February 2020 Issue Painting World Magazine by Loon Publishing, LLC.

Decorative Painting, Mixed Media, Fine Art & More!

February 2020

Painting World

Issue 25

ÂŽ

magazine An introduction to a five-part series on decorative painting and its deep roots. p 22 Cover Artist: Tracy Moreau

$9.00 USA $11.50 Canada

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Contents TUI BIRD FEATHER

ELEGANCE OF MAGNOLIAS

8 By Cindy Makowski

14 By Sherry C. Nelson

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PERFUMES

24 By Diane Trierweiler

36 By Jan Boettcher

HEARTS AND ROSES

Cover Artist

TULIP PARFUMERIE

41 By Tracy Moreau

MAMMA BEARS HAVE THE BEST HUGS

By Alessio Meggiato & Sandy Kelsey

HARLEY THE TRAVELER DOG

54 By Elisabetta De Maria

TWO HEARTS, ONE LOVE

64 By Barbara Bunsey

More Great Articles

SPRING HAS SPRUNG

69 By Michael Cheek

22 29 32 53 77 78

ADVERTISERS INDEX

An Introduction

Zebra Jacket

Jim McVicker

Passing the Paintbrush

Directory of Artists

Directory of Suppliers

2 Bear with Us

45 Tracy Moreau

7 Country Pathways

80 Dixie Belle Paints

7 Smooth Cut Wood 7 Plain & Simple Magazine

45 Pinecraft

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Call For Artists

WE WANT YOU!

Be featured in Painting World Magazine’s printed edition

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

Your work could be seen by thousands of print & digital subscribers & over 16,000 online social media followers!

What We’re Looking For: Intermediate to Advanced Painting Projects

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

WWW.PAINTINGWORLDMAG.COM FEBRUARY 2020 ISSUE

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FROM THE Editor

Letter from the Editor

Here comes 2020!!! How exciting to start a new year. We have updated our Editorial Calendar with great new themes to provoke wonderful new ideas. Please take a look at our calendar at paintingworldmag.com under the tab that says submit for design submissions. We hope that 2020 is a great year for each of you.

Kole

Who We Are Painting World Magazine is owned and operated by Loon Publishing, LLC., which is an independent publishing company. We are completely dedicated to the joy of creating delivered to our readers! We select only the best articles from the top designers in the industry and will be featuring all the hottest new techniques, products and artists. 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! ORDERS FOR BACK ISSUES WILL PAY ACTUAL COST TO GET THEM FROM THE US TO CANADA.

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Painting World Magazine 205 South State Street Waseca, MN 56093 937-343-4440 (Monday-Thursday 9am-1pm CT) EMAIL info@paintingworldmag.com SOCIAL MEDIA Facebook: facebook.com/ PaintingWorldMag Twitter: twitter.com/ Painting_World YouTube: Search Painting World Magazine PROOFING & EDITING: Loon Publishing Sales & Marketing: Loon Publishing SUBMISSIONS INFO: paintingworldmag.com/pages/ submissions

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. All rights reserved on entire contents of magazine. We are not responsible for loss of unsolicited material. We reserve the right to edit and publish correspondence unless specific commentary and/or name and address are requested to be withheld. Reproduction of editorial or advertising contents in any way whatsoever without the written permission of the Publisher is strictly prohibited. The instructions in this magazine are published in good faith and have been checked for accuracy; however, no warranty, either expressed or implied, is made nor are successful results guaranteed. Subscription rate $38.00 includes S&H for 6 issues. Distributed in the United States, Canada and worldwide. Printed by Quality Print, Waseca, MN.

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CONVENTIONS , EVENTS &TRADE SHOWS New England Traditions presents

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

New England’s premiere decorative painting experience... Great Teachers, Great Classes, Great Shopping, Fall Foliage & more! Painters: ONLINE CATALOG and online registration make it easy! Join, Like & Share us on Facebook! Businesses: Advertise with us! Teachers: Thank you for your creativity and dedication to NET!

NewEnglandTraditions.org All inquiries to robinprout@yahoo.com. See you in October! Sponsored by the New England Chapters Council, Society of Decorative Painters, at Best Western Royal Plaza, Marlborough, MA NET 2020 artwork by Nancy Scott, CDA ©2019 NECC

Pin It Canada Pin It Canada – Ontario London, Ontario June 12-13, 2020 Pin It Canada- Quebec http://www.pin-itcanada.com Creative Painting Las Vegas Las Vegas, Nevada Feb. 16-21, 2020 http://vegaspaint.com/

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New Book

Country Pathways Vol. 10 By Annette Dozier 9 Projects in oils and acrylics Order at annettedozier.com annettedozier@att.net 314-808-8290

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Tui Bird Feather By Cindy Makowski www.Cindysbrushstrokes.com

Cindy discovered painting in the late 90â&#x20AC;&#x2122;s and continues to learn every day. She was finally able to take early retirement in 2017 to commit full time to her 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.

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SUPPLIES:

SURFACE: • Turkey Feather - 8” minimum

HINT: Paint absorbs into the feather. We will jump around to allow absorption time and not lose ﬁne details by painting too soon.

SUPPLIES: • Masking tape

PAINTING INSTRUCTIONS:

• Scissors • Felt

BRUSHES: • 1/4” angle • #2 round • #2 ﬂat

• Script liner or small detail PAINTS:

DecoArt® Americana Acrylics • Prussian Blue • Ultramarine Blue • Ocean Blue • Black

TUI BIRD: Note: Each feather and feather type that you use will be different in coloration. Use judgement and modify as necessary, then go back and adjust. Example - We will start by putting in base details such as the eye so as not to lose it. Base in with Black. (If your eye is on a black stripe - use blue or lighter brown- when we go back to do final details, you can repaint black before adding finishing touches). Base Layer Blues: See Photo 2. Using your small round detail brush, fill in the area around the eye, and down the beak using a dark mix of Prussian Blue and Black with a tiny touch of

• Citron Green

• Titanium (Snow) White • Bittersweet Chocolate • Burnt Sienna

• Honey Brown • Sunny Day • True Red

SPECIALTY PRODUCTS: • Acrylic gloss spray

PREPARATION:

Feathers should be washed in soap and water with a touch of bleach and dried on paper towels overnight. Tape the backs of the feathers. Use either white graphite paper and stylus to trace the pattern or the “Cindy’s Critters Tui Bird rubber stamp” available on my website. www.Cindysbrushstrokes.com. See Photo 1. Photo 1

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Ultramarine Blue. It is darker around the eye and brighter out along the beak. Make the lower beak slightly darker and carry the dark color down the neck. Using your detail script, a dirty white line can be added now for the separation of the lower and upper beak. You can thin the paint slightly but do not try and make it inky thin as too much water will cause your paint to bleed out into the feather. Use either your detail round or 1/4” angle and lighten the mix with more Ultramarine Blue for the top of the head and behind the eye. Scrub in some blue color for the remaining back of the neck and upper back /shoulder area. Do not add the blue color to the brown feather area. Add more Prussian Blue and a touch of Black, if needed, to darken once again and lay in the base coat of the wing and tail feathers. Leave spaces between strokes, they do not need to completely touch or overlap, just be close. Let this dry and absorb for a moment before adding the next layer. You can use this same dark mix to base in the feathers on the “thigh” area of the bird. 2nd Layer Blues: With the small detail round, make a green blue mix on the greenish side, using Citron Green and Ocean Blue with a touch of Ultramarine Blue if needed. Scrub this into the area behind the eye going to the back of the neck and down the side of the neck. You can add a few strokes in the back and side neck area. See Photo 3. With the detail or script liner, mix a dirty white (cream) color and pull in lots of tiny almost hair like feathers that curl down from the base of the head, down to the brown area and over the blue of the wing shoulder area. See Photo 4. With your 1/4” angle brush, load a mix of Ultramarine Blue and a touch of Prussian Blue. Add a second layer of feathers for the tail and wing and chest area. Be sure to leave space and separation between feathers and do not cover all the dark. Let absorb for a moment and add Ocean Blue to the mix and add additional

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highlights to the edges of the feathers and tips. Add the highlight to the top of the head. See Photo 5. Add minimal highlight to the thigh area, just enough to indicate feathers and break up the darker color. If your beak needs additional highlight, add a light touch of the Ultramarine Blue with a touch of Prussian. We do not want a bright blue beak, just a streak of highlight. Brown Feather area Base: See Photo 6. Use a mix of Bittersweet Chocolate and Black to base in the brown feather area along the back and the belly. The belly will be darker than the back. While this absorbs you can start basing in the flower branch with a brown mix - Bittersweet Chocolate and Honey Brown added to your dirty brush is just fine. Rinse your brush if needed if you have too much black or dark color. 2nd Layer Brown: Add a second layer of feathers to the brown area using a combination of Burnt Sienna / Bittersweet Chocolate/ Honey Brown, varying the shades. Final Highlights and Low Lights Blue: Add any additional highlights using Ocean Blue with a touch of Ultramarine to tone down just a bit. Add in any dark shadows and layer separation such as the layers in the wing with a touch of Prussian Blue. If you went overboard with the dirty white in the head, just add some darks back in with Prussian Blue and Ultramarine Blue. Head highlights with a few strokes of mostly straight white. Add a light wash of Citron Blue Green on the right side of the neck. On the wing to the right point of the shoulder there is a tiny white spot of feathers. Final Highlights Brown: With Honey Brown and White, for a light cream color, add some final highlight strokes of light

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Photo 2

Photo 5

Photo 6

Photo 3

Photo 7

Photo 4

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brown feathers. In the dark underbelly area, there are a few pinpoint edges of feathers that are light brown.

Photo 8

See Photo 7. Notice: We did not do the legs yet - waited until the branch was in as they go on top of the branch. Branch Highlight and Shade: Add a highlight on the left using Honey Brown and Sunny Day and a shadow color of Honey Brown and Burnt Sienna, with a touch of Bittersweet Chocolate. Legs of the Bird: The Legs are blue gray in color with a whitish highlight. Base in using your detail round with a dark grey mix of Ultramarine Blue/Black/White/ touch of Burnt Sienna. Add a highlight adding more white to the mix and a touch more blue if needed. FLOWERS:

First Layer: Place the stem and base of the flowers first, using your detail round. Mix a dark mix of Bittersweet Chocolate and a touch of Black. From the stalk or branch, pull upward at a curve and branch off similar to the fingers of your hand, as if you were holding a tiny ball. With the 1/4” angle, load a dark red mix of True Red and Bittersweet Chocolate. Touch and pull into the dark brown on a curve like that of your curved fingers, one or two strokes for each flower. Give this a second to absorb and dry. Second Layer: Wipe off brush no need to wash. Add True Red and add a second layer onto of the first layer of color. Make your strokes slightly offset so that some of the dark still shows. While this is still wet, pick up the Sunny Day on the tip of your detail brush and add the Stamen dots on the ends of each flower, then streak the yellow down into the red for the highlight. Check your design over. Add touches of highlights, lowlights or color as needed. I added more dark under the brown feathers below the white spot, so they stood out more. Each case will be different, depending on paint absorption into the feather. FEBRUARY 2020 ISSUE

Don’t forget to sign your feather, just like any other painting! When your feather is dry, spray with a sealer to prevent the paint from chipping off the spine. See Photo 8. I hope you have enjoyed painting on feathers as much as I do. As always, send me photos of what you create. I love to see them.

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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. Download all drawing patterns at http://bit.ly/FEB2020Drawings

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Elegance of Magnolias By Sherry C. Nelson, MDA

Magnolias are such elegant flowers... Their size, the creamy colors, the wonderful leaves which may be a whole range of warm greens and cool, and - don’t forget the fabulous rusty ones! How beautifully they unify with the sienna stems and branches. Let’s face it, it’s hard to find anything not to like about this marvelous tree. I find that painting inside a tray bottom or a bowl is awkward. It forces me to hold my brush at a more vertical angle, one that makes it more difficult to apply the exact thickness of paint and blend it just to please me. Yet, I wanted so much to use this wonderful new galvanized tin tray from Painter’s Paradise. My personal solution is to cut a surface exactly the size of the tray bottom, prep it as desired, and do my painting on that. In addition, I then have the option of dropping in a Plexiglas oval on top of the finished piece for protection.

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SURFACE: I cut a firm poster board piece exactly to fit the tray, which is a size 14.5” x 9.75”. An 11” x 14” rectangular hardboard panel, canvas or a wood piece of a similar size could be substituted if you’d rather frame your work. BACKGROUND PREPARATION: Base painting surface with Ceramcoat Bridgeport Grey. Roll smoothly, and allow to dry. Sand with #220 wet/dry sandpaper. Recoat with same color, and again, let dry. Sand again. Spray with Krylon Matte Finish, # 1311. TIPS FOR WET-ON-WET ACRYLIC BACKGROUNDS: Remove lids of new bottles of acrylic and fill to bottom of neck with water. Replace lid and shake well. This will reconstitute paint to original consistency. Add enough water to bring partially used bottles to the same consistency. TRANSFERRING THE DESIGN: Use the inked design to transfer to the painting surface. You will want to use dark graphite for this background. Lay graphite paper over the prepared painting surface. Place inked design on top of graphite. Lay a piece of tracing paper on top of design to protect original during transfer. Tape stack into position. Transfer design completely and carefully, such as all floral detail, and precise shape of container. Check during process to make sure design is coming off on surface clearly. If too faint, change to a newer piece of graphite. Use artist’s graphite for oils, not the papers created for acrylics that are water soluble. PALETTE:

Winsor & Newton Artist’s Oils: Ivory Black (B), Titanium White (W), Raw Sienna (RS), Raw Umber (RU), Burnt Sienna (BS), Sap Green (SG), Cadmium Yellow Pale (CYP), and French Ultramarine (FUB. BRUSHES: Sherry C. Nelson Series 303, # 2, 4, 6, 8. Series 312, # 0 round.

USING A DRIER: Cobalt Siccative, a drying agent, may be added in fractions of a drop, to each patty of oil paint on your palette to speed drying time. I use it EVERY time I paint. If color does not remain workable on the palette for at least 8 hours, you are simply using too much. Dip palette knife into drier, bleed off excess against side of bottle, then touch knife tip NEXT to each patty of paint. If too much comes off knife, do not mix entire amount into paint. Mix each tiny ‘freckle’ into paint patty using clean palette knife. Drying time is 6 hours to overnight, depending on particular pigment and relative humidity. UNDERSTANDING THE PAINTING PROCESS: The painted step-by-step photos are to be used as a guide along with the written instructions. Read the written instructions carefully, then work in the sequence given, referring to the multiple step sequence shown in the photos to determine actual color placement, amount of blending to be done and so forth. Instructions are written in the sequence in which I painted the piece; work in that order and finish each element before going on to another. The initial step for each element shows how the basecoat areas should appear, while later steps normally indicate the first blends, as well as application of additional darks and lights. The final steps usually include the finished painting, as well as steps leading up to it. BRUSH LOADING AND BLENDING BASICS: Color should be loaded onto the “Bright” brush from a loading zone, a strip of sparse paint pulled from a patty of paint down on the palette. Mixtures are made by moving from one loading zone to another, working back and forth, to achieve a mix of two or more colors. Wipe brush on a paper towel after applying paint to surface, but before beginning to blend. Blend colors WHERE THEY MEET, using a dry brush and short strokes. Don’t blend randomly over the entire area; just blend ON THE LINE where colors come together, creating a new value and hue with the process of blending. To blend overall will cause loss of values & clarity. See colors on page 20.

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INSTRUCTIONS

Image 1. Prepared background, sprayed with Krylon Matte Finish, # 1311 as detailed above. Use the inked design to transfer to the painting surface. Carefully follow instructions as detailed in Transferring the Design above. Note the use of the all-important tracing paper overlay so that you can tell how precisely you are duplicating the pattern and what parts you still havenâ&#x20AC;&#x2122;t done.

Image 3. Using a #6 brush, base as shown with the following values: Dark/ RU mixed with just a bit of Black, White and RS. After placing dark values, then tip corner of brush in odorless thinner and use it pull out a bit of the dark mix at the edge of the loading zone. Base medium value areas with this slightly thinned mix so that it has a bit of transparency. Light value/ W + RS + B. Check color mixes page for a guide.

When finished, remove all layers of materials from surface. Put dark graphite away, tuck original pattern out of the way and keep the tracing paper overlay sheet handy if needed. Remember - a perfect transfer goes a long way toward a perfect finished painting.

Image 4. Wipe brush dry and blend where values meet, leaving a bit of choppy surface texture.

Image 2. The Palette: Colors are listed and laid out with most frequently used colors in the bottom row and those less used in the top row. From the bottom left: Ivory Black (B), Titanium White (W), Raw Sienna (RS), Raw Umber (RU), and Burnt Sienna (BS). Top row, from the left: Sap Green (SG), Cadmium Yellow Pale (CYP) and French Ultramarine (FUB)...

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Please note: Brush Sizes: Use the smaller brush sizes, #2 and 4 for smaller elements of the design and the #6 for larger areas. Always choose the largest size that is comfortable to achieve the detail necessary. The #6 is appropriate for the basecoat and texturing of larger areas such as the large leaves and container. In addition, I always keep my #8 bright handy; while I donâ&#x20AC;&#x2122;t often paint with that size, I use it dampened with odorless thinner for cleanup, because I find the larger bristle base gives better pressure for removing any messy paint, or graphite lines around the edges of the design. Once a brush is listed in the instructions, stay with that size until it says to change to a different size.

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Image 5. Shade with B + RU. Apply with very dry sparse paint, in horizontal draggy strokes.

Image 6. Roughly blend each color connection on the line where values meet, as shown.

Image 7. Lay highlights on with varying bits of lighter values, using a #2 bright: W, W + a speck of CYP, and W + CYP + RS for a soft beige cast

Image 8. Blend just a bit to soften and add a touch more white to strongest highlights if needed.

Image 9. Using the #4, base stems, branch, leaf stems and brown leaves with the following mixes: Dark/ BS + RU, Medium/ BS + RS, Light/ RS + just a bit of BS.

Image 10. Blend a bit on stems and other areas where values meet. Add some highlights with RS + W. Any additional shading may be added with RU. FEBRUARY 2020 ISSUE

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Image 11. Close up of highlight and shading detail.

Image 12. Close up of highlight and shading detail.

Image 13. Green leaves: Dark/ B + SG + tad of RU. Rusty accent: RS + BS.

Image 15. Finish basing in leaves with these values: Warm light value: SG + RS + W. Cool light value: SG + FUB + W.

Image 16. Here’s a distance shot of all base coated leaves for your reference.

Image 19. Blend new color additions with the natural growth, where values meet. Go easy… you don’t want to overwork the light values or muddy them. Add outlines on a few edges with thinned RS + W mix applied with the #0 round brush. Not too light… keep them subtle. Add a few irregular bits of RU with corner of #2 bright and outline with dirty, thinned W for interesting blemishes.

Image 17. Now it’s time to establish growth direction and a bit of texture with our blending, which is done following the natural growth direction. Blend where the values meet.

Image 14. Close up of leaves.

Image 18. Begin to add highlights, using the warm and FEBRUARY 2020 ISSUE

cool light value mixes + a bit more W added to each. Place slightly lighter highlight on cool light leaf areas with Cool Light mix + a bit more W, same with warm light leaves. Take time to define a few central vein lines now, dark on rusty leaves and light values on green leaves...

Image 20. Base the tendrils with a very thin mix of B + RU + SG + a bit of W to grey. Use the #0 round. Success with this requires very thin paint mix, not too heavily loaded on the lower half of the brush.

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petals for more warmth. Sign the piece, and allow to dry to the touch, at least overnight (with siccative) or several days (without siccative in the paint).

Image 21. Shade inside curves with B + SG slightly thinned, #0 round. Highlight outside or top of curves with slightly thinned light value mix of SG + RS + W on same brush.

Image 22. Rather sparsely, using a #4 or 6 Bright, depending on petal size, base dark values on petals with either a green or a cool grey as shown: Dark grey/ B + RU + a tad of W. Dark green/ B + SG. When all darks are applied, finish basing petals with Light/ dirty brush + W.

Image 23. Blend where values meet on each petal, beginning to follow natural growth directions with strokes of the brush to establish initial shape and form. Add dark center detail within main flower with BS + RU, and BS + RS, using the #2.

Image 24. Add initial clean W highlights using the #4 or 6 brush once again. It looks like paint is rather heavy, but it’s actually applied quite sparingly. White is a heavy, opaque color and you don’t want to get too much too soon.

Image 25. Blend where values meet and then re-highlight with a warmer mix of W + a tad of CYP. Re-blend with growth direction where values meet. At this point, add a few very minimal ‘outlines’ of creamy white to edges of a few petals and flip turns where shown. Use the warmer light mix, thinned with odorless thinner, on the #0 round.

Image 27. On a dry surface apply the final white highlights. Use #4 and pure W. With a little B + RU, add shadows under stem and leaves at bottom of surface.

Image 28. Soften shadows added in the previous step. Blend edges horizontally into the surface with edge of cheesecloth. Add narrow B + RU shadows under right edges of leaves where leaves overlap the container. Soften their edges a bit also. Add any details needed to finish up.

Image 26. Now look how the combination of light and warm light is beginning to give us that magnolia glow! Touch on bits of RS accent at base of some FEBRUARY 2020 ISSUE

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Image 29. If you would like to rouge some warm tones on edges of surface to soften more gradually into the subtle tones of the lattice tray, you can do so now. I make a mix of RS + RU and add a bit of thinner so it will move more easily. Make sparse scrapes on the surface with a flat-bladed palette knife as shown.

Image 30. With cheesecloth, blend edges of each flat area of paint into surrounding surface. Push firmly, and work slowly, controlling how much you remove to suit your taste.

Image 31. Voilà!! You’re all done. When the painting surface is totally dry, you are ready to drop it into the tray bottom and cover with a piece of Plexiglas to protect the painting from damage. FEBRUARY 2020 ISSUE

Image 32. Final Beauty Shot.

OPTIONAL:

Image 33. Original galvanized tin tray.

Image 34. Antiqued with a very thinned mix of RU + RS oil paint, almost watery. Brush on with synthetic 1/2” brush, and then remove excess with cheesecloth. Allow to dry and then spray with Krylon Spray Varnish # 7002.

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COLORS

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Enlarge by 200%.

Download all drawing patterns at http://bit.ly/FEB2020Drawings 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. FEBRUARY 2020 ISSUE

PAINTING WORLD MAGAZINE

An Introduction

By Diane Marie Kellogg

As you lift the brush and prepare to begin work on your next project, do you wonder what came before? The world of decorative painting is a vast one, honed over the years by many an artist, anxious to share their knowledge with the next. Often referred to as a craft and not an art, there are many who would question its legitimacy in the art world. Perhaps one could mention the work of many great artists, who began by studying and copying the work of their mentors. So, it would seem, the art of the florals which bloom along the historic trail of the past have followed a similar route. In this five-part series, we will take you on a journey throughout those wonderful floral strokes. A world of decorative painting styles that will literally take you from one land to the next, following the ever-flowing beauty of brush worked blooms. From Norwegian rosemaling to the German Baurenmalerei, from Russian Zhostova to Swedish Dala, this floral art form has traveled the world. These adaptations of floral painting will amaze you with their beauty when seen through the eyes of so many diverse peoples.

Be sure to join us when part one of A Look into the Historical Florals of Decorative Painting debuts with the next issue of Painting World Magazine.

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Perfumes Many people are intimidated by the word decoupage or anything related to it. Please donâ&#x20AC;&#x2122;t be. I love multimedia projects. It actually takes some of the work out of the project. Even gold leaf is not hard to accomplish and adds so much to the piece. Experiment with anything you paint. The creativity in yourself comes out.

By Diane Trierweiler

I have been painting for about 45 years. I began with oil as my medium and then moved on to acrylics and watercolors. Thirty-three years ago, I opened a decorative painting shop in Norco, California called The Tole Bridge, where I teach classes regularly. I travel teach to painting chapters and conventions. I have a full line of packets, books and DVDs. I also have my own line of specialty brushes. The joy of painting and teaching has ďŹ lled my life with much satisfaction and it has given me the chance to meet so many wonderful people.

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SUPPLIES:

• 16x20 tac on back canvas

• Two sheets of gold leaf (Mona Lisa) • Gold leaf adhesive

• Small piece of small print ﬂowered paper • Leopard print paper

• Decoupage glue (Decoart®)

• Duraclear Gloss Varnish (DecoArt®) • Masking tape

• Black Sharpie pen

Diane Trierweiler’s signature brush • #8 long handle tongue (hog bristle tongue) MISCELLANEOUS SUPPLIES: • Paper towels • Water tub

• Tracing paper • Graphite • Stylus

PREPARATION:

• Charcoal Grey Da088

Use your #8 long handle tongue to slip slap (scumble) Light Buttermilk and Fawn over the center area of the design. You should be able to see both colors and a mixture of the two colors. Let dry and tape off the one and a half inch border around the outside edge of the design. Use your large ﬂat brush to base in this edge with Light Buttermilk. Let dry, and place your pattern on, (basic lines only).

• Olive Da056 Saffron Da273 • Honey Brown Da163

PROCEDURE:

• Burnt Umber Da064

BOTTLE IN REAR: Use your #10 ﬂat to base in the green lotion bottle with a wash of Olive. (20% paint to 80% water). Use your 1/2 angle brush to shade this area with Avocado. Second shade with Black Green. Make sure you bring your shading out widely so that there is a small area of the Olive showing. Base in the label with Light Buttermilk Use your angle brush to shade on the label with Burnt Umber. Use your liner brush, with Emperor’s Gold, to outline the label. Use your black pen to add an additional line next to the gold line and to place in the letters on the label. Use your ﬂat brush to wash Charcoal in the glass areas. It is also along the edges of the bottle. Use your small round brush with watered down Charcoal to add details to the glass on the bottle. Use the same brush to add White highlights onto the glass. Base in the top edge of the bottle with Emperor’s Gold. Shade the bottom edge of this area with Burnt Umber. Place the pattern for the ribbon on the top of the bottle onto the decoupage paper. Cut the paper out according to the design. Use your brush to paint the decoupage glue onto the canvas. Paint more glue onto the back of

PAINTS:

DecoArt® Americana 2 oz. acrylics: • Fawn Da242 • Light Buttermilk Da164 • Soft Black Da155

• Black Green Da157 • Avocado Da052

• Titanium White Da01 • Pink Chiffon Da192

• Antique Mauve Da162 • Dried Clay Da356

• Emperor’s Gold Metallic Da148 • Vintage Brass Metallic Extra Sheen Dpm05 BRUSHES:

Dynasty® • 1/2 angle

• 10/0 Liner • #4 Flat

• #10 Flat

• 3/4 Flat glazing

• Small round brush • #8 Filbert • 1/2 Mop

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of Honey Brown where the shadows are. Second, shade with a little Soft Black. Let dry and use your angle brush to shade this area with Burnt Umber. Highlight with White. Base in the top of the bottle with Vintage Brass Metallic. Shade with Burnt Umber. Let dry and highlight with White. Base in the lid with Soft Black. Let dry and use your angle brush to highlight the bulb with Light Buttermilk. The bottom of the bottle is washed in with Charcoal. When dry, shade with Soft Black. Highlight with White. Place the pattern on for the bulb. Cut the leopard paper to ﬁt the pattern and glue onto the canvas the same way that you did for the ribbon. Use your liner brush to paint the tube for the atomizer with Soft Black and then with Emperor’s Gold. The tassel at the bottom of the bulb is lined in with Soft Black and then again with Emperor’s Gold. Base in the label on the bottle with Light Buttermilk. Use your pen to outline the label and to place in the letters.

the paper. Lay the paper over the area where the ribbon should be. Smooth the paper out to make sure there are no bubbles left. Paint one more coat of glue over the ribbon. Let the glue dry thoroughly. Use your angle brush with Burnt Umber to shade on the ribbon. Use your liner brush with Emperor’s Gold to outline the ribbon. Dry brush a little White, here and there, for highlights. ATOMIZER: Use your ﬁlbert brush to wash (20% paint to 80% water) Saffron into the yellow area of this bottle. While the paint is still wet, blend in a wash

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PEARLS: Use your ﬁlbert brush to base in the pearls with Pink Chiffon. Use your angle brush to shade the top and bottom of each pearl with Dried Clay. When dry, second shade the bottom of each pearl with Antique Mauve. Use your liner brush with White to add a dash of White to highlight each pear. Outline lightly and loosely with your pen. The clasp is Emperor’s Gold. SQUARE PERFUME BOTTLE: Use your ﬁlbert brush to wash Charcoal over the bottle. Use your round brush with Charcoal to place on the lines that shape the bottle. (refer to the underpainting photo). The label is

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based in with Light Buttermilk. When dry, shade with Burnt Umber. Place the letters in with your black pen. Use an old brush to paint on the gold leaf adhesive. Only paint the glue on where you want the gold leaf to be. Let the glue dry for a few minutes. Place small pieces of gold leaf over the glue. Use a soft mop brush to brush off excess gold leaf. Repeat until you are happy with the amount of gold you have. Place the pattern on again if necessary. Use your small round brush with Charcoal and place on the shape lines for the bottle. Highlight with White.

FINISHING:

Wash under the bottles and the pearls with Charcoal. Do this in several layers, gradually getting darker under each item. All of the letters

are painted in with a wash of Charcoal. Use your liner brush to add White highlight lines on each letter. Outline on the right of each letter with Emperorâ&#x20AC;&#x2122;s Gold. Use your black pen to line on the left side of each letter. The letters on the top are just washed in with Charcoal. The design under the letters is also washed in with Soft Black. Use your angle brush to shade next to the Light Buttermilk border with Burnt Umber. Outline with Soft Black next to the border. The outer edge of the canvas is outlined with Soft Black. Light Buttermilk is used to place in the line on the area in the center where you slip slapped Fawn and Light Buttermilk. Varnish with gloss varnish. I think this project would look great in a bedroom or a bathroom. Enjoy!

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Download all drawing patterns at http://bit.ly/FEB2020Drawings

Enlarge by 200%.

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ZEBRA JACKET CLOTHING CHALLENGE WINNER Congratulations to Margaret Riley! Margaret has won our clothing challenge this round. In case you haven’t heard, we have an ongoing clothing and accessories challenge. Each challenge winner’s project photo will be published in the magazine and the blog. The winner will be awarded a $100 prize for a winning submission. The pattern and instructions will be published on the PWM blog on February 11, 2020. You will be able to download instructions to recreate the winning design for yourself. Let’s talk about Margaret’s trendy little jacket makeover. Animal print is popular in fashion, making this piece here and now. Zebra print is fun! Black & White with a bold color always livens things up. Depending on the occasion you can dress it up or dress it down. This print is versatile. What a fantastic wardrobe piece and a great addition to your clothing lineup. Please write to info@paintingworldmag.com for details on entering the clothing challenge.

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An Instinctive Painter with Technical Chops and Creative Structure:

JIM MCVICKER

By Nicole Borgenicht

Artist Jim McVicker well known for his plein air and still-life paintings, expresses his early development had occurred mainly by working with other more experienced artists. A contemporary plein air artist, McVicker’s works encapsulate patterns with shapes, and colortinted shades of light through dark. While his still life paintings disclose background and object in modern placement, by layers formulated in a series of steps shown herein. McVicker shares his experience, “I met three painters in 1978, Curtis Otto, James B Moore and George Van Hook, at a life drawing group in Eureka, Ca. Each of them were painting works that I really responded to, all worked from life and the landscape around the Eureka area. I was invited to go out to paint with them and jumped on the opportunity. We all became friends and George and I eventually shared a studio space. We worked along side each other for about a threeyear period, which was a time of huge growth in my work. I often share that story and always encourage workshop students to work with painters that are more advanced. A lot is picked up from observing other’s working methods. Also, visit a lot of museums to study firsthand the works of historical masters.” In comparing technique of how the artist paints from still life to plein air landscape, Jim McVicker points out similarities as well as a few, very distinct differences. He says, “Still life painting and landscape feel like two different approaches, although I do both from life. The landscape is always a short time frame, about two hours, trying to catch the light before it changes too much. With still life in the studio, one has more consistent light and therefore it doesn’t seem as frantic as painting outdoors. I will do

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many of my landscapes over a period of several days to weeks working with the same time of day and lighting conditions. Also, with still life, you are composing from scratch. Still life, I can also work with colors not found easily in nature. In the landscape, I look for compositions and design that I find exciting and then respond to it.” In the many stages of Studio Still-Life, Jim McVicker describes his initial considerations and techniques in each of the first steps. In addition, he shares a few colors and brushes chosen to achieve necessary results. Therefore we receive insider notes on how the earlier images transition toward the final painting. “My still life pictured started with a thin and simple drawing using a bristle brush and transparent oxide red. I also block in some of those shapes with the same warm color. At that point, I really focus on painting the flowers because of the short life span. So, I am working with the colors and shapes I see in a pretty direct manner, always working with bristle brushes number 4 to 10. At the same time, I work on the flowers, I am painting the background around them and hopefully keeping a sense of unity and connection, not separation. Once the flowers are painted, usually over a three-day period, I start to concentrate on all the other objects and slowly start blocking in the rug patterns and color. I am always working directly with the colors I see and do not do any glazing. I worked on this painting over a three-month period, building up the paint, paying close attention the light, values and a sense of space and air. At some point, the painting seems to not call out for any thing else and I set it aside, studying it now and then and sometimes making subtle additions or changes,” says McVicker.

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McVicker says, “Spring, Hawks Hill was painted in the early morning over several days. The fields below still have some flooded patches that reflect the sky and I feel an important element to give it that sense of moisture and our Northern California spring. Everything is very green except the berry patches along the roadside that add a nice complement to the greens. I have painted from the view many times over the past 30 years: different seasons, weather and time of day.” In Summer, at Hawks Hill, there is a vast landscape filled with detailed shapes and patterns, along with an expansive sky, put together into an orderly composition. McVicker describes a few artist tips in achieving richness of color, depth of field, and time of day from this painting. “Summer, Hawks Hill has that warm afternoon glow of summer and the beautiful golden tones that say California. I painted it in the afternoons over a two to three week period. Some days I can’t work on it as the fog has rolled in. When painting sunlight and the richness of the land, I always tell students in my workshops they need to push the color and light further than they think. We can’t actually paint sunlight, so in order to achieve that effect I think one needs to be bold with it. To underplay it would not give one the sense of bright sunlight on the golden grass and road. The clouds are very important to the design of this painting. Again, I feel they say sunlight but also create depth and movement in the sky. I always pay close attention to the values in order to show that illusion of depth. The color and brushwork get stronger in the middle and foreground,” Jim McVicker says. In Spring, Hawks Hill, Jim McVicker has simulated the translucence of spring rain with shapes and colors in this plein air landscape painting. FEBRUARY 2020 ISSUE

His work is in many galleries all over California, and in Florida and Utah. Plus Jim McVicker paintings have been in many museum shows to include a recent exhibit at New Museum Los Gatos, where his still-life paintings were outstanding. Furthermore, he has won multifarious awards in plein air competitions. “I show with a number of galleries throughout the U.S. and enjoy working with the owners I show with. I think it is best to have a good relationship, rapport and someone that is excited about your work. I have had numerous shows, group and solo, over the years and enjoy both. I think a

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solo show is always important and a great way to see a body of one’s work out of the studio, framed and hanging on well lit and beautiful gallery walls. I always, in that setting, feel I am seeing my work with a fresh and new eye. I have also been included in a few museum shows with other painters and that is always an honor,” says McVicker. In McVicker’s own workshops he makes it a point to share his awareness of nature to paint in an intuitive way. After all, he paints with reflection of the inherent shapes, color and light patterns that prevail in nature, yet maintains a modern flair for ingenuity. He says, “From my workshops I have learned a lot just by talking and expressing oneself about painting and how I go about painting a landscape or still life. I like both but I think I am always most happy outdoors. I am a very intuitive painter and do not like formulas as a way to make a painting. I try to always stay open to what is in front of me and like to pass that along to students. With that said, I do approach the painting as I think most painters do. Looking for big shapes, the darks and lights and what I see as the color and tones happening throughout the painting. I stress the importance of sound drawing, correct values and paying attention to what the subject before you is revealing. I speak out loud in my workshops expressing what I am saying to myself in my head while I paint. Except for when I beat myself up for all the wrong things I might do as I paint. It’s not something one learns and then it’s smooth sailing to making a good painting. Those would not be very interesting paintings without all the work,

frustration and the constant pushing to make a better painting than the last one. I see Nature as king and the great instructor. I am in awe!” An artist lifestyle he shares with his wife and camaraderie with other painters, McVicker revels in limitless communication. “My favorite thing about being an artist is having everyday give me something new to see and the opportunity to use whatever talent, creativity and passion I have to do something with it on a canvas. My wife, Theresa Oats, is an artist also. Both of us feel very blessed to follow our passion and to make a living doing what we love. It’s not all roses and has its highs and lows like anything in life. It takes focus and love to stay committed to what one believes in. Today, like no other time in history, we have had the opportunity to meet in person and online so many fellow artists out there, following their passion to create something that is life affirming and gives one a strong sense of purpose. It’s always nice to know you’re not alone,” says Jim McVicker. https://jimmcvickerpaints.com

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HEARTS

ROSES

By Jan Boettcher

I am totally enjoying my Rosemaling passion. I am constantly imagining and thinking about what to paint next. I have had the honor of being an Indiana Artisan since being juried into the group in 2011. I have also been part of the Traditional Arts Indiana through Mather’s Museum in Bloomington, Indiana. I am a designer and teacher for “Oil Painting Expressions” online. I love to demonstrate and share my art at shows, events, and functions. Most of all, I love to teach this beautiful folk art from Norway. I am actively promoting this beautiful art by designing packets and projects for classes. My work can be found on our website: www. turnofthecentury-in.com or www.etsy.com/shop/ TurnofthecenturyShop. I am on Facebook and manage a group called “The Thorntown Malers”. We discuss and share anything Rosemaling or Norwegian. FEBRUARY 2020 ISSUE

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I am a Rosemaler and have been Rosemaling for many years. I generally paint very traditional pieces. I love the history of Rosemaling, and I also love to share that along with the pieces I paint. When looking through my stash of woodenware, I came across this piece. It is called a “Candy Dish Server”. Obviously, it is not a traditional Norwegian piece, but I felt it was one that I could Rosemal with the sweet Telemark roses that I use for larger designs. It seems that many painters want to paint on items that can be used rather than paint a decoration. The colors seemed so cheery and “just right” for a candy dish for Valentine’s Day.

ARTIST TIP: -Always use Walnut Oil Alkyd rather than Walnut Oil. The alkyd helps the paint to dry quickly. I am finding that the Archival Odorless Lean is a bit easier to work with and dries ever quicker than the Walnut Oil Alkyd.

SUPPLIES SURFACE: Candy Dish Server-#CDS Available on Etsy. www.etsy.com/shop/TurnofthecenturyShop PAINTS

Americana acrylic: • Antique Maroon DA160-03 Rembrandt oils: • Alizarin Crimson

• Cadmium Red Light • Burnt Umber • Burnt Sienna

• Yellow Ochre

• Titanium White

• Unbleached Titanium • Ivory Black

• Cadmium Yellow Light

-I use a technique with most of the styles of Rosemaling which uses 3 shades of each color. The blending is done with the brush as you press and blend the stroke. With oils the open time is a bit longer so you can “work” with the paint to make it look blended and soft.

Scharff Brushes: • Small teardrop brush, sable #426

-Wipe your brush on paper toweling when you change from one color to another, rather than clean the brush each time with brush cleaner. The brush cleaner can drip on the surface as you paint if not cleaned well from your brush. Obviously, the stronger or brighter a color, the more you must wipe the brush clean between loading the brush.

MISCELLANEOUS SUPPLIES: • Odorless brush cleaner for oils

-Remember to use oil when using the teardrop brush and also the liner or scroller. All other times, you will be painting without oil in you brush. The oil is intended to help the paint flow from the brush and to soften the stroke as well.

• #2 & #4 flat brush, syn-sable #130

• #2 filbert (cat’s tongue) syn-sable #429 • Raphael #2 synthetic liner #8829

• Tracing, transfer, & palette paper • Fine sandpaper • Palette knife

• Walnut Oil Alkyd OR Archival Odorless Lean • Stylus

• Paper Towels

• Sponge brushes for base coating

• Matte & Satin Blair Finishing Spray

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PREPARATION:

Sand the entire plate and lid with fine sandpaper. Paint all surfaces Antique Maroon. Sand all surfaces Apply second coat of Antique Maroon. Sand all urfaces lightly until smooth. Spray the entire plate and lid with matte finishing spray. Mix Walnut Oil into a small amount of dark red mixture to an ink consistency. Using the #4 flat brush, paint the entire top of the lid. Allow this to dry completely. Trace and transfer designs to plate and lid.

PAINT PALETTE: RED: Dark mixture – Equal parts Alizarin Crimson + Burnt Umber. (AC+ BU) Middle mixture – Equal parts Cadmium Red Light + Burnt Sienna. (CRL + BS) Light mixture – Cadmium Red Light. (CRL) YELLOW: Dark mixture – Burnt Sienna (BS) Middle mixture – Yellow Ochre (YO) Light mixture – Equal parts Yellow Ochre (YO) + Titanium White (TW) + touch BU WHITE: Dark mixture – Yellow Ochre (YO) Middle mixture – Unbleached Titanium (UT) Light mixture – Titanium White (TW) GREEN: Dark mixture – Equal parts Prussian Blue (PB) + Burnt Sienna + Burnt Umber Middle mixture – Add Ivory Black to Cadmium Yellow Light to achieve medium moss green Light mixture – same as light yellow mixture

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INSTRUCTIONS: YELLOW SCROLLS: Using the #2 flat brush, load with middle yellow, and paint a stroke down the middle of the scroll, leaving the edges unpainted. Wipe the brush and re-load with YO. Side load into the BS. Paint, press, and blend the inner edge of the scroll. Wipe and re-load with YO. Side load with light yellow mixture and paint the outer edge of the scroll. Using the #2 filbert, load with light yellow mixture. Paint the “c” stroke that forms the knob of the scroll. Using the liner and thinned light yellow, paint a stroke just under the “c” stroke, rounding and pressing as you paint it. With liner, and thinned BS, Paint the inner edge of the scroll. Using the teardrop brush, load with thinned lightyellow mixture. Touch the tip of the brush into the BS. Paint the 2 teardrops on the inside of the scroll. Place 3 dots of light mixture at the base of the scroll with thinned paint and a stylus. Place a dot at the upper, inner edge of the scroll knob. GREEN LEAVES: Using the #2 flat OR filbert, paint a stroke of middle green from tip of the leaf to the base leaving the edges unpainted. Wipe the brush and reload with middle mix and side load with dark green mix. Paint, press, and blend as you form the dark side of the leaf. Wipe the brush and load with light green mix. Paint, press, and blend as you form the light side of the leaf. Using thinned paint and the liner brush, outline the dark side of the leaf with dark green. As you paint this stroke, you will end at the tip of the leaf, lift slightly, and continue to paint the little extra stroke at the tip of the leaf. Outline the inner edge with thinned light green mix. Also, paint 2 vein lines with thinned light green following the contour of the leaf.

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ROSES: The roses are painted by starting at the base of the flower and painting the strokes from side to side. I use the #2 filbert for the roses. Paint dark red about 1/3 of the way up the bowl of the flower. Wipe the brush and load with middle red. Starting just inside of the dark red stroke, paint and blend as you paint upward about 2/3 of the way up the bowl. Wipe the brush and load with CRL. Paint upward to just under the lower edge of the white bowl of the flower. Wipe the brush well, load with YO and paint one rounded stroke on top of the last CRL stroke. Wipe and re-load with YO and paint another stroke next to the last stroke and then wipe the brush well. Re-load with UT. Paint, blend, and round the white upward, almost to the tip of the white bowl. Wipe and re-load with UT and side load with TW. Paint round small “c” strokes to form the upper petals of the white bowl. You might want to outline these small petals with thinned TW. There should be a gradation of color and yellow should be noticeable at the base of the white bowl. Using the #2 filbert, load the brush with a mixture of UT and TW that has been thinned “a little”. With the brush just touching the red on the side of the bowl, press and paint a stroke of this mixture, picking up some of the red as you press and blend. You will paint from the wide knob of the stroke to the thin end at the base of the flower. Try not to go over this stroke. Each of the side petal strokes will be very unique and will nicely blend as you paint them. Using the stylus and thinned TW, place random dots in the white bowl and paint them to look like they are floating outward. I always place a white dot at the top of the side petals. It just kind of makes a nice accent to the petal. Paint a round stroke at the base of the 2 roses. Use the #2 flat loaded with YO and side loaded with BS. Darken to the edge of the bead. Wipe and re-load with YO and side load with light yellow mixture. Paint and round the circle as you blend. Place dots around the outer edge with thinned light-yellow mix and stylus. Paint 3 dark red dots on top of the yellow circle and place a thinned middle white dot on top of the red dots.

ACCENTS AND FINISHING:

Use the teardrop brush and load with thinned light green mix. Tip the point of the brush into the middle green. Paint the 3 teardrops above the middle of the 2 roses. Loading the brush in the same manner, paint the teardrops on the outer edge of the yellow scrolls. Between the scrolls at the top, paint the TW dots using the stylus and 4 light yellow dots at the bottom of the scrolls. Using the #4 flat brush, load with thinned dark red mix and paint the inner and outer beads. Keep the inner bead dark red but continue on to paint the outer bead as follows. Once you have the dark red on and when it is still wet, wipe and re-load the brush with middle red, with the brush flat as you randomly “pat” the red onto the dark red all the way around the bead. Wipe and re-load with CRL and randomly pat the red onto the surface of the bead. Remember that you want to see all three shades of red when it is done. It should look like it has a marbleized appearance. Allow the plate to dry completely. Once the plate is completely dry, clean any stray marks, smudges, or tracing lines. Spray with light mists of satin finishing spray until you achieve the look that you like. Follow the instructions on the can. It is important not to spray too close as it may “crinkle” the paint.

LID:

The yellow circles, leaves and roses are all painted in the very same manner as they are on the plate. They are a bit smaller, so the #2 flat or #2 filbert will work best. Once the center ring is painted, continue by using the thinned dark red mix and paint the outer sloping edge of the lid again using the #4 flat. While still wet, paint the middle red and light red in the same manner as the plate outer bead. It’s important to have the 3 shades of red to appear like it is marbleized. Allow the lid to dry completely. Once dry, clean any stray marks, smudges, or tracing lines. Spray with light mists of Satin finishing spray to the entire lid. Don’t forget to sign your work. Happy Painting!

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

LID

BASE

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Tulip Parfumerie By Tracy Moreau

Tracy Moreau is a classically trained Artist with more than 35 years of experience. Educated in Europe, Canada and the US, her work has a great many influences. Her combination of Fine Art, Faux Finishing and the Decorative Arts makes her work unique. Tracyâ&#x20AC;&#x2122;s design work is varied, from Home decor to Mixed media, she is versatile and creative and is generous with her knowledge and experience. Her sense of humor and relaxed approach to teaching endears her to her students, creating an atmosphere of fun and unabashed creativity. Author of several Books, three in French, Tracyâ&#x20AC;&#x2122;s work has been published in a wide variety of publications, from Craft and Painting Magazines to Home Improvement and decorating magazines.

Tulips were, at one time, a highly valuable commodity. Bulbs and hybrids were nearly as valuable as gold. Today the exquisite blooms, though short lived, are highly valued for their brilliant patterns and colors, the first splash of lively color after a long and gloomy winter. I hope you enjoy painting this, I enjoyed every minute creating it. FEBRUARY 2020 ISSUE

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YOU WILL NEED: MICHEALS CRAFTS

• 12 x 30 Profile Canvas

DecoArt® Americana

• Lamp Black DA067

• Warm White DA239

• Saffron Yellow DA273 • Primary Red DA199 • Asphaltum DA180

• Foliage Green DA269

• Plantation Pine DA113 • Margarita DA299

• DecoArt® Ultra Matt Varnish WWW.THEBRUSHGUYS.COM Dynasty® Faux Squirrel: • #2 Rigger, • #8 Filbert Wave

• 1/2 Angular Shader • 3/4 Flat wash

Jo Sonja • Jo Sonja fast Drying Glaze MISC: • White Graphite Paper • Tracing Paper • Palette Paper

TO BEGIN:

I use Jo Sonja Fast Drying Glaze to float, to thin paint and to help level paint for base coats. It also helps the paint to flow smoothly off the brush. It helps thin the paint without reducing the vibrancy of the color or cause it to separate. Pour a small quantity into a shot class or a small cup and dress the brush in it instead of water. Apply two generous coats of Lamp Black (wet the brush in the fast drying glaze) to the front and side of the canvas. Let each coat dry well before applying the next.

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The line drawing is in segments and there are registration marks to help you position them properly. Line up each image and then tape them together to place them onto the surface. Trace and transfer the line drawing to the canvas using the white graphite paper (it helps to place something firm under the canvas to give you a rigid surface to transfer). THE TULIP FLOWER: On the Palette: Warm White, Primary Red, Saffron Yellow, Asphaltum, Lamp Black (use the Fast Drying glaze for floating and thinning paint). Base the petals with Warm White, one at a time leaving a narrow, small space between the petals. Two coats should give you a nice opaque finish. If not, then apply a third coat. Paint in the details and bands of color on the petals with the Rigger, using Primary Red. You may want to over stroke these lines for richer color. Shade down the center vein of the petals with a weak float of thinned Primary Red. Apply a weak float of Saffron Yellow to the throat of the tulip (just above the front row of petals). Shade the spaces between the petals with a weak float of Asphaltum. Deepen the shading at the bottom of the tulip and in the areas that the petals overlap or turn over with a float of thinned Lamp Black mixed with a small amount of Primary Red (makes a deep red).

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Thin the mixture a little to float (to make it transparent). THE STEM AND LEAF: On the Palette: Foliage Green, Plantation Pine, Margarita, Warm White, Asphaltum Base the stem and the interior of the leaf with Foliage Green. Base the turnovers on the leaf with Plantation Pine (2 coats). Shade the center vein of the leaf with a float of thinned Plantation Pine. Highlight the tip of the leaf and opposite the center vein with a float of thinned Margarita. Then brighten the highlight with a float of a mixture of Margarita/ Warm White 2:1. Highlight the turnovers in the leaf on the left side with a weak float of thinned Margarita Green. Shade the stem on the right side with a float of thinned Plantation Pine. You may need to repeat this two, or three times to get a nice deep shading. Deepen the shading with a float of thinned Asphaltum. Highlight the stem on the left side with a float of Margarita and then brighten with the same mixture as the leaf. THE LETTERING AND BORDER: On the Palette: Warm White, Asphaltum Thin the Warm White, using the Fast Drying glaze, to an inky consistency. And begin painting in the lettering with the #2 Rigger. You will find that the rigger will flatten to a chisel edge when pressed. Load the brush and then press down until the width of the brush fills the width of the letter, then pull the brush the light of the space you are painting. Continue until all the letters are painted. Shade the bottom of the lettering with a float of thinned Asphaltum. The border and decorative elements are painted in the same fashion as the lettering. The floral element at the bottom is simply stroked in using the thinned Warm White, it is not fully opaque and very loose.

FINISHING:

Lightly spatter the entire canvas with a thinned Warm White and then again with thinned Asphaltum.

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Enlarge by 300% or adjust to the size of your surface.

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Enlarge by 300% or adjust to the size of your surface.

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Enlarge by 300% or adjust to the size of your surface.

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Your ad could be here! Ads start at only $49.00 and reach about 4,000 print subscribers & thousands more on social media!

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MAMMA BEARS HAVE

THE FEBRUARY 2020 ISSUE

BEST HUGS

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By Alessio Meggiato and Sandy Kelsey Hi! I’m Alessio Meggiato! I was born in a small town near Venice and I have this huge love for paintings. I was introduced to country painting about 14 years ago, and since then, I’ve started to work with several international artists, publishing projects in popular painting magazines. With the help of Terry French, to whom I will be forever grateful, I had the chance to be a part of the “Painting with Friends” book. I’ve attended many classes with the best international artists, both in Italy and in the United States. I’ve been sharing my passion and knowledge by teaching in several stores around Italy, and I am honored to be a part of the “Helping Artist” team by DecoArt®. About two years ago, I started to do some lessons online with some of the works I love most and doing that I had the chance to reach more people with my same passion. I’ve always loved Sandy Kelsey’s works, so I contacted her. I’m so grateful to have had the chance to collaborate with her for this project you can see on these pages. Often, my heart speaks through my hands. Creativity and fantasy may be my daily “addiction” ... or the best care I’ve ever experienced. My name is Sandy Kelsey and I live just south of the Adirondack Mountains in Central New York, USA. From an early age I planned for an art related career and attended MVCC for Advertising & Design, then Munson Williams Proctor Institute for Fine Art. Somehow, I found myself working in the field of Human Recourses. Now I am semiretired and finally able to live my dream of pursuing art. I’m a member of SDP and the Leatherstocking Decorative Artists Chapter. I have always painted and drawn, only now I am able to attend classes from the many talented teachers I have admired for years. I plan on producing painting packets and hope I’ve developed my own style that painters would find fun. Recently, I was lucky enough to have my artwork on the cover of an online painting magazine. It is such a joy to work with so many talented and creative people ... and even collaborate with Alessio Meggiato from Italy!! At home, I live with three large goofy dogs. I have two adult daughters and four grandchildren between the ages of five and eight. I feel very, very lucky to finally have these opportunities.

SUPPLIES

• SAND DA04

DecoArt® Paint: • ANTIQUE WHITE DA058

• SOFT BLACK DA155

• BURNT SIENNA DA063 • BURNT UMBER DA064 • CAMEL DA191

• DARK CHOCOLATE DA065 • FAWN DA242

• HONEY BROWN DA163 • KHAKI TAN DA173

• LAMP BLACK DA067

• LIGHT BUTTERMILK DA164 • MILK CHOCOLATE DA174

• SNOW TITANIUM WHITE DA01 OTHER SUPPLIES: • Multi-Purpose Sealer • Sandpaper

• Graphite Paper - both black and white • Paper Palette • Stylus

• Tracing Paper with photocopied design

• Painters Tape “For painting the background lines” • Sponge Roller

• DecoArt® Matte Varnish FEBRUARY 2020 ISSUE

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BRUSHES: • MAXINE’S MOP Loew-Cornell® series 270 ½ and ¾ • BLACK GOLD angular brush by DYNASTY® series 206A ½ e and ¾ • BLACK GOLD shader by DYNASTY® series 206S sizes 2, 10, 16, 20 • BLACK GOLD filbert by DYNASTY® series 206fil sizes 2, 3, 6, 10

• MEZZALUNA XLARGE and LARGE drybrush by DYNASTY® • BLACK GOLD script liner by DYNASTY® series 206SL sizes5/0,10/0 For painting the basecoat use the largest brush you feel comfortable with.

SURFACE PREPARATION:

Sand the entire surface with thin sandpaper; remove dust with a damp cloth. Give a coat of MULTI PURPOSE SEALER (optional). When dry, lightly sand and remove the dust with a damp cloth.

PHOTO 2 – BEAR BASECOATS (we will call Owen the bear on the left, Lorelei the bear on the right) MAMMA BEAR: make a wash of CAMEL on mother bear’s body and when still wet use the mop brush to tap and create the fur effect – giving face 2 coat of SAND - inside ears remains ANTIQUE WHITE. OWEN: the body remains ANTIQUE WHITE give the face, belly ear and soles of feet 2 coats of SAND LORELEI: base the body with FAWN leaving the front and belly ANTIQUE WHITE. Use 2 coats of SAND on the face and inside ears ALL BEARS: SOFT BLACK noses - eyes LAMP BLACK - Paint the writing with LAMP BLACK using a flat brush No. 2 and in some places a round brush No. 1.

PHOTO 1 – SURFACE BACKGROUND Paint the entire panel with ANTIQUE WHITE, two or three coats, with sponge roller. When it is dry, add the guidelines of the bears. Position the tape alternately so as to create lines. Paint the lines with KHAKI TAN avoiding the bear design.

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PHOTO 3 - FIRST SHADING MAMMA BEAR: shade with HONEY BROWN around the entire perimeter of the bear, right hand close to the bear, under the arm, on the arm behind the bear, under the neck, around the eyes, on the forehead, on the ears, do a shading “back to back or flip float” on the arm and on the leg behind the foot - shade the muzzle with HONEY BROWN under the nose, close to the heads of the bears and the fold on the nose - shade with DARK CHOCOLATE the inside of the ears and the soles of the feet. OWEN: shade the ears with BURNT SIENNA, the whole perimeter of the head, a back of the muzzle, rise of the hand, the nails, the feet behind the nails, behind the perimeter of the right foot, the upper part of the left foot, the shoulder and the belly, on the arm makes a shading “back to back” - shade with DARK CHOCOLATE inside the ear, the muzzle, under the nose, behind the eyes and on the fold of the nose, on the mouth, the belly and the pads of the feet. LORELEI: shade all the areas except the muzzle with DARK CHOCOLATE - use SOFT BLACK to shade the lower part of the nose, under the nose and the fold of the muzzle. ALL BEARS: Shade the noses with LAMP BLACK - the noses of the two bears at the bottom U - the mother’s nose inside the “C” nostrils. Shade the floor with DARK CHOCOLATE.

PHOTO 4 - SECOND SHADING MAMMA BEAR: to deepen the inside of the ears and the soles of the feet use SOFT BLACK - deepen with the MILK CHOCOLATE the upper part of the ears, the fold of the head, shadow behind the bears that pass in front of the muzzle, behind the muzzle and behind the eyes, to create a floating spot on the forehead to create the fur effect, the shoulder behind Owen’s head, to deepen the fold on the arm and the reflected shadow of Owen’s hand, the hand on the folds of the fingers, close to the foot and close to Lorelei upwards, deepening the angle between the foot, the bear’s hand and Owen’s foot, deepening the bottom making a nice wide shadow and creating the shadow of the foot, deepening along the whole leg , the heel and the back leg in the upper and left side near the foot - with MILK CHOCOLATE deepen the fold in the upper part of the left foot. OWEN: deepen with BURNT UMBER the shadow behind Lorelei, on the ear, on the angle of the muzzle against the shoulder, on the shoulder along the body, on the hand, on the nails, on the belly and under the mouth, the sole of the foot near the nails of both feet. Shade “back to back” to split the nails. LORELEI: deepen with BURNT UMBER the lower part of the cheeks, inside the ears, on the neck, behind the arm, on the belly near the hand of the mother bear, on the paw. Deepen the floor with SOFT BLACK.

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PHOTO 6 - FOURTH SHADING MAMMA BEAR: deepen with SOFT BLACK on the neck close to Owen, under the elbow, the division between the two feet and the angle between the foot, the bear’s hand and Owen’s foot. PHOTO 5 - THIRD SHADING MAMMA BEAR: deepen with a mix of BURNT SIENNA and SOFT BLACK the two darker corners on the forehead by ears, close to the snout, behind Lorelei, behind the eyes, on the shoulder close to Owen, under the elbow, on the butt, on the fold of the heel, under the hand, between one foot and the other, the folds of the fingers, the hand close to the feet. OWEN: deepen with SOFT BLACK behind the ear, behind the arm, around the muzzle, behind the eyes, on the mouth, under the neck, along the arm and close to Lorelei. LORELEI: deepen with SOFT BLACK on the neck, on the body along the entire perimeter of the mamma bear, behind the tail, on the folds of the hands and elbow, on the cheeks close to the muzzle and on the right and left ears.

PHOTO 7 - BRIGHTEN WITH DRY BRUSHING Highlight using a MEZZALUNA DRYBRUSH and LIGHT BUTTERMILK inside ears, head, arm, leg, feet, hands, soles of the mother’s feet - head and body of the two little bears, Lorelei’s tail, noses and eyes of all three bears. Highlight again using the same brush and TITANIUM WHITE over the Light Buttermilk in a smaller area, all 3 bear’s faces.

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Use a liner brush and BLACK in an inky consistency to add the lines on the left side of the letters of the writing. Accent the main part of the letters using a liner brush and inky wash of TITANIUM WHITE in the areas shown. Reinforce highlight in a smaller area with a second coat in the centers of the larger highlights.+ Use tape to create the border on the edge of the panel and paint it with ROOKWOOD RED. When dry, shade all around the panel with the DARK CHOCOLATE. Erase any traces of graphite paper. Antique the entire design with a watery wash of DARK CHOCOLATE. PHOTO 8 – SMALL DETAILS and FINISHING With a 10/0 liner and SOFT BLACK, outline some points of the mother and the little ones to create the fur effect. Create Lorelei’s mouth and eyelashes and Mamma’s eyelashes with a 10/0 liner and LAMP BLACK. With a 10/0 liner and TITANIUM WHITE create lines on the mother’s nose and outline the nostrils, make a comma on Owen’s nose and the lines on Lorelei’s nose. With a 5/0 liner and LAMP

Wait for the surface to appear perfectly dry and give two good coats of DecoArt® MATTE VARNISH We hope you enjoy this painting and love to all the Mammas!!

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

Sandy kelsey & Alessio Meggiato 2019

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Passing the Paintbrush... By Teri Walker

The Heart of Art Many years ago, I had the opportunity to study art history with a professor who has extensively traveled the globe. His lifelong passion was to study and photograph the art of historical and modern cultures. The slides and stories he shared with us made an indelible mark on my appreciation of art. Never before did I realize just how very important art is to humanity. Therefore, I do not understand why art is the first thing to go when schools face cutbacks in funding. Art is the greatest historical record of every culture. In all of its many forms, art literally defines the people who created it as their way of expressing thoughts, feelings, passions, religious beliefs, dreams and goals. It is the earliest form of communication, for art was there before mankind had language. It continues to speak to us in the present and will be there for future generations. Art will never die, for mankind has an inborn need to create. Just like a living, breathing entity, art has evolved with changes in technology,

techniques, and materials. We’ve come a long way since cave paintings. Art has endured many changes and served many purposes. Today, we use it for advertising, political statements, home decor, fashion, architecture, and self-expression. Art is so much a part of life, that it is often taken for granted and ignored. I hope you will take a few minutes to consider the importance of art in your life and share your thoughts with others. Each time you wet a brush, you carry on heritage as old as time itself. Be proud of the things you create, for they will live on long after you are gone from this earth. Your art is your vision, your passion, and your voice to the future. I urge you to share yourself with others by “Passing the Paintbrush” every time you get the chance, especially with children who have no art programs in their school. Your influence just might change a life and that will be your legacy, for YOU are the very heart of art.

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PAINTING WORLD MAGAZINE

HARLEY: The Traveler Dog By Elisabetta De Maria

* Harleys’ goggles are by Doggles ® Inc. Doggles® is a registered trademark of Doggles Inc. - used by permission.

Dearest painting friends, I present to you Harley: the traveling dog! Harley is a mongrel dog that has been abandoned and taken to a kennel with her brothers. Alessia and Letizia immediately fell in love with her when they saw her and decided to adopt her. Slowly they taught her to stay on the sidecar because they wanted to take the holidays with her. Since they adopted it, Harley has already traveled 18,000 km in a sidecar and has become the mascot of the campaign against abandonment. Harley toured Italy, went to Denmark and this year went on holiday in Estonia. She is the demonstration that you can travel together with your bosses .. not only in the car, but also on a motorcycle! The “I Viaggi di Harley (Harley’s Travels)” page was born against the abandonment of dogs in summer.… Happy Painting my dear friends!

SUPPLIES Stabilo CarbOthello Pastel Pencils (DickBlick. com) • 100 Titanium White • 105 Ivory

• 435 Ultramarine Blue Light • 575 Leaf Green

• 610 Raw Umber

• 745

Dark Flesh 40

• 901

Chinese White

• 746

Dark Flesh 50

Bruynzeel Design Colored Pencils (DickBlick. com) • 27 Yellow Ochre • 74

• 94

Dark Gray Silver

• 615 Dark Ochre

SURFACE • Sheet Pastelmat 25.5 x 22.5 Grey

• 635 Bister

The photo of the dog was small and I thought to make a magnification.

• 655 English Red Deep

You can enlarge or reduce it to a size you choose.

• 625 Burnt Umber • 642 Caput Mortuum Violet Light • 680 Dark Flesh Tint • 681

Flesh Tint Light

• 708

Gray 5

• 706 • 720

Gray 4

Cold Gray 1

• 726

Cold Gray 4

• 750

Neutral Black

Caran d’ache Pastel Pencils (DickBlick.com) • 009 Black • 036

Raw Sienna

• 046

Cassel Earth

• 042

Flesh

• 047

Bistre

• 408

Dark Sepia

• 066

Raw Russet

ACCESSORIES • Photo, graphite paper, hb2 pencil, rubber, pencil sharpener for crayons, paper napkins, smudge.

TIPS

• For each job, always start on the left side and continue to the right: (left-handed people will work on the contrary) This is to avoid dirtying the work with the hand.

• In any case, use paper towels in case you have to work on a part already painted to avoid removing the color or dirtying with your hand. • Always follow the direction of the hair.

• Help yourself by blending colors with your fingers. • Always have sharp pencils.

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LET’S PAINT

After placing the photo on the Pastelmat, place the sheet of graphite paper in the middle, graphite side down. With a pencil or stylus, trace over all the guidelines, contours and details. Now arrange the colored photo next to your sheet so as to check, step by step, all the details. EYE We work the eye inside the glasses. With the pastel Carbothello n 750 (Black) draw the shape of the pupil and fill the interior with the same color.

Outline the lighter edge, that we find immediately below, with Carbothello n 708 (Gray 5) and 726 (Cold Gray 4). Lighten with the pastel Carbothello n 681 (Flesh Tint Light). Work the outer corner of the eye (towards the nose) with Carbothello n 642 (Caput Mortuum Violet) and Cara D’Ache n 093 (Violet Gray). Darken with Carbothello n 635 (Bister) and lighten with Carbothello n 681 (Flesh Tint Light). Now we work the part above and below the eye with Carbothello n 625 (Burnt Umber). Lighten first with Carbothello n 615 (Dark Ocher) and then with n 105 (Ivory).

Work the inside of the eye with the pastel Carbothello n 625 (Burnt Umber) without ever completely covering with the color.

The dark part near the corner of the eye is painted with Carbothello n 610 (Raw Umber) and n 625 (Burnt Umber).

Lighten with Carbothello n 615 (Dark Ocher) and darken with Carbothello n 635 (Bister).

Give a touch of Carbothello n 642 (Caput Mortuum Violet) to resume the color of the corner of the eye and illuminate with Caran D’Ache n 036 (Raw Sienna).

Give light strokes with the pastel Carbothello n 680 (Dark Flesh Tint). Darken again with Carbothello n 610 (Raw Umber). Make small lines in the iris with Carbothello n 681 (Flesh Tint Light). I normally use many colors until I get the result I want. I overlap them. Sometimes even just a stretch of pastel can be used to give a different light. Learn to look at the photo and take a picture of the work. The eye of the camera can make you discover the mistakes. Let’s get back to the eye: Following the photo, darken the left corner, gradually using Caran D’ache n 046 (Cassel Earth) and reinforce with n 408 (Dark Sepia). Always with Caran D’Ache n 408 (Dark Sepia), outline the iris.

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Give a slight touch of Carbothello n 585 (Olive Green). The light part of the upper and lower hair must be superimposed on the dark part. Work with Carbothello n 105 (Ivory). To have uniformity with the dark part, paint some hair with Carbothello n 642 (Caput Mortuum Violet), n 610 (Raw Umber), a touch of Caran D’Ache n 042 (Flesh) and n 036 (Raw Sienna). Resume again Caran D’Ache n 408 (Dark Sepia) and from the dark part of the eye make some hair that enters the clear part. In the light part of the hair near eyeglasses, work with Bruynzeel n 74 (Dark Gray). The part above the eye is worked with Caran D’Ache n 093 (Violet Gray) and Carbothello n 610 (Raw Umber). Paint the edge of the center right eyeglasses with Caran D’Ache n 408 (Dark Sepia) and the left side with 046 (Cassel Earth).

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Paint the eyelashes with Caran D’Ache n 042 (Flesh) and 036 (Raw Sienna). Darken with Caran D’Ache n 046 (Cassel Earth) and illuminate with Carbothello n 105 (Ivory). Work the shaded part of the left side with Caran D’Ache n 408 (Dark Sepia) and 046 (Cassel Earth). Illuminate with Carbothello n 585 (Olive Green) and Caran D’Ache n 746 (Dark Flesh 50). Lighten with Carbothello n 681 (Flesh Tint Light). Smudge with your fingers and make the light coat uniform.

Carbothello n 635 (Bister). Illuminate with Carbothello n 435 (Ultramarine Blue Light). Continue with the lower part by blending the previous base color (Caran D’Ache 003) with Carbothello n 726 (Cold Gray 4). Darken with Carbothello n 708 (Gray 5) and with Caran D’Ache n 408 (Dark Sepia). Give some touches of Carbothello n 585 (Olive Green) in the center right part. Lighten with Carbothello n 706 (Gray 4) and darken with Caran D’Ache n 149 (Night Blue). Give some touches of Caran D’Ache n 093 (Violet Gray). Paint the piping underneath with Caran D’Ache 746 (Dark Flesh 50) and lighten with Carbothello n 105 (Ivory). We paint the upper part up to the right center, with Bruynzeel n 74 (Dark Gray). Darken with Carbothello n 635 (Bister) and illuminate with Caran D’Ache n 003 (Light Gray). Work on the outer edge with Caran D’Ache n 746 (Dark Flesh 50) and 047 (Bister).

Fig 1 GLASSES Paint the white parts with Caran D’Ache Chinese White and blend in some places with

Blend with Carbothello n 726 (Cold Gray 4) inside and add some touches of Carbothello n 585 (Olive Green). Always looking at the photo, darken first with Carbothello n 708 (Gray 5) and then with Caran D’Ache n 408 (Dark Sepia). Lighten with Carbothello n 720 (Cold Gray 1).

Carbothello n 435 (Ultramarine Blue Light) and Caran D’Ache n 631 (Light Ultramarine Violet).

Now we paint the side part of the glasses with a base of Carbothello n 726 (Cold Gray 4).

Paint the lettering with Caran D’Ache Chinese White.

Illuminate with touches of Carbothello n 435 (Ultramarine Blue Light) and Caran D’Ache n 746 (Dark Flesh 50).

Divide the eyeglass lens frame into three parts: left side, top side and center right and bottom side and center right (you recognize it from the step). Paint the left side with Caran D’Ache 003 (Light Gray) and shade the inside edge first with Caran D’Ache n 746 (Dark Flesh 50) and then with

Darken with Carbothello n 708 (Gray 5). Paint the first strip underneath with Bruynzeel n 94 (Silver). Shade with Carbothello n 708 (Gray 5) and illuminate with n 105 (Ivory). FEBRUARY 2020 ISSUE

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Paint the second strip with Carbothello n 720 (Cold Gray 1) and illuminate with Carbothello n 435 (Ultramarine Blue Light).

The part of the hair of the head near the ear is painted with Caran D’Ache n 036 (Raw Sienna) and lightened with Bruynzeel n 27 (Yellow Ocher). Darken with Caran D’Ache n 069 (Burnt Sienna) and lighten with Carbothello n 105 (Ivory). Continue to work with the colors until you get the final result. The dark spot is painted with Caran D’Ache n 069 (Burnt Sienna), Carbothello n 610 (Raw Umber), Caran D’Ache n 408 (Dark Sepia). Continue descending on the fur with Caran D’Ache n 036 (Raw Sienna) and overlap n 047 (Bister), Carbothello n 625 (Burnt Umber) and n 585 (Olive Green).

Fig 2 EAR Paint the ear with Bruynzeel n 27 (Yellow Ocher). Now divide the ear into two parts: Lighten the right side with Carbothello n 105 (Ivory) and darken where needed with Caran D’Ache n 042 (Flesh). Review with Carbothello n 105 (Ivory) . Paint some hairs, where needed, with Caran D’Ache n 068 (Herculanum Red) and n 036 (Raw Sienna). Work where you need with Carbothello n 585 (Olive Green). The left side must be immediately darkened with Caran D’Ache n 036 (Raw Sienna) and n 064 (Medium Russet). Illuminate with Caran D’Ache n 068 (Herculanum Red) and revise again, where needed, Bruynzeel n 27 (Yellow Ocher). Continue to work with Caran D’Ache n 036 (Raw Sienna) and 064 (Medium Russet) until the color is established. Work the light parts with Carbothello n 100 (Titanium White) with nuanced n 105 (Ivory) and Caran D’Ache n 093 (Violet Gray).

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Fig 3

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Center of the Glasses

Blend the white part with Carbothello n 585 (Olive

Start from the white parts with Caran D’Ache Chinese White and continue with the other parts with Carbothello n 708 (Gray 5).

Green) and touch with Caran D’Ache n 746 (Dark Flesh 50) and again with Carbothello n 585 (Olive Green).

Lighten with Carbothello n 720 (Cold Gray 1).

Paint the inside of the lens now. The dark part is painted half with Carbothello n 750 (Black) and half with n 726 (Cold Gray 4).

Paint the underlying part with Carbothello n 750 (Black). Now let’s move to the right lens frame: paint the upper part with Carbothello n 706 (Gray 4) and darken with Carbothello n 726 (Cold Gray 4), n 635 (Bister) and a touch of 585 (Olive Green). Paint the inner lower part with Carbothello n 720 (Cold Gray 1) and darken with n 726 (Cold Gray 4). Paint the profile with Caran D’Ache Chinese White. Paint the front bottom with Bruynzeel n 94 (Silver). Lighten with Carbothello n 706 (Gray 4), Caran D’Ache n 746 (Dark Flesh 50). Darken with Carbothello n 635 (Bister), n 708 (Gray 5) and n 635 (Bister). Lighten again with Carbothello n 720 (Cold Gray 1) and give reflections with n 585 (Olive Green). Paint the darker outer part on the top right with Carbothello n 708 (Gray 5) and lighten first with n 726 (Cold Gray 4) and then with n 720 (Cold Gray 1). Darken the upper part more with Carbothello n 750 (Black).

Blend the gray part with Carbothello n 720 (Cold Gray 1) and make the border and the 5 spots with n 720 (fade with the fingers). RIGHT LATERAL EAR Make a base with Caran D’Ache n 047 (Bistre) and lighten first with Carbothello n 615 (Dark Ocher) and then with n 105 (Ivory). Darken with Carbothello n 610 (Raw Umber) and then with n 635 (Bister). HAIR HEAD To paint the hair on the head, I started from the center of the glasses in order to have a clear idea of the direction of the hair. Now I will give you the order of the pastels I used: you have to distribute them looking carefully at the photo. Start painting the white parts with Carbothello n 100 (Titanium White). Now work the rest of the hair with a base of Bruynzeel n 27 (Yellow Ocher). To obtain all the light and dark shades use the following colors in this order: Carbothello n 105 (Ivory), Caran D’Ache n 036 (Raw Sienna), Caran D’Ache n 047 (Bistre), Carbothello n 100 (Titanium White ), Caran D’Ache n 042 (Flesh), Carbothello n 635 (Bister), Bruynzeel n 27 (Yellow Ocher) and Carbothello n 615 (Dark Ocher).

Fig 4

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NOSE Outline the nostril with Carbothello n 750 (Black). The pink part is painted with Caran D’Ache n 044 (Terracotta), 068 (Herculanum Red) and Carbothello n 642 (Caput Mortuum Violet). The part under the nostrils is painted with Caran D’Ache n 746 (Dark Flesh 50) and shaded with Carbothello n 635 (Bister). Brighten your nose with Caran D’Ache n 036 (Raw Sienna). Continue to work with Carbothello n 635 (Bister) and touch with n 642 (Caput Mortuum Violet) and Caran D’Ache n 036 (Raw Sienna). Light up under the nostrils with Carbothello n 726 (Cold Gray 4). Fig 5 With the same colors paint the part of the snout that goes towards the nose.

Now, very lightly and with little touches, work with Caran D’Ache n 408 (Dark Sepia). Brighten with Caran D’Ache Chinese White. MUZZLE We continue to paint Harley’s face under the glasses starting with Caran D’Ache Chinese White. All the white parts will be painted first. We paint the rest of the face with the colors listed below (Always look at the picture): Bruynzeel n 27 (Yellow Ocher), Caran D’Ache n 036 (Raw Sienna), n 746 (Dark Flesh 50), Carbothello n 105 (Ivory), n 642 (Caput Mortuum Violet), n 635 (Bister), Caran D ‘ Ache n 093 (Violet Gray), Caran D’Ache Chinese White, Carbothello n 585 (Olive Green), n 681 (Flesh Tint Light) and n 635 (Bister). Work under the mouth with Caran D’ache Chinese White, n 036 (Raw Sienna), and n 746 (Dark Flesh 50). With Carbothello n 750 (Black) paint the spots from which the mustache starts. Reinforce all white parts with Caran D’Ache Chinese White.

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EYEWEAR BAND The eyewear band under the head is painted with Carbothello n 750 (Black).

Brighten with Carbothello n 435 (Ultramarine Blue Light) and Caran D’Ache Chinese White.

COLLAR The orange part of the collar is painted with Carbothello n 305 (Vermilion Red) and n 221 (Orange).

Paint the rest of the collar with Carbothello n 750 (Black) I started painting some hair over the collar with Caran D’Ache Chinese White so as to be sure to have a bright white color.

Darken with Carbothello n 635 (Bister). The celestial part is painted with Bruynzeel n 94 (Silver). Lighten with Caran D’Ache n 003 (Light Gray) and darken with n 149 (Night Blue).

Shade with Carbothello n 610 (Raw Umber).

NECK AND BODY Start immediately to paint the white parts with Caran D’Ache Chinese White. Work the rest of the body with Bruynzeel n 27 (Yellow Ocher) and Caran D’Ache n 746 (Dark Flesh 50). Lighten with Carbothello n 105 (Ivory) and darken with Caran D’Ache n 046 (Cassel Earth) and n 036 (Raw Sienna). Blend all the hair lightly with your fingers always following the direction of the hair. Paint the mustache with Caran D’Ache Chinese White. BACKGROUND I worked the background with Carbothello n 720 (Cold Gray 1) and n 726 (Cold Gray 4). Smudge with your fingers. To protect your work, place it in a frame with glass. I hope you Enjoy Painting this as much as I did! Happy Painting

Elisabetta Fig 7

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

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TWO HEARTS,ONE LOVE

By Barbara Bunsey, CDA

Barbara began painting and teaching over 30 years ago. She’s taught at conferences, conventions, and in her home studio. Early American Life Magazine has named her to the Directory of Traditional American Crafts since 2004, and Colonial Williamsburg has commissioned her to paint pieces for its shops. She’s a member of the SDP, Decorative Arts Collection, and Tole Painters of the Western Reserve, where she’s held various board positions. FEBRUARY 2020 ISSUE

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I love the look of Victorian Valentines and wanted to get that look, but updated a bit using some new pastel colors. And what is love, but two people, two hearts, joined as one.

SUPPLIES:

INSTRUCTIONS

DecoArt®: • Aloe DA364-3

BACKGROUND: Sand, but do not seal wood. Using damp sponge brush, wash over entire surface with White Vintage Effect Whitewash. Thin Antique White and wash over center area. Dampen area above hearts, extending it out to the sides and up. Thin Avocado with a lot of water and, using Mezzaluna brush, apply above hearts and working out using a circular motion, letting the water pull the paint out. Let the grain of the wood work for you and let it settle into any grain. Dry well. Repeat if you want it a tad darker. (Fig 1)

• Antique White DAO58-1 • Avocado DAO52-1

• Berry Cobbler DA370-3

• Bleached Sand DA257-1 • Blush Pink DA355-3

• Evergreen DAO82-1

• Foliage Green DA269-1

• Light Avocado DA106-1 • Margarita DA299-1

• Peony Pink DA215-1

Fig 1

• Pink Chiffon DA192-1 • Saffron DA273-1

• Shoreline DA365-3

• Sugared Peach DA354-3 • Thicket DA357-3

• Vintage Pink DA369-3

• Watermelon Slice DA324-1 • Wild Berry DA362-3

Brushes: FM Black Gold: #7000 series: #2 round; #10 & #16 shader; #0 script liner; #10 filbert; L & XL Mezzaluna. Special Supplies: DecoArt ® Vintage Effect Whitewash: White DCW02-64; DecoArt ® Soft Touch Varnish ADM03-36; sponge brush.

Artist ’s Tip:

To achieve a soft look, swipe your side-loaded brush on a damp part of your paper towel to remove excess paint and water.

HEARTS: Base with a heavy wash of Blush Pink, using the #10 filbert. Using dry XL Mezzaluna, pick up Blush Pink, take out excess on palette, pick up Pink Chiffon, take out excess, then dry-brush on center areas of heart; repeat, adding more Pink Chiffon to dirty brush; repeat, adding Sugared Peach to dirty brush and leaving a “halo” of the first color showing around the outside edge; repeat, adding Bleached Sand to dirty brush. (Fig 2) Using dry L or XL Mezzaluna, pick up Blush Pink, take out excess, pick up Peony Pink, take out excess, and add shading to outside areas of hearts and where the right one lies under the left. Begin at the edge, then bring in toward FEBRUARY 2020 ISSUE

PAINTING WORLD MAGAZINE

center using a circular motion; repeat, adding more Peony Pink to dirty brush; repeat, adding Berry Cobbler to dirty brush; repeat, adding a touch Fig 3 of Avocado to dirty brush and adding to right side of left heart and where right heart lies under the left, being sure to pull out in the two V-areas; repeat, adding more Avocado to dirty brush and adding just to V-areas (Fig 3). Fig 2

LEAVES: Add a medium wash of Antique White to leaves that lie over the hearts, as this is your background. Leaves #1: Wash Fig 4 with a thin wash of Foliage Green. Sideload #10 shader with Margarita, blend, then add to lighter areas of leaves; repeat, adding more Margarita. (Fig. Fig 5 4) Side-load #10 shader (keep a little extra water in your brush) in Light Avocado, blend well, then add to shadow areas of leaves. Keep this color thin as you don’t want to overpower the leaves. Repeat, adding Evergreen to dirty brush, again, keeping the color soft and thin. (Fig. 5) Stems, veins, and curlicues: FEBRUARY 2020 ISSUE

Add to all leaves, etc. with a liner of Aloe. Leaves #2: Wash with a thin wash of Aloe. Side-load #10 shader with Aloe, blend, pick up Sugared Peach on the same corner, blend, then add to lighter areas of leaves; repeat, adding more Sugared Peach. (Fig. 4) Side-load #10 shader (keep a little extra water in your brush) in Thicket, blend well, then add to shadow areas of leaves. Keep this color thin as you don’t want to overpower the leaves. Repeat, adding Evergreen to dirty brush, again, keeping the color soft and thin. (Fig. 5) ROSES (THESE ARE OLD-FASHIONED SWEET BRIAR ROSES FROM OUR GARDEN): Add a medium wash of Antique White to any petals that have too much green on them from the background. Fig 6 Float Vintage Pink on “red” areas of petals, keeping a bit more water in your brush and the color thin, walking it down into each petal; repeat, using Fig 7 thin Wild Berry but not walking it down as far; (Fig. 6) repeat, adding thin Watermelon Slice, again not walking down as far. Use these floats for shadows, where one petal lies under another, under the flipped edge, etc. In darker areas, pick up a touch of Thicket on dirty brush, blend, and add to flowers; repeat, adding a small touch of Evergreen to darkest areas. (Fig. 7) CENTERS: Tap in Light Avocado with the tip of #2 round. Add a touch of Margarita for highlights and Avocado for shadows. (Fig. 8) Note: I did this next step after the light colors were put on the flowers. Add thin lines of Saffron, starting at

PAINTING WORLD MAGAZINE

Fig 8

Fig 9

Fig 10

Fig 11

Fig 12

center and pulling onto petals, only on the top section on the left flower; add a bit of Watermelon Slice to dirty brush, mix to blend and pull rest of lines. Add dots at the ends of lines, spilling onto petals and center, with this color mix + a bit more Watermelon Slice. I also added a little touch of Avocado to the mix for some darker ones. Lightly float a mix of Berry Cobbler + Avocado (approx. 1:1) over parts of the center. (Fig. 9) Highlights on Petals: Side-load #10 shader in Sugared Peach, blend, and add to base of petals, laying paint side of brush next to centers; repeat, adding Bleached Sand to dirty brush. (Fig. 10) Add touches of Shoreline to highlight areas and large flower center. BLUE FILLER FLOWERS: Using #2 round and thin Shoreline, scatter here-andthere on background around flowers. Touch a few of the petals near the centers with Berry Cobbler. Add a center with the round brush and Saffron; touch these on one side with Saffron + Avocado (approx. 2:1), keeping the color very light. (Fig. 10) LETTERING: Make a mix of Watermelon Slice + Avocado (approx. 1: 1 Â˝ or 2) to get a brown color. Thin with a lot of water. Line in with script liner, keeping color thin, applying pressure to wider areas and less pressure to thin areas. (Fig. 11)

LEAF BORDER: Wash leaves with a thin wash of Avocado. Float Margarita on each tip and Evergreen on side of leaf next to vine. Add a float of Shoreline to tips of leaves next to center. Thin lettering mix with a lot of water, then use liner to fill in the grooved areas. (Fig. 11) Pink Flowers: Using #2 round and thin Blush Pink, scatter here-andthere in the border area; tap with your finger to soften and press into background. Add very light touches of Berry Cobbler to some of the petals near the center of the flower. If itâ&#x20AC;&#x2122;s too bright, tap with your finger. Add centers with the tip of your liner and Saffron, again blotting if necessary. Drybrush Blush Pink here-and-there on the background. (Fig. 12) FRAME: Thin Shoreline and wash over frame area. Dry well. Using dry XL Mezzaluna, load in Thicket, take out excess on palette, then scrub onto outside edges, filling in corner, using a circular motion to blend into background. Using dry L Mezzaluna, load in Wild Berry, take out excess and add to corners. Paint outside of frame Wild Berry. (Fig. 12) Surface #42073 available from: Walnut Hollow 1409 State Road 23 Dodgeville, WI 53533 800-395-5995 www.walnuthollow.com

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SPRING HAS SPRUNG By Michael Cheek

Michael was born and raised in a small mountain town in North Carolina called Boone. In 1983, Michael began his journey in the art world. Over these past three decades, Michael has devoted a lot of time developing his â&#x20AC;&#x153;easy to learnâ&#x20AC;? techniques. Since the early years, Michael has had the opportunity to teach countless students the joy painting can bring to an individual life! Michael resides in Taylorsville, North Carolina where he continues to teach local workshops as well as traveling to neighboring towns and cities.

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SUPPLIES SURFACE: • 11 x 14 canvas PALETTE:

BOB ROSS SOFT OIL COLORS • Ultramarine Blue, Turquoise, Alizarin Crimson, Burnt Sienna, Cad Yellow Light, Titanium White DALER / ROWNEY • (Georgian) Cad Orange BRUSHES: • Artist Loft / Flat Bristle (brushes come in a package of 12, purchased at Michael’s Arts & Craft stores) • #’s 10, 9, 4, 2

• BOB ROSS Script Liner #2 OTHER SUPPLIES & EQUIPMENT: • Soft Rag, wash cloth and paper towels

• Black graphite paper, stylus, pencil or pen

CANVAS PREPARATION • MICHAEL’S Kanvas Koat® Using a chip brush or sponge roller, apply 2 coats of Michael’s Kanvas Koat (Grey) to the canvas, allowing plenty of drying time between coats. Using black graphite paper, transfer the pattern to the canvas using a stylus, pen or pencil. (NOTE): Michael’s Kanvas Koat is not available in any art or craft store. It is only available by ordering from Michael’s website: www. palettecreationsbymichael.com. When using Kanvas Koat, you will not need the use of any oil medium to make the paint move, spread or blend. This happens automatically right on the canvas! HELPFUL HINTS: *When tracing the pattern to the canvas, only trace basic lines. For instance, it is difficult to paint around objects such as trees, bushes, ect. *Instead of cleaning the brush in thinner each FEBRUARY 2020 ISSUE

time, use a paper towel to pinch the color out of the bristles. This allows some color to remain in the bristle, causing more variety of color tones when loading the next mixes.

LET’S PAINT! SHALL WE? (The light source is coming from the right)

SKY AND CLOUDS: Using the #10 flat bristle, load a mixture of Titanium White and a bit of Alizarin Crimson. This will be a medium to light pink tone. Working off the flat of the brush and starting to the right of the cottages, use horizontal strokes and paint upward into the sky about an inch and a half. Wipe the brush! Pick up a mixture of Turquoise with a touch of Titanium White. This will be a medium to lighter blue tone. Working off the flat of the brush, start at the top of the sky, using horizontal strokes. As you progress downward toward the pink area, pick up a bit more Titanium White in the mix and work together with the pink, blending the two color tones for a good transition. Work for a soft blended look. Wipe the brush! Load Titanium White on the bottom left corner of the brush. Turn the brush over so the paint is now on the top right. Working off the corner of the brush, push upward, releasing the brush downward in a comma stroke. Work in a circular motion to form the clouds. Wipe the brush! Working off the side of the brush, tap underneath the clouds to soften. Don’t blend TOOO MUUUCH!!! They’ll go away and leave you!!!

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BACKGROUND TREES AND BUSHES: Using a #9 flat bristle, load a mixture of Turquoise, Ultramarine Blue, Cad Yellow Light and a touch of Titanium White. This will be a medium green tone. Working off the flat of the brush, use short downward strokes to paint in the background trees, working around the cottage. As you progress upward, work more off the corner and right side of the brush, shaping the trees, and leaving them with a light and airy feel on top. To paint the pine trees, bring the brush to a chisel edge. First, establish a placement line by tapping downward. Working off the right corner of the brush, start at the top and tap the brush back and forth to form the pine trees. Using a #4 flat bristle, take a bit of the green mix that was just used and add Cad Yellow Light. This will be a toned down yellow mix. Load on the bottom left corner of the brush. Turn the brush over so the paint is now on the top right of the brush. Working off the top right of the brush, push upward, releasing the brush downward in a comma stroke. Work in a circular motion to form the highlighted bushes. Also, highlight the bigger tree to the left of the cottage using the same technique. Working off the flat of the brush, a small amount of highlight is added to the larger pine tree using the same color mix and tapping on the right sides of the branches. Not too bright! Using the #2 script liner, thin down burnt sienna with a touch of ultramarine blue. This will be a medium to dark brown. Paint in a few limbs in the

larger tree to the left by weaving them in and out of the tree. Not too many! Weave a trunk in the larger pine tree by pulling straight down. COTTAGE (#4 & #2 flat bristle, #2 script liner): Chimney: Ultramarine Blue + Burnt Sienna = dark mix Highlight for chimney: Burnt Sienna + Titanium White = light tan Roof lines, windows and door: Ultramarine Blue + Burnt Sienna = dark mix Shadow side walls: Ultramarine Blue + Titanium White = medium blue Highlighted walls: Titanium White + a touch of Ultramarine Blue = a very light blue (use more Titanium White for brighter highlight) Roofs: Cad Orange + a touch of Burnt Sienna = burnt orange (Titanium White is added for brighter highlights on the edges of the roofs) Inside the windows: Ultramarine Blue + a touch of Titanium White = medium blue Windowpanes and door: Titanium White + a touch of Burnt Sienna = light tan

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FOREGROUND PATHWAY: Using a #4 flat bristle, load a mixture of Titanium White with a touch of Burnt Sienna. This will be a medium tan tone. Working off the flat of the brush, start at the back of the path and use horizontal strokes back and forth. As you progress forward, pick up more of the burnt sienna. A bit of Ultramarine Blue can also be used to darken the pathway in the foreground. Wipe the brush! Pick up Titanium White and work off the flat of the brush to paint in some brighter highlights in the middle of the pathway, still using horizontal strokes.

GRASSES: Using a #9 flat bristle, load a mixture of Turquoise, Ultramarine Blue, Cad Yellow Light and a touch of Titanium White. This is the same mix that was used for the background trees. Working off the flat of the brush, use short downward strokes to paint in the grasses to the right of the cottage and in front of the cottage. Wipe the brush and pick up Titanium White with a touch of Burnt Sienna. Working off the flat of the brush, paint in the small path using horizontal strokes, working back and forth. Using a #4 flat bristle, load a mix of Cad Yellow Light with a touch of Titanium White. This will be a light yellow. Working off the flat of the brush, tap in the highlighted grasses to the right of the cottage. Load more of the mixture on the FEBRUARY 2020 ISSUE

bottom left corner of the brush. Turn the brush over so the paint is now on the top right of the brush. Paint in the highlighted grasses in front of the cottage by working off the right top corner of the brush. Push upward releasing the brush downward in a comma stroke. This is the same technique that was used to create the background bushes.

FOREGROUND PINE TREE AND BUSHES: Using the #9 flat bristle, load a mixture of Ultramarine Blue, a touch of Burnt Sienna and a touch of Cad Yellow Light. This will be a dark green tone. Paint in the pine tree as previously described in (Background Trees and Bushes). The bushes are based in with the same color mixes and highlighted the same way as previously described in (Background Trees and Bushes). Be sure to bring some grasses up over the pathway.

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FOREGROUND ROCKS: Using a #2 flat bristle, load a mixture of Ultramarine Blue and touch of Burnt Sienna. This will be a dark tone. Working off the flat of the brush, paint in hump shapes around the edge of the pathway and in the foreground bushes. Wipe the brush! Load a mix of titanium white with a touch of Burnt Sienna. Working off the flat of the brush, highlight the top and right sides of the rocks, blending in with the dark. FINAL DETAILS: When the painting is dry, you may want to reinstate some of the highlights and darker values. It is difficult to achieve this when the paint is still wet.

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Directory of Artists Sherry C. Nelson, MDA, TDA Diane Trierweiler www.sherrycnelson.com info@sherrycnelson.com

Tracy Moreau www.tracymoreau.net tracy.moreau@tracymoreau.net

Michael Cheek

tolebridge@aol.com dianetrierweiler.com

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

Jan Boettcher www.turnofthecentury-in.com

palettecreationsbymichael.com mscheek@charter.net

Alessio Meggiato

alessio.meggiato@gmail.com facebook.com/creareperpasione

Sandy Kelsey sk51263@aol.com

Barbara Bunsey, CDA

bbunsey@calicogoose.com http://www.calicogoose.com

Cindy Makowski www.Cindysbrushstrokes.com

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Directory of Suppliers The Brush Guys www.thebrushguys.com DecoArt® www.decoart.com 606-365-3193 Diane Trierweiler https://www.dianetrierweiler.com/brushes. htm

Royal Langnickel® Art.royalbrush.com 219-660-4170 Scharff Brushes http://artbrush.com/shop/ home.php Sherry C. Nelson http://sherrycnelson.com/supplies.html

Dick Blick® Art Supplies www.dickblick.com 1-800-933-2542

Smooth Cut Wood® smoothcutwoodproducts.com 888-982-9663

Dynasty® Brushes www.dynastybrush.com 718-821-5939

Stabilo®Pastels www.stabilo.com

Michael Cheek www.palettecreationsbymichael.com Michaels® www.michaels.com

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Bloom wiî&#x201A;&#x201D; Dixie Belle

Painted and Photographed by Salvaged Inspirations

February 2020 Issue Painting World Magazine

Articles inside

MAMMA BEARS HAVE THE BEST HUGS

ELEGANCE OF MAGNOLIAS

TWO HEARTS, ONE LOVE

HEARTS AND ROSES

TULIP PARFUMERIE

TUI BIRD FEATHER

PERFUMES