

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 Look into the Historical Florals of Decorative Painting

By Diane Marie Kellogg

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Part 3

PAINTING WORLD MAGAZINE

Welcome back. Part One of our series started in England and continued into France. Taking a loving look at the arts of canal boat painting, vardo painting, and tole painting. Now our journey continues into both the Netherlands and Norway for a fascinating look at both Hindenloopen and Rosemaling.

The next stop on our floral filled trip is the Netherlands. Informally known as Holland, this is a country that brings to mind tulips and windmills, which have become symbols of this beautiful country. Is it any wonder that we find the origins of Hindenloopen here? Named after a harbor village from Friesland in the Netherlands, it began in the 17th century as a form of wood carving.

The paint was added and created a colorful and recognizable style of design. Eventually, the designs were just painted, not carved.

(See photo on page 58).

A portion of the painting, De Heer heeft gegeven, de Heer heeft genomen by Christoffel Bisschop, (1828-1904) used to show examples of the Hindeloopen style. I highly recommend a search for more of Christoffel’s art, more than one piece shows the Hindeloopen style within his paintings.

Originally influenced by oriental art brought home

by Dutch travelers, they mimicked porcelain by painting similar designs on wood.

Acanthus scrolls and small flowers form the basis of the designs, with flowers such as poppies, daisies roses and, of course, tulips. Traditional colors include greens, blues, and reds. Pieces are also painted in different shades of a single color. The sides and bottoms of pieces were often painted using a marbleized effect.

to ‘rose painting’. A form of decorative painting, usually done on wood, that uses C and S strokes, along with scroll and line work to create a plethora of florals. Both subtle and vibrant colors can be used. The carved scrolls of Viking boats have been suggested as the precursor of rosemaling.

Heddal Bygdetun is an open-air museum in Notodden, Norway that displays buildings from old farming communities that date back to the late 1800s.

While there are many styles of rosemaling, three of the main styles are named for the locations where they originated, Telemark, Hallindal, and Rogaland. Each has a unique take on rosemaling.

Telemark uses a Rococo style with flowing, disproportionate designs, and translucent backgrounds. Hallindal uses a Baroque style with strong colors and proportional design. Rogaland uses an oriental style with darker backgrounds, latticework, and more realistic florals.

Beginning in the mid 18th century, rosemaling was a 2-D adaptation of the Baroque and Rococo artistic styles that were introduced into rural civilization. Poorer members of society trained then traveled, painting churches and homes.

Regional styles developed as they moved from one place to the next. Norwegian immigrants brought this beautiful style of painting to the United States, often seen on the painted trunks they carried their belongings in. In 1860, rosemaling suffered a decline in popularity but it experienced a revival in 20th century America,

Birds and scenery are also used, the bird is meant to scare off evil spirits while the scenery is often painted very simply.

This form of art would suffer a decline in the 18th and 19th centuries only to experience a revival in the late 19th century, where new forms developed including the Roosje and Huttinga styles.

From here we head on to Norway and the very popular art of Rosemaling. Rosemaling translates Photo Credit – Public Domain Pictures, Pixabay.com

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Photo ‘ Rambergstugo at Heddal Bygdetun’ by Lisa Amalie Elle

Stave Church photo by Micha L. Rieser

with Norweigen-Americans becoming interested in their ancestor’s art. Per Lysne is often credited with the revival, trained in Norway for rosemaling, he worked in the states as a wagon painter.

When business slowed during the Great Depression, he started rosemaling again.

An example of the Raudsaumsmalingin style, painted by Jan Boettcher.

Photo Credit – Jan Boettcher, used with permission. This design is a non-traditional style, created by Bjorg Kleivi, painted on a non-traditional surface.

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I interviewed Jan Boettcher, a painter, and teacher who started her journey into rosemaling in 1980. With a heritage of Norwegian, Danish, and German she followed in her NorwegianAmerican ancestor’s footsteps, looking to paint as earlier ancestors had. Her grandmother’s family had come to the states from the Valdres area of Norway.

Since her first class, she has continued to learn, taking classes at Vesterheim and in Norway. Jan uses oils, following tradition. She does, however, also paint on nontraditional pieces.

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She studies old pieces for ideas and possibilities, she may use one aspect of the piece to work out a new design. She points out that many aspects of rosemaling are symbolic, referencing the original painting of churches and that even the strokes have a ‘meaning or a symbolism’. She plans to write a book on Rosemaling in the future.

As a teacher, she not only teaches the painting but also the history of rosemaling. She has graciously given us two Hallindal designs to use in our own art. See pages 62-63.

I highly recommend you learn more about Rosemaling and Jan from her website and social media pages.

Contact Jan Boettcher

www.turnofthecentury-in.com Facebook – Jan Boettcher and also the Thorntown Malers.

Classes she recommends:

• www.artfulwebinars.com, an online class in October.

• She will also be teaching at Fletcher Farm, www.fletcherfarm.com in August 2020.

• She also recommends online classes at www. oilpaintingexpressions.com.

SOURCES

• Aretezan.Com, ‘Hindeloopen’, Traditional Folkart

• Wikimedia Commons, Public Domain, De Heer heeft gegeven, de Heer heeft genomen

by Christoffel Bisschop, (1828-1904)

• Aretezan.com, ‘Rosemaling’, Traditional Folkart • Wikipedia.com, ‘Rosemaling’

• Jan Boettcher, www. turnofthecentury-in.com • Pixabay.com

• WikimediaCommons. com

An example of the Telemark style, painted by Jan Boettcher.

Photo Credit – Jan Boettcher, used with permission.

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Enlarge to fit the surface you choose.

Hallindal designs Š2003, compliments of Jan Boettcher, used with permission.

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

AUGUST 2020 ISSUE

PAINTING WORLD MAGAZINE

Enlarge to fit the surface you choose.

Hallindal designs Š2003, compliments of Jan Boettcher, used with permission.

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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MIXED UP SPELLS

By Deb Antonik

SUPPLIES

• Snow “Titanium” White

SURFACE • 11”x14” Wood canvas panel (available at your local craft store)

• Bahama Blue

SUPPLIES: • Stencil Under the Sea Bubbles www. chipboard.ca

• Stencil BCS301 Batty Backgrounds www. lauriespeltz.com • Stencil Halloween Subway Words www. cdwood.com

• Stamp Stampendous® 6CR021 Posted Script www.stampendous.com • Makeup sponge (for loading stamps) • Baby wipes

• Palette Knife

• Fine sand paper

• 3 flat back Crystals

• Aleene’s® Tacky Glue® PAINTS AND MEDUIMS: • DecoArt® Multi-Purpose Sealer

• DecoArt® Extreme Sheen Pewter • DecoArt® Media Gesso – White

• DecoArt® Media Modeling Paste – Black • DecoArt® Matte Sealer Finishing Spray

DecoArt® Americana® Acrylics: • Lamp Black • Mocha

• Raw Sienna

• Burnt Sienna

• Light Buttermilk

• Peacock Teal

• Tropical Blue

• Brilliant Purple • Royal Purple

• Dioxazine Purple • Summer Squash • Sunny Day

• Dragon Fruit • Electric Pink

• Cinnamon Drop • Napa Red

• Orange Flame • Tangerine • Scarlet

• Naphthol Red • Irish Moss • Margarita

• Leaf Green

• Holly Green BRUSHES: Available from www.thebrushguys.com Dynasty® Black Gold (206 Series) • ¾” Flat shader 206S

• #10, #6, #4, Flat Shaders 206S • #1, #2 Round Brush 206R

• 5/0, 10/0 Script Liner 206SL • 3/8”, ½” Angular Shaders 206A • ½” Dynasty® Stencil Brush

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PREPARATION:

Note: Refer to the color photo for shading and detail placement.

Seal the entire surface with a coat of DecoArt® Multi-Purpose Sealer mixed 1:1 with Peacock Teal.

Let dry, Sand lightly.

PAINTING INSTRUCTIONS:

Note: Instructions are written to paint the project as I have painted it.

BACKGROUND: Basecoat the background, in a slip/slap method, and working in small areas until completed as follows: Load the 3/4” brush with Peacock Teal and quickly paint a small area of the background. While still wet, and with the dirty brush, pick up Bahama Blue. Slip/slap this into the Peacock Teal to create a soft cloud like look. Do not over work, you want to still see different tones of the Peacock Teal.

Repeat this process to complete the background, pick up more of the Peacock Teal or more of the Bahama Blue as desired. Let Dry. Stamp the background with the Posted Script stamp loaded with Tropical Blue. Use the makeup sponge to load the stamp. Stamp randomly and keep the stamped imaged imperfect and incomplete. Let dry.

Trace on the pattern for the witch, the potion bottles, and pumpkin. Designs can be traced on later. Shade around the design with Tropical Blue.

WITCH: Witch Hat and Dress:

Paint solid with Lamp Black.

Stencil with DecoArt® Extreme Sheen Pewter using the larger design side of the Batty Backgrounds stencil.

Float highlights and paint inside the sleeves with the Pewter.

Hat Band:

See below.

Trace on the potion bottles and the pumpkin designs.

SPIDER: Stipple the spider with Lamp Black tipped in a little Bahama Blue. Line and dot the legs with Lamp Black. Line the legs with Snow “Titanium” White.

Dot the eyes with Snow “Titanium” White. Dot the eyeballs with Peacock Teal. Dot the pupils with Lamp Black. Line the string to the hat with Lamp Black, then line a highlight with Snow “Titanium” White.

FACE, NECK, AND HANDS: Basecoat with Mocha. Trace on the face design.

Shade with Raw Sienna. Highlight with Light Buttermilk. Deepen shading with Burnt Sienna.

Paint the cheeks with a very soft wash of Electric Pink. Float along the tops of the cheeks with Dragon Fruit.

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Eyes:

Blue Bottle:

Paint the eyeballs with Peacock Teal, shade with Tropical Blue, highlight with Bahama Blue.

Dot the pupil with Lamp Black. Dot, then line a highlight, with Snow “Titanium” White. Reinforce the eyelid if needed with a liner stroke of Mocha.

Basecoat the label with Light Buttermilk, shade with Raw Sienna. Highlight with Snow “Titanium” White. Deepen shading with Burnt Sienna. Line the lettering and the string with Lamp Black.

Paint the eyes with Snow “Titanium” White.

Shade with a little Raw Sienna.

Mouth: paint the lips with Napa Red. Line highlight with Snow “Titanium” White. Line the face features with Lamp Black. Paint the choker with Lamp Black.

Hair:

Basecoat with Orange Flame. Shade with Scarlet.

Highlight with Tangerine. Deepen shading with Naphthol Red. Brighten highlight with Sunny Day. POTIONS AND SPELLS: (From left to right) Purple Bottle:

Basecoat with Brilliant Purple. Shade with Royal Purple. Highlight with Bahama Blue.

Deepen shading with Dioxazine Purple. Stencil using the smaller side of the Batty Backgrounds stencil as follows, Stars with Summer Squash.

Bats with Lamp Black. Dots with Electric Pink.

Note: I move the stencil around to cover most of the bottle. Shade the stars with Orange Flame.

Highlight with Sunny Day. Outline around the stars with Snow “Titanium” White. Dot the Bat eyes with Snow “Titanium” White. Use the end of a brush to dot over the pink dots with Electric Pink to make them brighter. Basecoat the tag with Light Buttermilk, shade with Raw Sienna.

Highlight with Snow “Titanium” White. Deepen shading with Burnt Sienna. Line the lettering and the string with Lamp Black.

Basecoat the bottle with Peacock Teal. Shade with Tropical Blue. Highlight with Bahama Blue.

Line the strings on the bottle neck with Irish Moss tipped in Holly Green stroking from the left towards the middle. Line again with Irish Moss tipped in Margarita stroking from right to Left.

Line highlights with Sunny Day. Basecoat the cork with Raw Sienna. Shade with Burnt Sienna. Highlight with Summer Squash. Line the stripes with Sunny Day. Pumpkin Bowl:

Basecoat the pumpkin with Orange Flame. Shade with Scarlet. Highlight with Tangerine.

Deepen shading with Naphthol Red. Brighten Highlights with Sunny Day. Basecoat the nose with Burnt Sienna. Shade with Napa Red. Highlight with Orange Flame. Line the stripes with Sunny Day. Basecoat the eyes with Light Buttermilk. Shade the bottoms with Raw Sienna. Highlight with Snow “Titanium” White.

Basecoat the eyeball with Peacock Teal. Shade with Tropical Blue. Highlight with Bahama Blue.

Basecoat the pupil with Lamp Black. Line and dot the sparkle with Snow “Titanium” White.

Basecoat the mouth with Light Buttermilk. Shade

Bubbles:

Softly stencil the bubbles with Light Buttermilk so they are soft and transparent.

Shade the larger bubbles with Brilliant Purple, Irish Moss, Dragon Fruit and Peacock Teal.

Highlight with Snow “Titanium” White.

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the bottoms with Raw Sienna. Highlight with Snow “Titanium” White. Paint the alternating teeth with Lamp Black. Line all stitching with Lamp Black.

Frog:

Basecoat with Irish Moss. Shade with Leaf Green.

Highlight with Margarita.

Deepen shading with Holly Green. Highlight and dot above the mouth with Sunny Day. Basecoat the eyes with Light Buttermilk. Shade the bottoms with Peacock Teal. Highlight with Snow “Titanium” White. Dot the pupil with Lamp Black, then with Snow “Titanium” White.

Spell Book:

Basecoat the book with Dragon Fruit. Shade with Cinnamon Drop. Highlight with Electric Pink.

Deepen shading with Napa Red. Basecoat the pages with Light Buttermilk. Shade the bottoms with Raw Sienna, highlight with Snow “Titanium” White. Line the stripes on the book spine and the pages with Pewter. Line the lettering with Lamp Black.

Potion Bottle:

Basecoat with Brilliant Purple. Shade with Royal Purple. Highlight with Bahama Blue. Deepen shading with Dioxazine Purple. Basecoat the label with Light Buttermilk, shade with Raw Sienna.

Highlight with Snow “Titanium” White. Deepen shading with Burnt Sienna.

Line the lettering and the string with Lamp Black.

Bubbles:

See Bubbles above.

Line the bows with Peacock Teal. Line highlights with Snow “Titanium” White.

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Purple Table:

Basecoat with Brilliant Purple. Shade with Royal Purple. Highlight with Bahama Blue. Deepen shading with Dioxazine Purple.

Line the curly legs with Pewter.

Line the stripes and dot the tabletop with Pewter.

Pink Bottle:

Basecoat the book with Dragon Fruit. Shade with Cinnamon Drop. Highlight with Electric Pink.

Deepen shading with Napa Red. Line the strings on the bottle neck with Peacock Teal tipped in Tropical Blue stroking from the left towards the middle. Line again with Peacock Teal tipped in Bahama Blue stroking from right to left. Basecoat the star with Summer Squash. Shade with Orange Flame. Highlight with Sunny Day. Line the stripes with Peacock Teal and Snow “Titanium” White.

Basecoat the tag with Light Buttermilk, shade with Raw Sienna. Highlight with Snow “Titanium” White. Deepen shading with Burnt Sienna. Line the lettering and the string with Lamp Black.

Incense:

Line the Incense with Burnt Sienna by pulling from the top towards the bottle.

Repeat with Raw Sienna. Repeat again with Raw Sienna tipped in Summer Squash. Finish with a lined highlight of Sunny Day. Line the string and bow with Peacock Teal and highlight with Snow “Titanium” White. Line the zig zags at the top on the incense with Snow “Titanium” White.

Green Bottle and Lid:

Basecoat with Irish Moss. Shade with Leaf Green.

Dry brush and float highlights with Margarita.

Deepen shading with Holly Green. Dry brush and float highlight with Sunny Day. Basecoat the moon with Summer Squash. Shade with Orange Flame. Highlight with Sunny Day. Paint the witch silhouette with Lamp Black. Dot with Sunny Day. Line the lettering with Lamp Black. Line the stripes on the lid with Snow “Titanium” White and lamp Black. Line the zig zags with Snow “Titanium” White and lamp Black. Basecoat the stars with Summer Squash. Shade with Orange Flame. Highlight with Sunny Day. Dot with Snow “Titanium” White.

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FROG BAT: Basecoat with Irish Moss. Shade with Leaf Green.

Highlight with Margarita. Deepen shading with Holly Green. Highlight and dot above the mouth with Sunny Day. Basecoat the eyes with Light Buttermilk.

Shade the bottoms with Peacock Teal.

Highlight with Snow “Titanium” White. Dot the pupil with Lamp Black, then with Snow “Titanium” White. Line the fangs with Snow “Titanium” White.

Basecoat the wings with Lamp Black. Highlight, then line with Pewter. Dot the points with Lamp Black. Lien and dot the antenna with lamp Black.

FINISHING:

Outline as desired with Carbon Black. Spray with DecoArt® Matte Sealer Finisher Spray. Adhere flat back crystals to the eyes on the pumpkin and the choker.

OCTOBER 31 AND LITTLE BATS: To create some depth, I used a palette knife and the Halloween Subway Words stencil to add the “October”.

Hold the stencil in place and gently apply the Black Modeling paste with a palette knife. Let dry, then repeat for the “31st” Optionally, you can just stencil with Lamp Black. Repeat to add the tiny bats randomly onto the background.

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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.

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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.

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PASSING THE PAINTBRUSH...

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